LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Tebaldi's (in)famous 1963 'Adriana'
From: William Fiorelli <[log in to unmask]>
Reply-To:William Fiorelli <[log in to unmask]>
Date:Mon, 7 Aug 2017 23:10:18 +0000
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (162 lines)


Apparently the broadcast was better than most performances.  Hints of vocal trouble can be heard in the San Carlo FEDORA  (1961) recording of FEDORA.  Contrary to popular belief Tebaldi did not return to Italy but remained in New York. BILL



On Monday, August 7, 2017, 5:18:22 PM EDT, Don <[log in to unmask]> wrote:

I recorded the broadcast of Adriana with Tebaldi and Corelli and I still
listen to it as one of the most exciting performances I have ever heard.  I
cannot imagine we were listening to the same performances.  Those two
together were amazing.

On Mon, Aug 7, 2017 at 3:04 PM, Bob Rideout <[log in to unmask]> wrote:

> I'll be sort of brief, mainly because Tebaldi fans aren't going to like
> what I have to say.
>
> I was at the premiere, in a Grand Tier seat, surrounded by a sea of
> Tebaldi lovers. She was dreadful, from beginning to end, forced tone,
> unremittingly louder than she should have been  and out of tune on
> virtually every note above the staff. She received a very muted response
> from an audience that seemed stunned. The one thing you said that
> I agree with is that the Mimi return a year later sounded no different.
> On that occasion, the man standing next to me, whose name I will
> not divulge but who is a frequent guest on the Opera Quiz, turned to
> me after Act 1 and asked "Does she sound any different to you?"
> "No" said I. "Not to me, either", said he.
>
> But, I will say what I have said for fifty years, she did not need me.
> She was the most loved singer I ever saw, and that Mimi return,
> on 14 March 1964, was the most moving demonstration of
> affection I have ever seen.
>
> Bob
>
> On Mon, Aug 7, 2017 at 4:35 PM David Kubiak <[log in to unmask]> wrote:
>
> > A story firmly entrenched in the operatic annals and well-known to any
> > serious opera fan is Tebaldi's famously badgering Mr. Bing into mounting
> > 'Adriana Lecouvreur' for her in 1963, her appearing in dreadful voice,
> > withdrawing from the production, and then leaving the stage entirely for
> a
> > year to recover.  I remember myself my distress at reading the NY critics
> > at
> > the time, and even her former press manager Lanfranco Rasponi calls the
> > incident 'a debacle', and says that 'her voice was simply in terrible
> > shape.'  That would be bad enough, but iconic artists are not known for
> > saying negative things about themselves, and Tebaldi is quoted looking
> back
> > at the period from late 1962 into 1963, 'The voice simply became heavier
> > and
> > heavier, until there was no more voice.'
> >
> > Needless to say, as a lover of Tebaldi's voice second only to Walter
> > Guitan,
> > I have always been curious about exactly what she sounded like in '63.
> The
> > Met  finally made that possible by releasing the performance of 2/9,
> which
> > I
> > listened to yesterday on Sirius.  Simply put, I am at an utter loss to
> > harmonize what I was hearing with what has been said all these years.
> Her
> > middle voice was completely intact and flowed with all the velvet beauty
> > that made her sound unique.  As to the top, there was one occasion in Act
> > II
> > where she actually pulled off one of her famous high pianissimi (the text
> > was 'la promessa [something]'); otherwise the notes above the staff were
> > indeed very loud, but completely solid and in tune. She had some trouble
> > with the releases, but no worse than Milanov did her whole career.  The
> > duets with Corelli I thought magnificent; there was exactly one note in
> > 'Poveri fiori' that did strike me as frayed, but that was it.  The
> audience
> > was most enthusiastic.  In short, she sounded to me more or less exactly
> as
> > she did in her return as Mimi the next year, which the Met broadcast not
> > long ago -- it's unclear to me what Ugo de Caro did for her.  To my ears
> > the
> > real change in her sound did not come until she decided to take up
> > 'Gioconda'.
> >
> > (One thing that must be said, even by her detractors, is that to her last
> > recital, she never, ever, wobbled, which is the single biggest factor in
> > largely keeping me out of the opera house today.  Whether it's the German
> > wing (Stemme) or the Italian (Meade), audiences have become used to a
> > tremolo in soprano voices that I cannot abide.)
> >
> > It may be that Tebaldi really did suffer a collapse at a later
> performance,
> > but the one I heard in no way corresponded to the melodramatic prose that
> > has been lavished on this incident.  I would be interested if there are
> any
> > others of us 'of a certain age' who might be able to contribute their
> > insight.
> >
> > Thanks.
> >
> > David Kubiak
> >
> > **********************************************
> > OPERA-L on Facebook:
> > http://www.facebook.com/groups/25703098721/
> > ------------------------------------------------------------
> --------------
> > To UNSUBSCRIBE, send a message to [log in to unmask]
> > containing only the words:  SIGNOFF OPERA-L
> > ------------------------------------------------------------
> --------------
> > To stay subscribed but TURN OFF mail, send a message to
> > [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> > ------------------------------------------------------------
> --------------
> > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > ------------------------------------------------------------
> --------------
> >
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>



-- 
​Always keep a roll of baling wire and another of duct tape in your car.
It's amazing how useful it can be.

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager