Classical

Renata Tebaldi - Carnegie Hall – Puccini Recital 1955

2010-08-27T17:30:38Z

Renata Tebaldi - Carnegie Hall – Puccini Recital 1955


1.Aporte de Cismo (Berlin)
2.Madama Butterfly Un bel di vedremo
3.Suor Angelica -intermezzo
4.La Boheme Donde lieta usci
5.Manon Lescaut In quelle trine morbide
6.Tosca . Preludio 3er. acto
7.Vissi d'arte

Renata Tebaldi - soprano
Donald Vorhees – conductor

Renata Tebaldi singing Puccini after her debut with Otello in the Met.

Italian soprano. After her debut in Mefistofele in 1944, she established herself at La Scala, performing with the conductor Arturo Toscanini for the 1946 reopening concert and over the next decade. Her debuts at Covent Garden (1950) and the Metropolitan Opera (1955) were both in the role of Desdemona, and she sang at the Met for 17 years in roles such as Tosca, Manon Lescaut, Mimi, and Violetta. ---answers.com

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Renata Tebaldi - Christmas Festival (2004)

2010-12-22T10:50:18Z

Renata Tebaldi - Christmas Festival (2004)


02. Ave Maria: arr. from Bach's Prelude No.1 BWV 846
03. Wiegenlied, Op.49, No.4
04. What child is this (Greensleeves)                 play
05. O holy night (Minuit chrétien)
06. Tu scendi dalle stelle
07. Stille Nacht, heilige Nacht
08. Panis Angelicus
09. Repentir (O Divine Redeemer)
10. Mille cherubini in coro (arr. after Schubert)
11. Ave Maria 
12. Adeste Fideles (O Come, All Ye Faithful)         play

Decca has been perusing the vaults and re-releasing some classic recordings. Renata Tebaldi's CHRISTMAS FESTIVAL is one such recording. Originally released in 1971, it is a wonderful example of Tebaldi's artistry. While her voice is somewhat darker in this recording than in some of her earlier recordings, the arrangers seemed to know how to highlight Tebaldi's vocal majesty in tracks that suit her voice.

It is a standard operatic Christmas recording-traditional Christmas carols and some religious songs that are not necessarily Christmas pieces, but fit the mood of the holiday season rather well. Tebaldi sings reach track with ease. In some tracks we find the glory and artistry that is trademark Tebaldi, particularly when she sings "O Holy Night." We have renditions of both versions of "Ave Maria" (Gounod and Schubert). The Gounod is very well done. "Panis Angelicus" is heavenly. Her rendition of "O Divine Redeemer" reminds me of her Desdemona of OTELLO (the Karajan version with Mario Del Monaco in the title role) when she sings the "Willow Song" and then moves into the Hail Mary. To me, this is one of Tebaldi's greatest recorded moments. While the music differs, she performs "O Divine Redeemer" with the same intensity and feeling as her Desdemona. An added bonus is her English diction. I have become used to most operatic recordings of Christmas music having beautiful moments vocally, though the English diction is poor (Placido Domingo and Pavarotti's Christmas recordings quickly come to mind), but this is not the case with Tebaldi, who carefully sings each English word. It is perhaps attention to detail that makes this recording outstanding. – Timothy Kearney

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Renata Tebaldi - Placido Domingo: Arias & Scenes (1966 – 1970)

2010-08-29T15:19:10Z

Renata Tebaldi - Placido Domingo: Arias & Scenes (1966 – 1970)


1.1/5: Io resto…Che gelida manina…Si, mi Chiamano Mimì…O soave fanciulla
2.1/4: Sa dirmi, scusi…Donde lieta usci…Ci lasceremo…
3: Sono andati?…
La Boheme: Tebaldi - Domingo - Glossop, 1966, Boston, V. La Selva

4.1/3: Cortese damigella…Donna non vidi mai… Vedete, Io son fedele
5.1/3: In quelle trine morbide… O sarò la più bella… Tu, tu, amore tu! … final
6: No, pazzo son!
7: Acto IV: Complete
Manon Lescaut: Tebaldi - Domingo - Sordello, Hartford, 1968, Guadagno

8: Io son l'umile ancella
9: Giusto Cielo!
10.1/5: Poveri fiori… Che? Tu tremi… Scostatevi, profani!
Adriana Lecouvreur: Tebaldi - Domingo - Cernei - Colzani, Met 1968, F. Cleva

