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Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Fri, 18 Nov 2016 18:05:21 +0000
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Franco Corelli was going to do his debut in Decca  in the 1961 Adriana Lecouvreur recording  Tebaldi/Simionato/Fioravanti/Capuana,  but Del Monaco put his lawyers and pressed  and he won, and Corelli was out of the recording
Walter


      De: Max Paley <[log in to unmask]>
 Para: [log in to unmask] 
 Enviado: Viernes, 18 de noviembre, 2016 3:06:34
 Asunto: Re: Clarification of my Tebaldi - Manon Lescaut comment
   
Ya, neither Bergonzi nor Björling were options for Decca in 1954 when the "Manon Lescaut" was made (one of the very first stereo opera recordings).  Both would have become possible if they'd done it 3 years later.  Bergonzi signed with Decca in early 1957 and in 1956 Decca and RCA signed their agreement that allowed swapping of artists and use of each other's tech crews (hence Björling and Tebaldi together on the Erede "Cavalleria" and Leinsdorf "Turandot").

I wish Decca had used Bergonzi (and Serafin, for that matter) for Tebaldi's stereo "Tosca" as they had for the "Boheme" and "Butterfly."  But Del Monaco was serious Decca capital and he didn't like sitting sessions out and was particularly pissed off that Karajan refused to have him for the stereo "Aida."

Max Paley

Sent from my iPad

> On Nov 17, 2016, at 21:56, Les Mitnick <[log in to unmask]> wrote:
> 
> Speaking of Manon Lescaut and Tebaldi, her Decca studio commercial recording is badly crippled by the bellowing of Mario del Monaco, who had about as much charm and elegance as he who is about to become our new leader.  When Tebaldi sings alone, the sound is ravishing, but when she has to compete with del Monaco's blatantly loud Otello-like approach to Des Grieux, the bellowing seems to overtake HER as well.  The recording should have used a different tenor, like a very young Carlo Bergonzi.  Bjoerling would not have been possible because of his affiliation with RCA.  I admire del Monaco on a few of Tebaldi's recordings, but most certainly not on this Manon Lescaut.  I suppose we should be grateful that he didn't end up on her Butterfly or Boheme recordings, where Bergonzi sang so beautifully.
> Just a passing opinion.
>                                                                                                                                
> 
> From: "Max Paley" <[log in to unmask]>
> To: "OPERA-L" <[log in to unmask]>
> Sent: Thursday, November 17, 2016 5:01:05 PM
> Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment
> 
> Tebaldi, Björling and Serafin!  No disrespect to Callas or Albanese, but for what I like, that would be like cherry picking the best elements of the mid 50's Decca, EMI and RCA recordings of the opera.
> 
> Max Paley
> 
> Sent from my iPad
> 
> > On Nov 17, 2016, at 13:31, kurt youngmann <[log in to unmask]> wrote:
> > 
> > When she sang it here in Chicago in ’57 she was in absolutely top form. Added bonuses were Bjoerling’s des Grieux, the Geronte of the wonderful Carlo Badioli and Tullio Serafin’s mastery of the score.
> > 
> > Kurt Youngmann
> > 
> > PS She also looked delicious!
> > 
> > PPS For the record we got to see her in four operas that year. Her other roles were Desdemona, Adriana and Maddalena.
> > 
> >> On Nov 17, 2016, at 2:55 PM, Bob Rideout <[log in to unmask]> wrote:
> >> 
> >> After I sent my first post, I realized I left something
> >> out. The great, almost universally admired revival
> >> was in 58-9. She sang a number at the New Met in the late
> >> sixties, but they were generally not well received and they were
> >> far from sold out. My apology for not noting that earlier.
> >> 
> >> Bob
> > 
> > 
> > "It has often and confidently been asserted, that man's origin can never be known: but ignorance more frequently begets confidence than does knowledge: it is those who know little, and not those who know much, who so positively assert that this or that problem will never be solved by science." - Charles Darwin - introduction to “The Descent of Man.”
> > 
> > 
> > 
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