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Subject: Re: Tebaldi's (in)famous 1963 'Adriana'
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Mon, 14 Aug 2017 11:39:00 -0500
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I have heard a recording of Tebaldi's Casta Diva", a pleasant surprise. 

Patrick Byrne

Sent from my iPhone

> On Aug 14, 2017, at 11:18 AM, David Kubiak <[log in to unmask]> wrote:
> 
> Bob's remark here reminds me that in recently looking at Tebaldi's
> performance history I was struck by how much of a Met 'trooper' she became,
> going on those long Spring tours and singing week after week in many
> American cities where the theater conditions must have been terrible.  There
> is no way you could induce a star of her magnitude to do this today. 
> 
> We are accustomed to thinking of 1964 to the end as a kind of "second half"
> of Tebaldi's career, whereas she already made a significant change around
> the time of her Met debut in 1955.  She had been singing for ten years by
> then (which we often forget when judging the condition of her voice), and
> this first period was full of all sorts of repertoire, including the Mozart
> 'Requiem'!  Then in the mid-50's there is a drastic reduction in repertoire
> to verismo and a few Verdi parts, with her giving up 'Traviata', 'Aida', and
> then 'Forza' one by one.  (She must have been especially attached to
> Violetta, having sung practically nothing else the last year she did it,
> 1957.  Sirius broadcast the Met 'Traviata' of that year and I thought it
> still very impressive.  Even the 'Sempre libera', from the start of her
> career transposed, of course, was not nearly as labored as I expected, the
> descending chromatic scales actually quite good for her.)  
> 
> One other observation.  It always surprises me when I see how often she
> talked about Serafin trying to induce her to learn 'Norma'.  She was smart
> enough not to invite comparisons with Callas, but one never has the sense
> that she appreciated what a major disaster it would have been.  No only
> would the florid singing with flying C's have been vocally impossible for
> her, but the opera works completely against her artistic temperament. 
> Serafin could make her a great 'Aida', but never 'Norma'.  
> 
> David Kubiak
> 
> ______________
>> Renata Tebaldi was no stranger to
>> second casts, but no one at the Met was. Not even
>> Maria Callas!
> 
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