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: Louis Perraud <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Tue, 8 Aug 2017 12:43:40 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (205 lines)


I was lucky enough to be there for Renata's 1964 return.  The applause was thrilling for me, too--I had just turned 18, and this was my first time in standing room. The only operas I had seen live before that were a Milanov Gioconda and a 1962(?) Sonnambula with Sutherland and Gedda.  When LA Stupenda advanced to the footlights, kicked off her slippers (metaphorically) and launched into `Ah, non giuinge,' I almost lost my mind.
What a pleasure it is to remember those days!

Louis Perraud 




(/)

> That was her return as Mimi in 1964, and hearing it again brought the
> same goosebumps that I felt as it happened, so very long ago.
> 
> A moment for the ages! And to think that there are those who rant
> against breaking music for applause. They miss so much!
> 
> In any case, daaac, thanks for the memory. They don't make them
> like that anymore.
> 
> Bob
> 
> On Mon, Aug 7, 2017 at 5:32 PM daaaac <[log in to unmask]> wrote:
> 
> > Her return was on a broadcast.  Here’s her entrance:
> >
> > http://www.collup.com/19640314mimientrance.mp3 <
> > http://www.collup.com/19640314mimientrance.mp3>
> >
> > Donald
> > > On Aug 7, 2017, at 5:17 PM, Michael McPherson <[log in to unmask]>
> > wrote:
> > >
> > > David,
> > >
> > > I was there at the 1/21/1963 performance of Adriana. Renata Tebaldi had
> > been absent from the Met and this was her return in a production that
> > apparently no one wanted to put on except Tebaldi. Now I will bow to no one
> > — including you and Walter Guitan — in my love for Tebaldi and her gorgeous
> > voice — and I attended that performance, in the orchestra standing room —
> > with great anticipation. She received great applause when she appeared in
> > the first act and then began that beautiful aria. But when she finished and
> > the conductor, Silvio Varviso, put down the baton waiting for the applause,
> > there was none. I and the rest of the house was in shock. What had happened
> > to her voice? The rest of the performance was also sub-par — except for
> > Corelli who was sensational.
> > > I believe Tebaldi sang 5 performances and then left the country — and I
> > presume one of these performances was the one you heard when apparently she
> > was better. Tebaldi was also scheduled to appear in a new production of
> > Otello but cancelled. Albanese and some others filled in for the remaining
> > Adrianas but the best performance of Adriana that year was by Mary Curtis
> > Verna at the last performance of the season.
> > > But I am reminded of a review Tebaldi received in the NY Times. It said
> > when Tebaldi is in good voice, no soprano in the world can touch her. Just
> > not that night ….
> > >
> > > Michael
> > >
> > > Michael J. McPherson
> > > [log in to unmask]
> > >
> > >
> > >
> > >
> > >> On 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
> > >
> > --------------------------------------------------------------------------
> >
> >
> > **********************************************
> > 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
> --------------------------------------------------------------------------

**********************************************
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