We always admire the beauty of her tone and we tend to forget her other important lessons: diction and sense of the text. Those consonants , the clear vowels and "l'accento" are pure delight.
Yes, there is sweetness in her sound but also a fullness. I'm very grateful that this video exists. It documents her greatness when she was at her peak vocally. I listen to her almost daily, especially in the Pandemic, and I celebrate her on her birthday. She is much loved in our house.
Tebaldi was great because she knew how to still use some of her chest resonance in the high notes. And not like what was described by the singer here. The change is so subtle because singing is a chemistry. The chest is still so present and the head voice is also so free that the tone sounds full and brilliant.
Your comment makes no sense because it can’t be both chest and head voice unless you don’t use your voice as she told in video that is what mix voice is mix voice is needed otherwise you just can’t switch between registers without corruption. Oh it’s important to remember mix voice doesn’t mean weak voice it can still be reaaaaly powerful you should check out the Dimash kudaibergen and his work called “know” in that song there is a great transition from chesty mix to heady mix without mix voice he wouldn’t be able to achieve that kind of smooth transition.
Questi signori di bel canto non sanno nulla! Cosa descrivono ?La Tebaldi sapeva cantare punto e la tecnica e' quella della scuola del belcanto ! Quella vera! VOCE PIENA l uso della sua risonanza sia dei gravi e degli acuti! Ma che ne sanno gli americani della tecnica del belcanto per favore! Tra un po' si usera' l archetto col 🎤! A zappare!!!
I totally agree. Tebaldi was great in that, in not releasing the air pressure along the whole vocal range (that’s in other words what really means the chest participation). And so were some of her outstanding colleagues: Callas, Caballé, Nilsson and of course the rest of the old school singers such as Ponselle, Stignani, Caruso, Lauri Volpi, Björling, etc. Even a lyric instrument like De los Angeles‘ sounds powerful and shiny and at the same time warm and flexible because of what is the real foundation of singing: the chest. I‘m very sorry but most singers today don‘t take advantage of their infinite possibilities. It‘s not true that there are not big voices nowadays. The missing thing is a proper vocal technique
It's funny how that American singer doesn't know what she's talking about. Plenty of greater opera singer before her have yodelled and is an integral part of keeping strength through your registers rather than 'mixing' it, which does the opposite funnily enough
Yes. Very true. Celestina Boninsegna was famous for the change. I think she over did it. But most sopranos did it without fear. I suppose Lina Bruna rasa is a good example. It also had a great effect when singing. Now everything is frowned upon. They have sterilized opera singing. She is also wrong when she described how to get rid of this change. She talks about mixing the sound like oil and vinegar. But you have to develop and strengthen each the chest and middle to match each other and they will unify as long as both voices are well supported and connected to the sound. If someone sings with a disconnected head voice they have no chance. They will have to weaken the chest to "blend" it. The soprano in this video demonstrates this incorrect sound.
I love Renata Tebaldi 🌹🌺🌷❤️ Her Mimi in La Boheme unforgettable, but we have to be just and not forget the sweet voice in the same role of Victoria de los Angeles.🌹🌷❤️
"unless you're a great artist like this one" So true! Many sopranos have sung Mimi, Violetta, Tosca, Butterfly, Leonora, Maddalena etc. Pappano uses some key words that describe Tebaldi's art for me, disarming, natural, personal...
Quello che mi fa' "incazzare" arrabbiare furiosamente è sentir dire che grandi artisti come RENATA TEBALDI o MARIO DEL MONACO o ancora CORELLI GINO BECHI ecc ecc ( tutti gli artisti di quel periodo ed anche precedente) avevano una tecnica incredibile, unita poi a voci che erano dei veri e propri "DONI DI NATURA" E NON riesco davvero a capire perché nessuno la insegna più..... vi giuro!! oramai questa grande tecnica SI È PERSA!!!.....e soprattutto perché quando, molto raramente, ci sono cantanti che la usano ancora oggi..... Non vengo presi nei concorsi?! ..... davvero inspiegabile......
It's a pity Renata did not record this opera with Jussi. The good is that we have this gem and the De los Angeles, Björling recording which stands above all from beginning to end.
Thanks Felix73able. That was the second Boheme I got in my teen years. At home my parents had got the Moffo, Tucker recording. Then my younger brother bought the Caballé, Domingo rendition. I then was considering the Tebaldi, Bergonzi to be unsurpassable. Then came the Freni, Pavarotti and my opinion remained the same. But, one happy day I stumble with the De los Angeles, Björling treasure and could not believe my ears. It is great that there are so many great Mimi´s (as Callas, Tebaldi, De los Ángeles, Freni) and great Rodolfo´s like Bergonzi, Di Stefano, Pavarotti or Jussi.
*She is eclipsed by Callas, who was a goddess who just happened to sing opera. Tebaldi was the consummate conventional opera soprano. Callas was a goddess, a gift of the divine - La Divina.*
In their own repertoires, they were unequalled. Callas was a monstre sacrée, the essence of “il melodramma”. Tebaldi was the essence of femininity and lyricism, her 1955 Forza at LaScala was her magnum opus, along with Mimi and Amelia.
I grew up with Tebaldi's 1959 recording of La Boheme and to this day I've yet to hear such an incredible voice from any other lirico spinto soprano. The so-called rivalry between her and Callas is of course a complete nonsense as they were completely different artists, Callas having a wider repertory and more focused on the expressive side of singing, Tebaldi having the more perfect tone and pitch - both unsurpassed in their respective fields.
Antonio Pappano articulates the truly essential characteristics of Tebaldi’s voice perhaps more clearly than anyone else I’ve heard speak of her. The first time I saw her live (in Manon Lescaut) it took no more than one phrase or two for me to be struck as never before - this was a sound I wanted to hear forever.
This lady has no idea about Operatic vocal technique / Perhaps she should make salad dressing at a restaurant since she mentioned her singing was like that ! The conductor has never heard Tebaldi in person and does not have a clue about the Golden age of Operatic singing , He has some sort of fantasy in is head about what the great singers did vocally ! We no longer have conductors who know the Grand Tradition !
You can hear that "yodeling" effect in early recordings of female vocalists, that is, between upper and lower registers. It seems the "mixing" concept hadn't become standard at that time.
*Tebaldi was the consummate operatic soprano. She was the sweet, angelic voice. Eclipsed only by Callas, who was a goddess who just happened to sing opera, with a voice with so much personality, a gift of the divine - La Divina.*
What a disgrace ! WE Opera people !!! She is nothing but a cross over singer at best - So many like her today and that is why the Art form is dying ! He is full of BS !
She is Canadian who specializes in contemporary music, that way she can have a hideously, shrill, ugly voice and call it art. Listen to her sing standard rep, it's not good. Oh, she also fancies herself a conductor too and by conducting I mean writhing ogasmically in front of an orchestra. I am not a fan.
They are things one overlooks due to the beauty of her voice. Big Callas and Tebaldi fan but I know neither of them are "perfect". Like Callas' later wobble on the higher notes.
Oh, but Callas was better. She didn’t sound as beautiful, and she had a hooty wabble, but we know all that isn’t what opera is all about. It’s about selling us on what we’re should like.
The recordings of Renata Tebaldi and Mario Del Monaco saved my life when I was in high school.
Gottes Segen!
That's so sweet!
I’m glad you didn’t listen to modern singers then! 😂
Great music can do that.
Tebaldi had core in the voice, Pappano does not know this term
He thinks in his fickle mind that being a conductor makes him automatically the master of the voice. What a SHAME!!!!!
We always admire the beauty of her tone and we tend to forget her other important lessons: diction and sense of the text. Those consonants , the clear vowels and "l'accento" are pure delight.
I agree. There were some singers who produced beautiful tone, like Sutherland and Price, but their diction and sense of text were a bit lackluster.
This video performance of Tebaldi is a lesson of phrasing like very few others I have ever heard. It's a miracle of tasteful expressivity!
Yes, there is sweetness in her sound but also a fullness. I'm very grateful that this video exists. It documents her greatness when she was at her peak vocally. I listen to her almost daily, especially in the Pandemic, and I celebrate her on her birthday. She is much loved in our house.
Tebaldi was great because she knew how to still use some of her chest resonance in the high notes. And not like what was described by the singer here. The change is so subtle because singing is a chemistry. The chest is still so present and the head voice is also so free that the tone sounds full and brilliant.
I agree! chest praticipation in high notes is what gives energy and a clear sound!
So true ! The conductor and singer have no clue about how the singers were taught back then .
Your comment makes no sense because it can’t be both chest and head voice unless you don’t use your voice as she told in video that is what mix voice is mix voice is needed otherwise you just can’t switch between registers without corruption. Oh it’s important to remember mix voice doesn’t mean weak voice it can still be reaaaaly powerful you should check out the Dimash kudaibergen and his work called “know” in that song there is a great transition from chesty mix to heady mix without mix voice he wouldn’t be able to achieve that kind of smooth transition.
Questi signori di bel canto non sanno nulla! Cosa descrivono ?La Tebaldi sapeva cantare punto e la tecnica e' quella della scuola del belcanto ! Quella vera! VOCE PIENA l uso della sua risonanza sia dei gravi e degli acuti! Ma che ne sanno gli americani della tecnica del belcanto per favore! Tra un po' si usera' l archetto col 🎤! A zappare!!!
I totally agree. Tebaldi was great in that, in not releasing the air pressure along the whole vocal range (that’s in other words what really means the chest participation). And so were some of her outstanding colleagues: Callas, Caballé, Nilsson and of course the rest of the old school singers such as Ponselle, Stignani, Caruso, Lauri Volpi, Björling, etc. Even a lyric instrument like De los Angeles‘ sounds powerful and shiny and at the same time warm and flexible because of what is the real foundation of singing: the chest. I‘m very sorry but most singers today don‘t take advantage of their infinite possibilities. It‘s not true that there are not big voices nowadays. The missing thing is a proper vocal technique
It's funny how that American singer doesn't know what she's talking about. Plenty of greater opera singer before her have yodelled and is an integral part of keeping strength through your registers rather than 'mixing' it, which does the opposite funnily enough
Yes. Very true. Celestina Boninsegna was famous for the change. I think she over did it. But most sopranos did it without fear. I suppose Lina Bruna rasa is a good example. It also had a great effect when singing. Now everything is frowned upon. They have sterilized opera singing.
She is also wrong when she described how to get rid of this change. She talks about mixing the sound like oil and vinegar. But you have to develop and strengthen each the chest and middle to match each other and they will unify as long as both voices are well supported and connected to the sound.
If someone sings with a disconnected head voice they have no chance. They will have to weaken the chest to "blend" it. The soprano in this video demonstrates this incorrect sound.
It is so obvious the American singer is stupid , also the conductor is a joke !
Barbara Hannigan is Canadian...and awesome...
@@JentschChris And how. She sang Pli selon pli for Boulez and he said she basically led the performance. Pretty amazing accolade from Boulez.
Almost no opera singer today knows what they are talking about. And even less that ridiculous Pappano.
She gave the world great BEAUTY
Glorious Tebaldi - unfortunately no soprano today can come anywhere near her vocal perfection.
I love Renata Tebaldi 🌹🌺🌷❤️
Her Mimi in La Boheme unforgettable, but we have to be just and not forget the sweet voice in the same role of Victoria de los Angeles.🌹🌷❤️
Victoria was superior. Her recording of Mimi is the standard. And I LOVE Tebaldi.
Tebaldi would have hated this guy because he talks nonsense
thank you... i have thought that on nearly every thing i have heard him say regarding singing.
yes, she was used wrong way.
the world's leading puccini conductor does not talk nonsense; you are an idiot
"unless you're a great artist like this one" So true! Many sopranos have sung Mimi, Violetta, Tosca, Butterfly, Leonora, Maddalena etc. Pappano uses some key words that describe Tebaldi's art for me, disarming, natural, personal...
Pappano is a joke and knows nothing about the Operatic voice !!!
She should yodel more, she might actually develop her voice.
la piu bella voce naturale..potente dolce espressiva..usata in modo...celestiale
RENATA
Quello che mi fa' "incazzare" arrabbiare furiosamente è sentir dire che grandi artisti come RENATA TEBALDI o MARIO DEL MONACO o ancora CORELLI GINO BECHI ecc ecc ( tutti gli artisti di quel periodo ed anche precedente) avevano una tecnica incredibile, unita poi a voci che erano dei veri e propri "DONI DI NATURA" E NON riesco davvero a capire perché nessuno la insegna più..... vi giuro!! oramai questa grande tecnica SI È PERSA!!!.....e soprattutto perché quando, molto raramente, ci sono cantanti che la usano ancora oggi..... Non vengo presi nei concorsi?! ..... davvero inspiegabile......
Ignoranza
Nepotismo
It's a pity Renata did not record this opera with Jussi. The good is that we have this gem and the De los Angeles, Björling recording which stands above all from beginning to end.
Thanks Felix73able. That was the second Boheme I got in my teen years. At home my parents had got the Moffo, Tucker recording. Then my younger brother bought the Caballé, Domingo rendition. I then was considering the Tebaldi, Bergonzi to be unsurpassable. Then came the Freni, Pavarotti and my opinion remained the same. But, one happy day I stumble with the De los Angeles, Björling treasure and could not believe my ears. It is great that there are so many great Mimi´s (as Callas, Tebaldi, De los Ángeles, Freni) and great Rodolfo´s like Bergonzi, Di Stefano, Pavarotti or Jussi.
The voice and art of Tebaldi are incomparable. The greatest soprano in history .
*She is eclipsed by Callas, who was a goddess who just happened to sing opera. Tebaldi was the consummate conventional opera soprano. Callas was a goddess, a gift of the divine - La Divina.*
She didn’t have a great technique
@@andreaguarino8207 True! And actually quite boring to listen to, or even watch!
In their own repertoires, they were unequalled. Callas was a monstre sacrée, the essence of “il melodramma”. Tebaldi was the essence of femininity and lyricism, her 1955 Forza at LaScala was her magnum opus, along with Mimi and Amelia.
she just doesn't have the agility and high notes like Callas. Her modal register is much better
So sadly and even vulgar, that this "conductor" talks about the great Tebaldi!
ua-cam.com/video/-HSFpdNUihM/v-deo.html
The conductor and singer are clowns ! Such BS !
I grew up with Tebaldi's 1959 recording of La Boheme and to this day I've yet to hear such an incredible voice from any other lirico spinto soprano. The so-called rivalry between her and Callas is of course a complete nonsense as they were completely different artists, Callas having a wider repertory and more focused on the expressive side of singing, Tebaldi having the more perfect tone and pitch - both unsurpassed in their respective fields.
"pitch"??? Are u out of ur mind?
Tomba 2 Indeed.
Wow ... what talking about these persones? Tebaldi use her chest voice as callas same that the big opera voices but now use the nose ,
How funny. From the start Tebaldi had an enormous pure chest voice. Have the two of them never heard her sing the end of ‘La mamma morta’?
For my renata tebaldi y maria callas the best soprano the wold insuperable
Antonio Pappano articulates the truly essential characteristics of Tebaldi’s voice perhaps more clearly than anyone else I’ve heard speak of her. The first time I saw her live (in Manon Lescaut) it took no more than one phrase or two for me to be struck as never before - this was a sound I wanted to hear forever.
