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Subject: Re: Selva opaca and a favorite Tebaldi recital
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Tue, 21 Mar 2017 13:01:53 -0700
Content-Type:text/plain
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Not to mention, Melis was the teacher of Adriana Maliponte, another very
gifted soprano who had no problems with the top of her voice.  Some voices
just don't have the easy top or at least, lose it rather early.  The
greatest teacher in the world can't guarantee anything.  I think Tebaldi
was probably very well schooled.  The voice retained its even scale until
the end and never became tremulous.  The only real problems were the top
and lack of true agility.

Donald

On Tue, Mar 21, 2017 at 10:37 AM, Bob Rideout <[log in to unmask]> wrote:

> Begging your pardon, Carmen Melis was a very gifted singer, who had
> a hugely important career in Europe, South America and the United
> States.
>
> She was particularly admired as Minnie in "Fanciulla" which she sang at
> Paris in 1912 with Caruso and Ruffo. She toured extensively with the
> Boston Opera compny as Minnie, as well as in South America, Monte
> Carlo with Martinelli, and several important Italian theaters.
>
> She has a very highly regarded recording of Tosca, with the superb
> Apollo Granforte, and something approaching fifty singles.
>
> Bob
>
> On Tue, 21 Mar 2017 12:58:19 -0400, Patrick Byrne <[log in to unmask]>
> wrote:
>
> >Tebaldi's teacher was not a particularly gifted singer if I remember
> >correctly. I understand Serafin told Tebaldi she should add Norma to her
> >repetoire, but she never did. I heard a recording once of her doing Casta
> Diva.  It
> >was not as bad I had supposed, but, of course, there was no "ah bel a me
> >ritorna". She managed to skirt the terrors of "Sempre libera" early on. I
> >think  she could have managed Norma very early in the career.
> >
> >Patrick Byrne
> >
> >
> >In a message dated 3/21/2017 10:54:59 A.M. Central Daylight Time,
> >[log in to unmask] writes:
> >
> >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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