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Subject: Re: Tebaldi Sings Callas (was Re: Tebaldi's (in)famous 1963 'Adriana')
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Wed, 16 Aug 2017 16:04:09 +0000
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I have a very different view of post 1959 Tebaldi, and I'll leave it there,
but it should be noted that she recorded Santuzza with Bjorling and
Bastianini in 1858, and it is one of her finest recordings. She is just
about perfect, vocally and though, perhaps, too ladylike in her
interpretation, she displays dramatic instincts that were to serve her
well in later roles like Gioconda.

It is a rarely mentioned recording and should be better known.

Bob

On Wed, Aug 16, 2017 at 11:49 AM Donald Levine <[log in to unmask]> wrote:

> I think some of you are missing the point entirely.  The Tebaldi Festival
> and subsequent unreleased recordings were intended as a desire for her to
> sing and record some rep she had done gloriously in the past (Wagner), some
> things she never did (Norma, Sonnambula & Nabucco) and some things that
> would have suited her admirably at this late stage in her career.  Tebaldi
> had been asked to add Santuzza (she was afraid of the Met staging - too
> many steps - she had childhood polio), Charlotte in Werther and who knows
> maybe others.  She chose to sing all of this in Italian as she was of a
> generation where the words mattered and she was too self conscious of her
> French.  I understand she did speak French and I am certain French critics
> would have been kindly towards her but she rightly knew that Anglo-Saxon
> critics (American and British) probably would have torn her Italian
> accented French to shreds).  She probably could have extended her career
> for at least a decade had she chosen to sing mezzo-soprano roles.  I am
> sure she would have been a vocally gorgeous Carmen, Charlotte and Dalila
> but with the rare exception of singers like Pia Tassinari, star soprano's
> of her generation and the one before, and especially a super-star like
> Tebaldi, did not extend their career by singing a lower tessitura.  When
> she could no longer be Tebaldi, she retired.  So, we are left with some
> beautiful Bellini and I am thankful she did.  As for the Sonnambula,
> Claudia Muzio, at the end of her career and life, left us with a tear
> laden, heart-rending Ah non credea, and I never remember hearing anyone say
> that at least that recording shouldn't have been laid down.  It is a
> treasure.
>
> Finally, as for did her personality make her ideal for "such volatile
> roles"?  I heard the Gioconda and Minnie LIVE - she was a tigress.  I am
> certain she would have been a superb Carmen, Dalila, etc.  Even good girls
> like to be slutty on occasion.
>
> Donald
>
> On Tue, Aug 15, 2017 at 8:37 PM, daaaac <[log in to unmask]> wrote:
>
> > It was my first Liebestod and I only knew “Dolce e calmo...” for years.
> >
> > Donald
> >
> > > On Aug 15, 2017, at 8:38 PM, R Stuart <[log in to unmask]> wrote:
> > >
> > > That Tebaldi Festival is a fascinating hodgepodge. I'm not as keen as
> > you on the
> > > previously unreleased bel canto excerpts, but agree that the Wagner is
> > excellent.
> > > The Carmen bits are surprisingly good (with a few classic Tebaldi
> > cackles), and the
> > > Dalila arias are really, really good - dramatic and sumptuous in the
> > lower register.
> > > The second disc, with the Bonynge-accompanied songs, is sui generis,
> > with lots of
> > > Tebaldi's honey on sugar middle range.
> > >
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