Renata Tebaldi has been and always will be my go-to soprano. Listening to her is the aural equivalent of sitting in front of a fire.
This lady has no idea about Operatic vocal technique / Perhaps she should make salad dressing at a restaurant since she mentioned her singing was like that ! The conductor has never heard Tebaldi in person and does not have a clue about the Golden age of Operatic singing , He has some sort of fantasy in is head about what the great singers did vocally ! We no longer have conductors who know the Grand Tradition !
The peerless Jussi Bjorling as Rodolfo opposite Renata Tebaldi as Mimi.
These people have no right to talk of Tebaldi at all...
I think Pappano is right, he has good taste, real fiato Renata Tebaldi did have!
The musicality of a wrestler the style of a bulldog and the voice of an angel. Unique indeed.
Come on ~ Where's the part 2?!?! lol
You can hear that "yodeling" effect in early recordings of female vocalists, that is, between upper and lower registers. It seems the "mixing" concept hadn't become standard at that time.
Tenor the best caruso the world insuperable
❤❤❤Tebaldi❤❤❤提芭蒂，世界第一，謝謝您!❤❤❤
0:30 wrooooong
NO MORE SOPRANO AND TENORS, THE SINGERS OF THOSE DAYS ARE FAKE AND NO EMOTION, OPERA HOUSES ARE LIKE HOLLYWOOD KNOW, NOTHING REALLY.
Bjorkling with Renata...no words
Ренаточка - золотко.
i would love to here what mr pappano thinks about monserrat caballe
and then we have Callas praising Belcanto and dissing singers that sing Puccini haha. Both were amazing singers
I doubt she did that since she also sang Puccini. Imagine Callas without Tosca or Turandot.
😍😍😍
*Tebaldi was the consummate operatic soprano. She was the sweet, angelic voice. Eclipsed only by Callas, who was a goddess who just happened to sing opera, with a voice with so much personality, a gift of the divine - La Divina.*
I'll take Ethel and Renata any day over this overhyped, pretentious singer.
Ethel Hook ?
What a disgrace ! WE Opera people !!! She is nothing but a cross over singer at best - So many like her today and that is why the Art form is dying ! He is full of BS !
0:01 That's crap, not a chest voice... 0:04-0:07 What is that? Honey, give it up already, it's bad.
Señor Antonio es usted hu gran profesor de canto y sutednica es genial ha Caufman le aido genial
Typical American: using such cheap comparisons as Ethel Merman and salad dressing. "All fur coat and no knickers" as they say.
Oh, please. She makes a perfectly good point, and illustrates it well. For an American, that is.
She is Canadian who specializes in contemporary music, that way she can have a hideously, shrill, ugly voice and call it art. Listen to her sing standard rep, it's not good. Oh, she also fancies herself a conductor too and by conducting I mean writhing ogasmically in front of an orchestra. I am not a fan.
@@liedersanger1 She's Canadian, and a pretentious one at that.
0:01 Or in German: Bruststimme!
They’re so “healthy” for having TB.
RV@ “Affordable Care Act” in mid 19th century Paris, but she started skipping her appointments and well . . .
A musicologist told me that Tedaldi always sang flat notes. But if he's right, maybe I can't hear the flatness.
He's wrong, very wrong.
He doesn't say anything about Tebaldi constantly going flat on the high notes.
They are things one overlooks due to the beauty of her voice. Big Callas and Tebaldi fan but I know neither of them are "perfect". Like Callas' later wobble on the higher notes.
Wee Per @
Pappano says” she was able to conjure up “ referring to Tebaldi’s singing. CONJURES UP? Ridiculous and inarticulate as well as immature. Embarrassing.
Oh, but Callas was better. She didn’t sound as beautiful, and she had a hooty wabble, but we know all that isn’t what opera is all about. It’s about selling us on what we’re should like.
Hanno avuto ragione di chiamarla voce d'Angelo meravigliosa.❤❤❤❤❤