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Subject: Re: Tebaldi
From: MD <[log in to unmask]>
Reply-To:MD <[log in to unmask]>
Date:Wed, 22 Mar 2017 13:22:11 -0400

text/plain (56 lines)

Couldn't agree more on the 1953 FORZA from Florence showcasing Tebaldi at
her zenith.  Everything was working: the top, the thrilling heft of the
voice, the stamina - she even seemed to revel in the Mitropoulos tempi,
which were extremely broad in the "Vergine degli'Angeli" and the final trio.
it's difficult to imagine a better Alvaro or Guardiano, so she was very
fortunate there as well. One of the indispensable "live" recordings.

On Wed, 22 Mar 2017 01:39:38 -0400, Les Mitnick <[log in to unmask]> wrote:

>This is my last "jump into the boiling oil" on the subject of the legendary 
>Tebaldi.  I was weaned on her growing up in the 1950s and my dad had a 
>lot of her recordings, along with those of Callas.  I became used to their 
>voices pretty early on.  I loved both of the voices, as well as Milanov's, who 
>was another family favorite.
>    As I got older and kept studying music, I realized that all three of them 
>had certain "imperfections" that made them human.  Leaving Callas and 
>Milanov off to the side, I'm the first to acknowledge that Tebaldi had a 
>gorgeous vocal endowment that was destined to recede in the extreme 
>uppermost notes.  But the rest of the voice remained pretty much the 
>same lush sounding soprano.  The going started getting rough in the early 
>1960s, but then there were still some fabulous moments and performances.
>Her 1966 Chenier Met broadcast with Corelli was mind blowing, and her 
>1968 commercial recording of La Wally found her in outstanding Indian 
>Summer condition, with a robust and amazingly full lower chest register.
>    To me, the most opulent and exquisite Tebaldi performance is on the 
>1953 live "Forza" under Mitropoulos.  I never heard her sound as fabulous 
>as she does on this performance.  I've yet to hear her singing on this 
>particular recording surpassed by anyone else who has undertaken this role.
>On the basis of this recording alone, she deserves a place in the annals of 
>great operatic singing.
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