11.1/2: Mario, Mario, Mario… final duo
12: Acto III
Tosca: Tebaldi - Domingo, Molinari_Pradelli, Met, 1969

13: Ecco l'altare!
14: Vicino a te!
Andrea Chenier: Tebaldi - Domingo, Met 1970, K. Adler

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Renata Tebaldi - The Concert at Lewisohn Stadium 1966 (1998)

2010-08-28T10:19:24Z

Renata Tebaldi - The Concert at Lewisohn Stadium 1966 (1998)


1.Le Nozze di Figaro - Deh, vieni, non tardar
2.Otello - Salce Salce; Ave Maria
3.Rossini - La Regata Veneziana
4.Aida - Ritorna vincitor
5.Mefistofele - L'altra notte in fondo al mare
6.Cavalleria Rusticana - Voi lo sapete
7.Tosti - 'a Vucchella [Encore]
8.Ponce - Estrellita [Encore]
9.Carousel - If I loved you [Encore, sung twice]

Renata Tebaldi – vocals
Lamberto Gardelli – conductor

Live performance, August 13, 1966

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Renata Tebaldi - Verdi Recital at Carnegie Hall (1957)

2010-08-27T13:31:25Z

Renata Tebaldi - Verdi Recital at Carnegie Hall (1957)


1 - Il Trovatore, Tacea la notte placida ... Di tale amor
2 - Aida, Ritorna vincitor
3 - Aida: O patria mia
4 - La traviata: Addio del passato
5 - Forza del destino: Pace, pace mio Dio
6 - Otello: Canzone del salice…Ave Maria
7 - Encores: Francesco Paolo Tosti. A vucchella
8 - Gioachino Rossini. La regata Veneziana

Bonus:
Renata Tebaldi: Puccini Recital ( Carnegie Hall, 1955)
9 - In quele trine morbide
10: Donde lieta uscì
11: Un bel di vedremo
12: Vissi d'arte

Renata Tebaldi – soprano
Dimitri Mitropoulos – conductor

Tebaldi's New York debut finally came in 1955, as La Scala temporarily became Callas's domain. She played the role of Desdemona at the Metropolitan Opera on January 31, 1955, and over the next few years she rolled out one perfectly mastered role after another. Between 1955 and 1973 she performed at the Met 267 times in 14 different operas, with the title role in Puccini's Tosca becoming her most frequent role. She performed that role 45 times, and a few other roles nearly that often. The statistic was revealing of Tebaldi's musical personality: she was not adventurous, but she was near perfect. Audiences at the Met gave her the nickname of "Miss Sold Out," for the Tebaldi name on the marquee guaranteed an operatic experience that could hardly be matched. "Tebaldi's soprano was rich and creamy, totally secure in technique and breath control," noted the Times of London in her obituary. "When she was on stage there was no feeling of apprehension. Nothing was going to go wrong." --- encyclopedia.com

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Renata Tebaldi – A Portrait of The Artist 1949-1958 (1992)

2011-04-19T18:47:49Z

Renata Tebaldi – A Portrait of The Artist 1949-1958 (1992)


1. Giordano – Andrea Chenier – La Mamma Morta
2. Boito – Mefistofele - L’Altra Notte in Fondo al Mare
3. Cilea – Adrianna Lecouvreur – Io Son L’umile Ancella
4. Verdi – Otello – Salce Salce Ave Maria
5. Puccini – Madama Butterfly – Un Bel di Vedremo
6. Puccini – La Boheme – Mi Chiamano Mimi
7. Puccini – Mann Lescaut – Sola Perduta Abbandonata
8. Charpentier – Louise – Depuis Le Jour
9. Rossini – Stabat Mater – Inflammatus
10. Turina – Poema En Forma de Canciones - Cantares
11. Catalani – La Wally – Ebben L’Andro Lontana
12. Verdi – La Traviata – Ah, Force Lui … Sempre Libera
13. Mascagni – L’Amico Fritz – Son Pochi Fiori
14. Puccini – Manon Lescaut – L’Ora o Tirsi

Renata Tebaldi was one of the dominant lyrico-spinto sopranos of the 1950s and 1960s, with a large, powerful voice that, despite a severely flawed top, was described by many of her admirers as one of the most beautiful of the 20th century. In many ways she and Maria Callas were defined by one another, although often far too simplistically, assuming that what one had, the other did not. (Rather like the cats versus dogs debates among pet lovers, in which all dogs are loving but dumb and all cats are bright but treacherous.) Those who backed Callas against Tebaldi denounced Tebaldi as a stodgy singer of the "this is about showing off my voice" school and lauded Callas as the genuine operatic artist who let the voice be subservient to the opera and to the drama; those who held Tebaldi to be the prima donna denounced Callas as overly erratic, with an unattractive voice that was on the edge of disaster. In fact, Tebaldi was not without a sense of the stage and of dramatic presentation, and for much of her career, in many ways Callas had the more reliable and versatile technique.

She studied at the Arrigo Boito Conservatory in Parma, and her stage debut was as Elena (Helen of Troy) in Boito's Mefistofele in 1944 at Rovigo. Her career took off with a concert performance rather than an operatic one. In 1946, Toscanini was performing the Verdi Te Deum to reopen the La Scala opera house, and he engaged her to perform the soprano solo. Whether he was referring to the way that she was physically placed considerably above the other soloists, exhorting her to sing like an angel, or in fact describing her voice as "la voce d' angelo" (the voice of an angel), a question which has aroused some controversy, she was soon identified by that phrase. Her stage debut was three months later as Eva in Wagner's Die Meistersinger. She made her London debut in 1950 as Desdemona in Verdi's Otello as part of a La Scala tour, the year of her United States debut in San Francisco as Tosca, and her Paris and Rio de Janiero debuts the next year. Her Met debut was in 1955, also as Desdemona, and thereafter it became something of a home base for her. While she had performed relative rarities earlier in her career, even including such unlikely composers as Handel (Giulio Cesare) and Rossini (Le siege de Corinthe) and obscure works by Spontini (La vestale and Fernando Cortez) and Refice' s Cecilia, she began to narrow her repertoire to mainstream works by Verdi, Puccini, and some of the verismo composers. In the early 1960s, a problematic technique and personal crisis (the death of her mother, to whom she had been especially close), led to a vocal crisis, and in 1963, she left the stage to rest and rework. While her vocal condition had not especially improved by the time of her return, her acting received far more praise than before. Her physical mobility was still limited by the after-effects of childhood polio, but she had become more expressive, and better able to use gestures and expressions to convey drama. In the early 1970s, she began her retirement, and her final stage performance was at La Scala in 1976.

Among her recordings, her Liu on the Leinsdorf Turandot with Nilsson and Bjoerling (RCA Living Stero 62687) shows her at her best; the tempo is not allowed to become lugubrious, and the role lies particularly low for a soprano, allowing the velvety richness of her middle and lower range to be displayed without the flatness or harshness that plagued her upper range throughout her career. ---itunes.apple.com

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Tebaldi Sings Wagner - Scenes from Tannhauser and Lohengrin (1950)

2010-08-27T10:09:28Z

Tebaldi Sings Wagner - Scenes from Tannhauser and Lohengrin (1950)


1. TANNHAUSER: ACT II, Scenes 1 & 2: 'Dich teure Halle' - Renata Tebaldi
2. TANNHAUSER: ACT II, Scenes 1 & 2: 'Dort ist sie; nahe dich ibr ungestort' - Carlo Tagliabue/Hans Bierer/Renata Tebaldi
3. TANNHAUSER: ACT II, Scenes 1 & 2: 'Der Sanger klugen Weisen' - Renata Tebaldi
4. TANNHAUSER: ACT II, Scenes 1 & 2: 'Den Gott der Liebe sollst du priesen' - Hans Bierer/Renata Tebaldi
5. TANNHAUSER: ACT II, Scene 4: 'Dir, Gottin der Liebe' - Hans Bierer/Carlo Tagliabue/Boris Christoff/Renata Tebaldi
6. TANNHAUSER: ACT II, Scene 4: 'Zuruck von ibm! Nicht ibr seid seine Richter!' - Renata Tebaldi
7. TANNHAUSER: ACT II, Scene 4: 'Weh! Weh! mir Unglucksel'gem!' - Hans Bierer/Boris Christoff/Renata Tebaldi
8. TANNHAUSER: ACT II, Scene 4: 'Ein furchtbares verbrechen ward begangen' - Boris Christoff/Renata Tebaldi/Hans Bierer
9. TANNHAUSER: ACT III, Scene 1: 'Begluckt darf nun dich, o Heimat, ich schauen - Renata Tebaldi/Carlo Tagliabue
10. TANNHAUSER: ACT III, Scene 1: 'Allmacht'ge Jungfrau, hor mein Flehen' - Renata Tebaldi
11. LOHENGRIN: ACT I. 'Einsam in truben tagen' - Renata Tebaldi/Giulio Neri
12. LOHENGRIN: ACT II. 'Euch luften, die mein Klagen' - Renata Tebaldi/Elena Nicolai/Giangiacomo Guelfi
13. LOHENGRIN: ACT II. 'Elsa!...Wer ruft?' - Elena Nicolai/Renata Tebaldi
14. LOHENGRIN: ACT III, Scene 1: 'Das susse Lied verhallt' - Gino Penno/Renata Tebaldi
15. LOHENGRIN: ACT III, Scene 1: 'Wie hehr erkenn 'ich unsrer Liebe Wesen!' - Gino Penno/Renata Tebaldi
16. LOHENGRIN: ACT III, Scene 1: 'Atmest du nicht mit mir die sussen Dufte' - Gino Penno/Renata Tebaldi
17. LOHENGRIN: ACT III, Scene 1: 'Hochtes Vertraun hast du mir schon zu danken' - Gino Penno/Renata Tebaldi
18. LOHENGRIN: ACT III, Scene 1: 'Ach nein! Doch, dort...der Schwan!...der Schwan!' - Renata Tebaldi/Gino Penno

Renata Tebaldi with:
Hans Beirer; Carlo Tagliabue]; Boris Christoff; Gino Penno; Elena Nicolai; Giangiacomo Guelfi ;
Teatro San Carlo Naples Orchestra
Karl Bohm, Gariele Santini – conductor

The scenes included in the "Tannhäuser" excerpts are: Act 2 scenes 1, 2 & 4; Act 3 scene 1, beginning after the prelude to the act.Franz Beirer sings the title role of "Tannhäuser" in German. The rest of the company sings in Italian.The "Lohengrin" excerpts include Elsa's arias from Acts 1 and 2, a major portion of the duet with Ortrud (ending just before Ortrud's curse), and the whole first scene from Act 3.

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The Great Renata Tebaldi (2002)

2009-10-25T19:28:56Z

The Great Renata Tebaldi (2002)

Disc 1:
1. "Oh! mio babbino caro" - "Oh! mio babbino caro"	2:15	
2. "Vissi d'arte, vissi d'amore" - "Vissi d'arte, vissi d'amore"		3:17	
3. Ebben? Ne andrò lontana - Ebben? Ne andrò lontana		4:59	
4. Prendi, fanciul, e serbala! - Prendi, fanciul, e serbala!		4:15
5. Suicidio! - Suicidio!		4:28
6. I fiori offerti in un'ora d'oblio...Poveri fiori - Fiori offerti in un'ora d'oblio...Poveri fiori		11:04
7. Ecco l'altare...Eravate posente - Ecco l'altare...Eravate posente		8:26
8. L'altra notte in fondo al mare - L'altra notte in fondo al mare		7:49	
9. Senza mamma, o bimbo, tu sei morto - Senza mamma, o bimbo		4:42
10. Michele! Michele!...Avevo ben ragione...Si, vicina - Michele! Michele!...Avevo ben ragione...Si, vicina		2:28
11. Un partita a poker! - Un partita a poker!		5:50	
12. Signore, ascolta - Signore, ascolta		2:43	
13. Tu che di gel sei cinta - Tu che di gel sei cinta		2:54
14. Sì. Mi chiamano Mimì...O soave fanciulla - Sì. Mi chiamano Mimì...O soave fanciulla10:15

