LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: Tebaldi Aida under Karajan
From: "Max D. Winter" <[log in to unmask]>
Reply-To:Max D. Winter
Date:Tue, 27 Sep 2016 13:36:04 -0400

text/plain (33 lines)

David Kubiak wrote:

"One final point about [Tebaldi's] sagging top.  While she struggles in '59 
with 'Aida', she was still capable of producing huge C's in 'Tosca' at 'io 
quella lama' in '60 and '61. For some reason that particular C was a good 
one for her -- there are tapes where the performance stops at this point 
because of a prolonged ovation."

Those are both high C's, but they are nevertheless very different in 
difficulty because they are approached differently.  The high C in "O patria 
mia" is of such legendary difficulty because it is approached stepwise from 
below, the high point in an already high phrase.  The C at "Io quella lama," 
on the other hand, is plucked out of the air and sung loudly which, 
counterintuitive though it may be, is actually an easier way to get to high C 
than the other way.  Mind you, I'm not saying that the Tosca high C is 
easy, just that it is easiER to pull off than the Aida high C.  (Even at that, 
Tebaldi's C at "Io quella lama" was frequently slightly under pitch on live 


OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager