The great Renata Tebaldi. She will always have a special place in the history of opera. A voice of extraordinary beauty and expressing emotion straight from the heart . Always noble , always expressive.
I'm a total Callas fanatic, but I must admit that Renata Tebaldi, heard here in her early prime, produces tone that emerges like pitchers of cream. God--- what a gorgeous voice she had --- and such magnificent phrasing. Callas' supremacy certainly doesn't make Tebaldi any less magnificent than she was. I've always loved and admired her.
@@beetleluvr That's sheer nonsense. Both were totally different and dominated different repertoires. Tebaldi never could sing Norma, Medea, Armida, La Sonnambula, I Puritani, Il Pirata, Lucia di Lammermoor, Anna Bolena, Poliuto, Lady Macbeth, Abigaille in Nabucco, Constanza in Mozart's "Die Entruhrung", Fidelio, Callas had a demonic genius in infusing her roles with venom, passion, and pure musicianship. She also possessed a three octave range and a fabulous coloratura technique. She was certainly able to sing Tebaldi's repertoire, but Tebaldi could never have sung the repertoire of Callas. No one could at the time.
@@Zva26 non capisco perché voi callasiani dovete sempre dire che la Callas era migliore della Tebaldi sotto ogni suo video... Chi vi ha chiesto niente... Avete paura... Siete patetici...
The lyric spinto period of Tebaldi‘s career was, IMO, the most satisfying & lasted until the beginning of the 1960s. After a year or so where she overcame some serious vocal difficulties Tebaldi reappeared as primarily a full spinto soprano, with some dramatic roles, the results of which were for the most part successful. When she tried out Mimi from her lyric period it was not like it had been but TOSCA, GIOCONDA, MARGUERITE (MEFISTOFELE), even DESDEMONA & MADDALENA (ANDREA CHENIER) were well received while MINNIE & AMELIA (UN BALLO IN MASCHERA) somewhat less so. I still cherish moments in her late career, especially a Live MEFISTOFELE from 1966, but what is heard in these selections is the Tebaldi I most fondly remember.
Una voce così non c'è mai stata e mai ci sarà. Renata è unica, ineguagliabile. Adoro la Callas, le sue interpretazioni, i suoi acuti vertiginosi, ma alcune l'hanno eguagliata, come la Sutherland, ma la voce di velluto della Tebaldi è ineguagliabile. Fa incaponire la pelle. Poi la sua tecnica, il suo portamento, la sua pronuncia.....mai una rivale. Si, la Caballe', che tutto ha cantato nella lirica, egregiamente, ma non al suo livello.
Phrasing, diction, pathos and a voice like no other in its absolute prime. It's hard to believe such glorious singing was ever possible. Everything you ever wished for in this repertoire.
@@brumgab too much passion I guess. She rarely used these glottal attacks but here we have two together. lol. Caballe also used them a lot especially in her early years.
We have us also to prepare for the celebration of the CENTENARIO di nata di Renata Tebaldi, coming soon on the 1 February 2022. We are remembering her as la voce di un angelo per sempre. We are also thankful to UA-cam and to those opera lirica enthusiasts they post so wonderful videos about the stupenda, imensa Renata with her beautiful voice, breathtaking! Renata nostra, You could recognize in the Heaven that we are enjoying further listening each one of your legendary performances, and we will never forget you, what you have been giving us permanently in the past, today, and in the future, as long as we are alive!
I find it disheartening that people with preferences must denigrate all others. I am a Callas devotee. For me she reigns supreme above all. BUT, in all honesty just because I prefer Callas does not mean that I can not appreciate and admire others. Tebladi was great also in her distinctive way.
Yes, she was a Spinto, a true Spinto. No, she did not have a magnificent technique, which is what got her into so much trouble often. Her phrasing is unmatched. The colors in that stunning sound are what are magnificent. Above the staff there were often big problems. This recital, however, so early, is a dream. Thank you.
Nonsense , and garbage what Josehcollins6033 wrote, Tebaldi voice was all perfect, througout the whole range , the same color, the same core from top to bottom.Just Tebaldi's art is based in the ability to sing from middle C to top C without changing the quality of her voice. Tebaldi voice does not change on top Tebaldi voice does not loses quality in high notes in full voice , the timbre never gets impoverish, never a pp is opaque, her vibrato is so perfect so unwavering that she simply has no irregular vibrations in the high notes, her A natural, Bflat, B and C are "granitic" huge and full of color. Callas's high notes are defective, wavering vibrato, irregular vibrations, clear in color. and strident .Caballe high notes in full voice are claer in color and strident and not beautiful
Brava Viviana, la Tebaldi fu assieme a Rosa Ponselle ed a Maria Callas una soprano di tutto rispetto del secolo scorso. Tre incantevoli voci simili ma non uguali.Purtroppo le registrazioni di 80-90 anni fa non rendono giustixia alle loro voci.
People should read about her ”angelic voice” and how this story came up. It wasn’t because her timbre was angelic (even if it was maybe) but how the conductor wanted her in that recording. More like ”coming from above”.
Tebaldi stated that as they were doing rehearsals of the Verdi Requiem for the reopening of the Scalla in 1946 she was sitting among the sopranos of the choir and Toscanini called "ma fatemi venire quella voce d'angelo".
Tebaldi made her American debut in San Francisco with Aida in 1950. Merola, the conductor of this recital, ran the San Francisco Opera so it is safe to assume this was some sort of program performed in San Francisco, possibly a radio concert (they did them so waell in those days). Isn't it wonderful!
This is great singing. Her florid technique isn't quite ideal for bits of the Mefistofele. But other than that, this is the ideal voice for this rep. It's also striking how aggressively she digs into her chest register here, including in the Willow Song and even the Ave Maria. Her Desdemona here is no shrinking violet.
Perfect control! Great vocal production, the only tiny thing is that due to youth probably she makes some not really desirable switches to the chest register, which she obviously doesn't feel comfortable doing.
Ese agudo terminado en un pianísimo interminable es un milagro. De hecho toda el aria de Mefistofele es un milagro de dicción, técnica, belleza de voz, homogeneidad de los registros, dramatismo... ¡y sólo con 28 años! Era una única.
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![[UA] Team Vitality проти NAVI | IEM Cologne 2024](http://i.ytimg.com/vi/wttO1zVRTC0/mqdefault.jpg)
The great Renata Tebaldi. She will always have a special place in the history of opera. A voice of extraordinary beauty and expressing emotion straight from the heart . Always noble , always expressive.
divina .
DIVINA!!!
AMAZINNG THE MOST BEAUTIFUL VOICE IN THE WORLD.
I'm a total Callas fanatic, but I must admit that Renata Tebaldi, heard here in her early prime, produces tone that emerges like pitchers of cream. God--- what a gorgeous voice she had --- and such magnificent phrasing. Callas' supremacy certainly doesn't make Tebaldi any less magnificent than she was. I've always loved and admired her.
NOTHING about Callas was supreme over Renata!
@@beetleluvr That's sheer nonsense. Both were totally different and dominated different repertoires. Tebaldi never could sing Norma, Medea, Armida, La Sonnambula, I Puritani, Il Pirata, Lucia di Lammermoor, Anna Bolena, Poliuto, Lady Macbeth, Abigaille in Nabucco, Constanza in Mozart's "Die Entruhrung", Fidelio, Callas had a demonic genius in infusing her roles with venom, passion, and pure musicianship. She also possessed a three octave range and a fabulous coloratura technique. She was certainly able to sing Tebaldi's repertoire, but Tebaldi could never have sung the repertoire of Callas. No one could at the time.
@@Zva26 non capisco perché voi callasiani dovete sempre dire che la Callas era migliore della Tebaldi sotto ogni suo video... Chi vi ha chiesto niente... Avete paura... Siete patetici...
Funny how Callas fans are so obsessed with supremacy...
Why does liking one have to exclude liking others jesus on a wheelchair
Extraordinaire, merveilleuse Renata Tebaldi, voix unique, splendide, inégalable, la plus grande soprano lyrico-spinto du monde.
Not only does Tebaldi sing with an astounding control, but this orchestra is blowing my mind
Divina .
EN LAS CINCO ESCENAS QUE ABORDÓ RENATA TEBALDI EN ESTAS GRABACIONES, SERÁ DIFICILÍSIMO PODER IGUALARLA, ES INSUPERABLE !!!!!!!
Stupenda
There are some lovely voices today,but nobody comes near this woman.A huge voice that is also able to float the most exquisite pianissimos👏👏👏
Well it is not just the voice, that is impressive. L'accento and phrasing were outstanding.
Wow! Tebaldi at her best! Brava ❤️😍
Just... I have no words. Tebaldi... beautiful
mediocre
So beautiful!
The lyric spinto period of Tebaldi‘s career was, IMO, the most satisfying & lasted until the beginning of the 1960s. After a year or so where she overcame some serious vocal difficulties Tebaldi reappeared as primarily a full spinto soprano, with some dramatic roles, the results of which were for the most part successful. When she tried out Mimi from her lyric period it was not like it had been but TOSCA, GIOCONDA, MARGUERITE (MEFISTOFELE), even DESDEMONA & MADDALENA (ANDREA CHENIER) were well received while MINNIE & AMELIA (UN BALLO IN MASCHERA) somewhat less so. I still cherish moments in her late career, especially a Live MEFISTOFELE from 1966, but what is heard in these selections is the Tebaldi I most fondly remember.
Una voce così non c'è mai stata e mai ci sarà. Renata è unica, ineguagliabile. Adoro la Callas, le sue interpretazioni, i suoi acuti vertiginosi, ma alcune l'hanno eguagliata, come la Sutherland, ma la voce di velluto della Tebaldi è ineguagliabile. Fa incaponire la pelle. Poi la sua tecnica, il suo portamento, la sua pronuncia.....mai una rivale. Si, la Caballe', che tutto ha cantato nella lirica, egregiamente, ma non al suo livello.
Belleza sin fin... Maravilloso recital de RenataTebaldi.!!
Phrasing, diction, pathos and a voice like no other in its absolute prime. It's hard to believe such glorious singing was ever possible. Everything you ever wished for in this repertoire.
I agree. Could you please explain me what is this strange sound she makes in the low notes in the end of L'altra notte and La mamma morta?
@@brumgab too much passion I guess. She rarely used these glottal attacks but here we have two together. lol. Caballe also used them a lot especially in her early years.
@@Orfeus80 I think that Leyla Gencer also did that a lot. I find it really strange
@@brumgab not my cup of tea either but they were in fashion for many decades. Much less so these days.
It’s called “chest.” And “Italianità.” And it’s wonderful.
BRAVA Renata!!! The la mamma morta was simply breathtaking. That high B, the phrasing, the passion! Singers today are no where near this level
👏👏👏❤
LA VOZ MÁS BELLA DEL SIGLO XX.
Truly superb here!
quelle émotion, j'avais un disque vinyle de Tebaldi lorsque j'étais encore enfant, il y a presque 50 ans , je l'ai tellement écouté qu'il craquait
TEBALDI: La voz que trasmite amor.
Beautiful!
Celestiale Divinità!
La voce d'angelo, quella di RENATA TEBALDI, è immortale!❤
Very nice
Gracias por compartir este bello performance, la voce d'angelo, maravillosa, maravillosa, maravillosa...
We have us also to prepare for the celebration of the CENTENARIO di nata di Renata Tebaldi, coming soon on the 1 February 2022. We
are remembering her as la voce di un angelo per sempre. We are also thankful to UA-cam and to those opera lirica enthusiasts they post so wonderful videos about the stupenda, imensa Renata with her beautiful voice, breathtaking! Renata nostra, You could recognize in the Heaven that we are enjoying further listening each one of your legendary performances, and we will never forget you, what you have been giving us permanently in the past, today, and in the future, as long as we are alive!
Maravillosa como siempre . Una voz de Ängel.!!!
Meravigliosa ❤
And what do 28 year old sopranos sound like today? Listen to Callas in 1950 and ask the same question. (And if memory serves she was a year younger!)
Marvelous, absolutely marvelous ... thank you M
Incredible. The most beautiful voice in my opinion
Astonishing thank you! It has taken me many years to learn to love Tebaldi. All my own silly fault!
I find it disheartening that people with preferences must denigrate all others. I am a Callas devotee. For me she reigns supreme above all. BUT, in all honesty just because I prefer Callas does not mean that I can not appreciate and admire others. Tebladi was great also in her distinctive way.
la migliore, l unica la magnifica...un angelo
This is phenomenal. Many thanks for uplaoding.
Для меня она лучшая! Спасибо, Рената , за волшебное искусство!
С любовью из Москвы.🎇
pazzescamente bella!!!!!
That gear shift at 9:13 - woah!!!
Hahaha an interesting embellishment
#RenataTebaldi100 🌹🌹🌹 Happy Birthday! 💐💐💐
RENATA TEBALDI: La voz que trasmite AMOR...
Очень нравится спасибо
This recital is gold, all these are Tebaldi's signature arias-in my opinion-, performed exceptionally well here. I'm just blown away by the beauty.
Yes, she was a Spinto, a true Spinto. No, she did not have a magnificent technique, which is what got her into so much trouble often. Her phrasing is unmatched. The colors in that stunning sound are what are magnificent. Above the staff there were often big problems. This recital, however, so early, is a dream. Thank you.
Nonsense , and garbage what Josehcollins6033 wrote, Tebaldi voice was all perfect, througout the whole range , the same color, the same core from top to bottom.Just Tebaldi's art is based in the ability to sing from middle C to top C without changing the quality of her voice. Tebaldi voice does not change on top Tebaldi voice does not loses quality in high notes in full voice , the timbre never gets impoverish, never a pp is opaque, her vibrato is so perfect so unwavering that she simply has no irregular vibrations in the high notes, her A natural, Bflat, B and C are "granitic" huge and full of color. Callas's high notes are defective, wavering vibrato, irregular vibrations, clear in color. and strident .Caballe high notes in full voice are claer in color and strident and not beautiful
Действительно, ангельский голос!!!
Belleza pura
A voice like a torrent of glowing, molten gold. A force of nature. ❤
Renata Tebaldi a gloria di Dio, creatura che ne mostra la grandezza
Niente di simile
Brava Viviana, la Tebaldi fu assieme a Rosa Ponselle ed a Maria Callas una soprano di tutto rispetto del secolo scorso. Tre incantevoli voci simili ma non uguali.Purtroppo le registrazioni di 80-90 anni fa non rendono giustixia alle loro voci.
Magnifica, soberbia e incomparable
People should read about her ”angelic voice” and how this story came up. It wasn’t because her timbre was angelic (even if it was maybe) but how the conductor wanted her in that recording.
More like ”coming from above”.
Tebaldi stated that as they were doing rehearsals of the Verdi Requiem for the reopening of the Scalla in 1946 she was sitting among the sopranos of the choir and Toscanini called "ma fatemi venire quella voce d'angelo".
Brava, Diva!
Where is this recital in 1950 with this so good sound?!
Tebaldi made her American debut in San Francisco with Aida in 1950. Merola, the conductor of this recital, ran the San Francisco Opera so it is safe to assume this was some sort of program performed in San Francisco, possibly a radio concert (they did them so waell in those days). Isn't it wonderful!
This is great singing. Her florid technique isn't quite ideal for bits of the Mefistofele. But other than that, this is the ideal voice for this rep. It's also striking how aggressively she digs into her chest register here, including in the Willow Song and even the Ave Maria. Her Desdemona here is no shrinking violet.
Perfect control! Great vocal production, the only tiny thing is that due to youth probably she makes some not really desirable switches to the chest register, which she obviously doesn't feel comfortable doing.
Ma si vuole parlare di questo acuto nell'aria del Mefistofele?
Ese agudo terminado en un pianísimo interminable es un milagro. De hecho toda el aria de Mefistofele es un milagro de dicción, técnica, belleza de voz, homogeneidad de los registros, dramatismo... ¡y sólo con 28 años!
Era una única.
@@robertoramossempere7252 Unica, unica, unica
La sua voce e il suo modo di cantare sarebbero stati molto più adatti per un coro in chiesa che a al Teatro d'Opera !!
Secondo me non sei un conoscitore di lirica x dire una tale eresia 🤨
Jesus, that must be quite a church.😊