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Subject: Re: Selva opaca and a favorite Tebaldi recital
From: "Takis Pavl." <[log in to unmask]>
Reply-To:Takis Pavl.
Date:Tue, 21 Mar 2017 17:40:36 +0000
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I also lament that these Guglielmo Tell performances with Tebaldi in the 50s were not recorded. We have few or no recordings of the early Tebaldi operas the Americans were not interested in when she left Italy (Olympia, Nozze, Don Giovanni, Assedio, Fernando Cortez etc). Decca could/should also have made a separate recital featuring arias from these works but I guess they were thinking of money. When you can sell Bohemes and Aidas with Tebaldi like hot cakes why bother with Fernando Cortez? Note that in she did include some of these pieces in her recitals but most of these were not recorded. 

Back to Tell, reviews were wonderful and Tebaldi performed the hit scena "Selva opaca" several times in her career even as late as 1960 at Carnegie Hall with L. Bernstein. Regarding the cuts, I'm sure there were plenty as was customary in those years. The recorded G. Tell with Cerquetti gives us an idea of the version they probably used for Tebaldi as well. Don't blame Tebaldi for it, that is what was happening back then (Callas didn't usually sing da capos either, nor did she ornament them as much as Bartoli...so what?). 

Les suggests Corelli and Callas as an ideal pairing. For his tastes maybe, but Corelli was hardly a Rossini purist if that's what we're so obsessed about. Callas was superb in Rossini and would have sung any fast notes outstandingly but there are reasons why richer, more lyrical voices are chosen for Matilde: Tebaldi, Ponselle, Dessi, Vaness, Freni, Caballe, Millo etc. The vocal personality of Matilde requires this type of voice which Callas just didn't have. Matilde is no Armida or Rosina just like Aida isn't Lady Macbeth.   Takis


   

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