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Subject: Re: Selva opaca and a favorite Tebaldi recital
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Tue, 21 Mar 2017 18:59:00 +0000
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But Régine Crespin's voice  did not have flexibility , and she never could modulate on top  that's why she could sing little italian opera and the only time she attempted to sing Aída , in Mexico city 1962, she had major problems and she had to drop the role after the debut. There is the audio in youtube of Crespin Aida with Vickers and I am not talking only about the C in "O patria mia",  but she cracks continually in "La tra foreste vergine" , the notes are cut off.
Tebaldi in the period 1947/1957 was very ductile, the voice was large but ductile, she modulated on top, she did "smorzatura" with perfection and the voice had infinite dynamic range. Since 1958/59  she was a bit less ductile  but the lot of dynamics remained always
About the top, what Tebaldi high notes are is her high notes are "spinto da sotto" , attacked from below  and then she centers the note and of course uses head resonance , but the notes are spinto da sotto,  Dimitrova does the same,  Flagstad too, or any dramatic or real spinto soprano.Joan Sutherland 's high notes also are attacked from chest  and are massive and colorful  like TebaldiI would say Nilsson uses a different way to sing high notes, first she saves middle, and she prepares the high note and the attack is straight from head , in staccato.
Caballé in the period 1965/1970 or around also sang like a spinto soprano,  but after 1972 or around she started sing high notes like a coloratura soprano, if you listen her recordings after 1972  her high notes are clear in color and like a coloratura
Callas has no soprano spinto high notes , she never could have the color Tebaldi has on top,  Callas high notes are completely from head voice , like a coloratura
Difference between Tebaldi and Nilsson  is Nilsson high notes are more focused,  Tebaldi high notes a bit less focused but a bit wider,  but both ladies share one characteristic, their voices does not lose qualilty  when they sing a ff , fortissimo high note
W.G. 


      De: Donald Levine <[log in to unmask]>
 Para: [log in to unmask] 
 Enviado: Martes, 21 de marzo, 2017 13:25:56
 Asunto: Re: Selva opaca and a favorite Tebaldi recital
   
This is precisely what Regine Crespin did, another gorgeous natural voice
of immense, Niagara like volume.  I believe if you listen to Zinka Milanov
throughout her career, she also carried the weight on high early and well
into her mid career but upon her return to the Met in the 1950's, had
slimmed down the voice and was far more careful of this, thus lengthening
her career.

Donald

On Tue, Mar 21, 2017 at 8:54 AM, David Kubiak <[log in to unmask]> wrote:

> I think it was Conrad Osborne who said that he thought WW II disrupted the
> complete technical training of many singers in Tebaldi's generation, so
> they
> sang mostly on natural endowment and instinct until their youth ran out.
> Tebaldi's case is particularly interesting, since one of the things that
> made her so extraordinary -- her taking the natural weight of the voice as
> high as her wall-shaking B flats, is what eventually got her into trouble.
> ( I also have a recollection of reading about Bergonzi warning his students
> about this issue without ever mentioning his friend's name, but making it
> pretty clear who he was talking about.)
>
> David Kubiak
>
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