Disc 2:
1. Ritorna vincitor! - Ritorna vincitor!		5:52
2. "Tacea la notte!" - "Tacea la notte!"	3:57
3. "Parigi, o cara, noi lasceremo" - "Parigi, o cara, noi lasceremo"		7:30	
4. Me pellegrina ed orfana - Me pellegrina ed orfana	3:38	
5. Pace, pace, mio Dio - Pace, pace, mio Dio		5:55	
6. Già nella notte densa...Venga la morte - Già nella notte densa...Venga la morte	10:47
7. Giustizia! O Sire - Giustizia! O Sire	4:32
8. "Morrò, ma prima in grazia" - "Morrò, ma prima in grazia"		4:47	
9. Sola, perduta, abbandonata - Sola, perduta, abbandonata	4:05	
10. Con amor muore...Tu, tu? Piccolo Iddio - "Con amor muore...Tu, tu? Piccolo Iddio"	5:09	
11. 1. Anzoleta avanti la regata - 1. Anzoleta avanti la regata	3:24	
12. 2. Anzoleta co passa la regata - 2. Anzoleta co passa la regata	2:28	
13. 3. Anzoleta dopo la regata - 3. Anzoleta dopo la regata	4:00
14. Vilja-Lied - Vilja-Lied	4:57

Renata Tebaldi – soprano
Lydia Marimpietri - soprano
Grace Bumbry – mezzo-soprano
Mario Del Monaco – tenor
Mariano Caruso  - tenor
Carlo Bergonzi – tenor
Gianni Poggi  - tenor
Robert Merrill – baritone
Cornell MacNeil – baritone
Ettore Bastianini - baritone
Cesare Siepi  - bass
Nicolai Ghiaurov - bass
Florence Maggio Musicale Orchestra
Lamberto Gardelli  - conductor
Santa Cecilia Academy Rome Orchestra
Francesco Molinari-Pradelli – conductor
Monte Carlo Opera Orchestra
Fausto Cleva – conductor
Franco Capuana – conductor
Tullio Serafin – conductor
Suisse Romande Orchestra
Alberto Erede – conductor
Royal Opera House Covent Garden Orchestra
Sir Georg Solti – conductor
New Philharmonia Orchestra
Oliviero de Fabritiis - conductor
Vienna Philharmonic Orchestra
Herbert von Karajan – conductor
New Philharmonia Orchestra
Richard Bonynge – conductor

Renata Tebaldi is nearly 80. For older operaphiles, it will seem like only yesterday that she and Maria Callas (or more accurately, their adoring fans and the press) were engaged in a battle of the divas. Really, there was nothing to fight about, because these two individuals were as dissimilar as singers as they were dissimilar as women. Callas's virtues have been revisited many times now since her early death. Tebaldi's have always been apparent to those who knew her artistry, and there has been little change in her value since she retired from the operatic stage in the mid-1970s. This new pair of CDs will remind those who need the reminding what a jewel she was. Perhaps it will bring her to a new generation of opera lovers.

This well-filled compilation contains souvenirs of her most famous roles, from Cio-Cio-San and Mimì to Aïda and Desdemona. Most of the excerpts are taken from complete operatic recordings that she made for Decca in the 1950s and 1960s. In the case of multiple recordings, the compilation producer generally has chosen the later of two alternatives, probably because of the stereophonic sound. However, two monaural items from Tebaldi's debut recital, recorded in 1949, have been included: "Ritorna vincitor!" and "Tacea la notte placida." Tebaldi's voice doesn't get much fresher than this.

The most obvious items haven't consistently been included, however. From La traviata, we get Tebaldi's "Parigi, o cara" with the stodgy Gianni Poggi. Don Carlos is represented by the scene in which King Philip II (Nicolai Ghiaurov) accuses his wife of committing adultery with her son-in-law. As Tebaldi's strengths included the gorgeous sound of her voice and her passionate way with melody, not her overall dramatic savvy, perhaps the usual soprano arias from both of these works would have been more logical inclusions. Then again, it is nice to be unusual. Decca issued a more typical portrait of Tebaldi's gifts ten years ago with another two-CD collection, called La Tebaldi (430481-2). Between the older collection and this new one, there is very little duplication.

Floated high notes, an evenly produced voice throbbing with emotion, warmth and fullness of sound, and generosity of soul all were part of what made Tebaldi great. They still are. The Great Renata Tebaldi is a good portrait of this fascinating diva, but also give an ear to her stereophonic remake of La Bohème (for example) to get even more detail.

Decca's booklet includes neither texts nor translations. Recording information has been included, fortunately. There's also an essay by Raymond McGill and a few glamorous photographs.--- Raymond Tuttle, classical.net

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