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Subject: Re: Fwd:Tebaldi
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Sat, 3 Dec 2016 09:59:40 -0500
Content-Type:text/plain
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A  Met broadcast that I still remember for the displeasure I experienced at the time was

a Traviata with de los Angeles, Campora and Merrill.  She sounded like she had had too

many cups of java that morning and Cleva gave her rapid tempos especially so for the

Sempre Libera so as to help her as much as possible.  She could not settle down.

Campora was not much better.  When Merrill started in I breathed a sigh of relief.

His rich and beautiful voice saved the performance. 


Angelo from Boston

> 
>     On December 3, 2016 at 8:58 AM tom ponti <[log in to unmask]> wrote:
> 
>     Probably the most dreadful performances I ever heard on a Met broadcast was Renata's first act aria in Adriana. Another was Corelli in act one of Boheme, late in his career and Scotto in act one of Butterfly, though I heard that she got better after act one. All great singers have bad days and the older they get, the bad days become more common.
> 
>     ________________________________
>     From: Discussion of opera and related issues <[log in to unmask]> on behalf of Bob Rideout <[log in to unmask]>
>     Sent: Saturday, December 03, 2016 7:51 AM
>     To: [log in to unmask]
>     Subject: [OPERA-L] Fwd:Tebaldi
> 
>     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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