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Subject: Re: Tebaldi
From: Don <[log in to unmask]>
Reply-To:Don <[log in to unmask]>
Date:Sat, 3 Dec 2016 06:17:51 -0700
Content-Type:text/plain
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I was at the Tebaldi return and I thought she was wonderful.  So was
Konya.  Sure the end of act 1 was flat but it always was.  It's one note.
I listened to a tape of that broadcast recently and her sound was lovely
and unlike most of today's singers immediately recognizeable.
dond

On Sat, Dec 3, 2016 at 5:51 AM, Bob Rideout <[log in to unmask]> wrote:

> Les
>
> I was at the Adriana premiere. She was dreadful. I was at the Boheme
> return. She was just as dreadful. Ken Benson, a name you may know
> from the broadcast quizzes, was standing next to me. After Act One
> he asked me "do you hear anything different?". No! Neither did he.
>
> I later saw her in Gioconda, lots of Cheniers, Fanciulla and Falstaff.
> She was compromised  in all of them. But she was the most loved
> singer I ever saw. It was true love! They did not hear what I heard.
>
> But, as you said, which was the point, she was generally dependable
>
> Bob
>
> On Saturday, December 3, 2016, Les Mitnick <[log in to unmask]
> <javascript:_e(%7B%7D,'cvml',[log in to unmask]);>> wrote:
>
> > Bob:
> >      While Tebaldi was generally dependable, she was not without her
> > cancellations.  In Chicago, in October, 1962, she cancelled both Mimi and
> > Tosca, claiming illness. The following February or March (1963), she
> > finally got her "Adriana Lecouvreur" at the Met, but only sang PART of
> her
> > scheduled performances (her vocal crisis had reached it's worst point and
> > the critics were not shy in pointing that out).  She cancelled the
> > remainder of her Met season in the spring of 1963 and appeared nowhere
> > until March of 1964, when she returned to the Met in Boheme.  It was a
> > Saturday afternoon broadcast.  Her voice sounded somewhat mended and sang
> > in two other operas at the Met that spring in 1964.  She returned to
> > Chicago in the autumn of 1964 (again Boheme) and her voice had
> > significantly improved.  She sang four performances.  From that point on,
> > she was once again a "regular" at the Met.  In autumn of 1968, after
> > singing the dress rehearsal of Manon Lescaut, she abruptly cancelled her
> > performances and was not heard in Chicago again (though in October, 1965
> > she sang Margaurite in Mefistofele in Chicago -------- I saw two of those
> > performances and in one, she cracked badly on the top C near the end of
> her
> > big scene, while in the other performance I saw, she merely left the top
> C
> > out altogether).
> >     At the Met, however, she embarked on Gioconda for two seasons, more
> > Manon Lescauts, Mimis, and those five performances of Fanciulla.  Even
> > without a true pitched high C, she could certainly still deliver a
> > performance as late as 1970.  And of course, she always was a sell-out in
> > New York.
> >
> >
> >                                                                  L.
> >
> >
> > ------------------------------
> > *From: *"Bob Rideout" <[log in to unmask]>
> > *To: *"OPERA-L" <[log in to unmask]>
> > *Sent: *Friday, December 2, 2016 3:44:48 PM
> > *Subject: *Re: Merrill
> >
> > I am fascinated at the Renata Tebaldi comments. I have never heard
> > that she was generally undependable. I know of one instance when
> > she did not honor her commitment, and that was in 1960 when she
> > failed to show for the premiere of a new production of Simon
> > Boccanegra, Leonard Warren's last complete opera performance as
> > it turned out. Mary Curtis Verna replaced her, but she sang
> > all of her other scheduled performances of Boccanegra, Forza
> > (including the night Warren died) and Andrea Chenier.
> >
> > Her absence from late 63 to late 64 was essentially forced upon her
> > by the Met, when she and Solti confronted her serious vocal crisis
> > during rehearsals for a new production of Otello.
> >
> > I know of no other deviations from her contractual obligations, and
> > would appreciate any information that I may be missing. She cancelled
> > everything everywhere after her Mother's death, but Mothers only die
> > once, and they were extremely close. I doubt that Bing or anyone else
> > thought it anything out of the ordinary.
> >
> > Bob
> >
> > On Friday, December 2, 2016, Michael Delos <[log in to unmask]
> > <javascript:_e(%7B%7D,'cvml',[log in to unmask]);>> wrote:
> >
> > > The timeline here is a bit off.  Merrill was in Bing's good graces for
> > the
> > > DON CARLO opening - which was long before the film.  He sang Bing's 1st
> > > season up until he announced that due to contractual obligations, he
> > > couldn't do the Spring Tour in 1951 - that's when Bing decided to make
> an
> > > example of him, and what cost Merrill almost a year and a half of his
> > prime
> > > career.
> > >
> > > It's ironic that Bing later allowed Tebaldi to steamroll over him at
> > almost
> > > every turn, but her health often wasn't the best, and her mother's
> death
> > > and
> > > several years later, her own vocal problems didn't help as Bing
> struggled
> > > to
> > > hold her to her scheduled performances.  But of course, she was a
> > > guaranteed
> > > sold out house every time she appeared, and he needed her far more than
> > he
> > > needed Merrill.
> > >
> > > I don't believe Bing fired Traubel, though the poster is quite correct
> > that
> > > he found her Las Vegas and television appearances distasteful.  She
> sang
> > > the
> > > Ring and Rosenkavalier during his first season - it wasn't a holdover
> > > contract from Johnson.  I think she just probably didn't want to
> continue
> > > and saw the writing on the wall as to his lack of enthusiasm for
> Wagner.
> > > She was 52-ish at the time and it was a well timed exit, I think.
> > >
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-- 
​Always keep a roll of baling wire and another of duct tape in your car.
It's amazing how useful it can be.

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