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Subject: Re: Tosca in general
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Wed, 21 Jun 2017 01:58:59 +0000
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 Tebaldi has like a dozen of Tosca "live" recordings from 1953 to 1961 It is true that all Tebaldi Cs in Tosca 3rd act are beyond spectacular in the '50s and until 1961 as well and even until 1964/65,  because her voice does not loose quality and beauty in the C in fortissimo in a voice with power of hers but without being strident, here is a sample of a december 1964 Tosca in Philadelphia , this is Tebaldi past her prime, however the C is splendorous in beauty  https://youtu.be/xp6eFkuAghs

That interview Max relates is an interview in La Rai in 1995 , Magda Olivero interviews Renata Tebaldi , the complete interview lasts more than two hours (I have it) , in youtube is abridged in only 1 hour. Olivero makes one of the best interviews to Tebaldi, Olivero asks her about all the roles they shared together in repertory (Adriana, Boheme, Fedora, Butterfly, La Wally, Manon Lescaut, Tosca and Mefistofele and Traviata).When they share opinions about Tosca,  Olivero says Tosca was the last Puccini role she debuted because at first she did not like much the character, and Tebaldi says Tosca gave her many satisfactions in her career and when they start to talk about the vocal dificulties of the role  Olivero  says the major vocal risks are  in the torture scene in the 3rd C when Tosca sings "ah piu non posso...ah che orrore....AHHHH! on the third C, and Tebaldi says those notes in the torture are hitted improvised and are bad for the voice,  and then Tebaldi adds that the C on third act (io quella lama....) "é un salto nell buio, un salto spaventoso" (a frightening jump in the darkness) and she says that the difference of a high note in Verdi and in Puccini  is that in Verdi there is an ascending scale that takes the voice to the note,  instead in Puccini the note comes suddendly , she says "TA TA TA !" that is not good for the voiceThen in other part of the interview Olivero praises Tebaldi 1958 Naples La forza del destino video and Olivero says when she started studying her teacher told her please never to touch Verdi because she said her voice lacked the color and the power for Verdi,  she says  from Verdi she could only sing Gilda and Nanetta and she sang Traviata too and many times. Olivero says once she was offered to sing "Otello" and she replied "Tebaldi sings this opera with that voice that God gave her, and I do not feel capable of putting myself to her height in this opera"
Then Olivero says her three personal favorites roles were Adriana, Fanciulla del west and Iris  and she says that the most act in Fanciulla del west is not the 2nd act, she says the most difficult one if the act 1st
W.G. 

      De: Maxwell Paley <[log in to unmask]>
 Para: [log in to unmask] 
 Enviado: Lunes, 19 de junio, 2017 16:31:04
 Asunto: Re: Tosca in general
   
Tebaldi's C on that particular passage was almost always spectacular, even later on. It's funny because she spoke in an interview about being terrified by it: "Come saltare nel vuoto, non si sa cosa succede." (Like jumping into a hole - you don't know what's going to happen). But it usually came out great, maybe because there was no time to get nervous about it, in contrast to Aida's "O patria mia" C that allows lots of time for tension buildup.

Rysanek also spoke in an interview about much preferring high Cs that are attacked in sudden leaps "like Tosca's" rather than the kind approached stepwise "like Aida's" of the kind that "Leontyne Price likes."

Some time ago I heard Georgine Lukacz make a terrible mess of the Act 2 Cs but then pop out a beautiful note in Act 3. Dorothy Kirsten once said that she thought it was almost impossible to fail on that Act 3 C because (differing with Tebaldi on this) "Puccini builds it so beautifully."

Max Paley



Sent from my iPhone

> On Jun 19, 2017, at 11:35, David Kubiak <[log in to unmask]> wrote:
> 
> Worth saying that in her prime Tebaldi's C on the 'lama' was beyond
> spectacular.  There is a 1953 (her golden year) 'Tosca' with Bergonzi on
> YouTube that proves the point.
> 
> David Kubiak
> 
> 
> On Sun, 18 Jun 2017 17:54:56 -0400, Jon Goldberg <[log in to unmask]> wrote:
> 
> 
>> We, of course, all agree on the iconic "lama" C in Act 3, which is
> certainly one of the great 
>> exposed high C's of all times. Also, the dramatic nature of that whole
> phrase is 
>> unforgettable, where that high C leads to the C two octaves below on "cor"
> - it's just a 
>> simple arpeggio passage downward, but oh, so chilling. Especially when the
> soprano mixes 
>> some gutsy chest voice into the "cor."
> 
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