Customer Reviews

Grandi Voci: Renata Tebaldi

5 star:		(11)
4 star:		(1)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I heard Tebaldi many times at the Metropolitan, and no recording can truly give a full idea of the radiance of her voice at its best. It was an opulent, luscious sound, with a depth all its own. Her stage persona was charming and sympathetic, but ever-so-slightly aloof: she was a true diva in the original, untainted meaning of that Italian word: a "goddess" inhabiting her own special realm.

This selection is drawn, with few exceptions, from her glory days in the 1950s, and includes some-but by no means all-of her finest moments on disc. While no recording can quite recreate her special aura, it CAN reproduce her way with a phrase, the exquisite light-and-shade of her personal style. In this she was a fine musical interpreter, and a real Italian: no heavy-breathing psychotics from Renata! Her heart, like the timbre of her voice, was full of Italy's sun.

In the glorious tradition of Claudia Muzio, Tina Poli-Randaccio, Giannina Arangi-Lombardi, Maria Caniglia and Mafalda Favero.

Living in an era as we do where there are so few great Italian lyric/spinto sopranos,it is a joy to listen to this CD and to hear the "real thing." Tebaldi's voice is so rich and so luxurious that it may come as a surprise to a younger generation that has not heard an Italian soprano with such a large and velvety voice. It reminds me of the many saturday afternoons I would listen to Tebaldi on the Met radio broadcasts. Comparisons can be interesting...Callas's dramatic intensity, Sutherland's coloratura and high notes, the brilliance of Leontyne Price, etc. but Tebaldi truly was the greatest Italian soprano of the 20th century and owned the roles of Mimi, Liu, Minnie, and Tosca. There was a reason that Toscannini selected a young Tebaldi to re-open the opera house at La Scala in Milan after World War II..he knew that a voice like that came but once in a hundred years.

Although I prefer the "La Tebaldi" 2-disc set on Decca because it has arias not included here, this colection is great. The aria from Adriana gets my vote as one of the most beautiful things ever recorded, by anyone. If you enjoy beautiful singing, you'll want this disc.

Having spoken to many who heard Renata live I can happily say that 100% of what I heard was praise. You cannot judge how HUGE the voice was from mere recordings, a friend said. She soared, absolutely rang over the orchestra magnificently. But what I love about Tebaldi most is the warmth of her voice. It has a sweetness to it I rarely encountered in other voices while not being sugary at all. I absolutely love this woman as Desdemona. She was born to sing this role, a Met-Standee told me that he saw her debut as well as her farewell (Both Desdemona) and that both performances were absolutely lovely. But Tebaldi isn't only known for her golden voice but for the charm of her singing. Sweet, innocent women like Desdemona or Cio Cio San come to life beautifully when she sings them. There are excerpts of Manon Lescaut with her and very young di Stefano, a feast of golden voices. I never understood the Callas-Tebaldi war or the Tebaldi-Milanov war (Yep, there was one). It is my firm belief that one can enjoy all the greats. Why should I rob myself the pleasure of Tebaldi's glowing voice for Callas or Callas' haunting Drama for Tebaldi's warm singing? No, I'm glad we had them both for they joy they gave us and continue to give.

Comparing Renata Tebaldi and Callas is really like comparing viola and violin: nonsensical. Why were they were perceived "rivals" is beyond me; must be those pesky journalists again. Tebaldi's is one of the most beautiful voices that ever brought joy to human ears. Callas might have ruled as an actress, yet Tebaldi's realm was singing, she ruled it in every role and seemingly in every soprano range. She could make her genuine spinto sound like coloratura soprano, depending on a role. No canary singing here either, each character is clearly thoroughly thought-out, and once you hear Tebaldi's interpretation, you won't be able to mistake it for anyone else's. Remarkably convincing, she could be sparkling, playful Manon or brooding, desperate Leonora. Her Desdemona is quite possibly the best ever, expressive, yet not over-acted the slightest, her incredibly powerful voice able to soften to most gorgeous enchanting pianissimos. The kind of power she was able to exert as Maddalena from "Andrea Chenier" is astonishing, and nobody, except Marton, was ever able to match it since. The Decca engineers wisely put "L'altra notte in fondo al mare" from Mefistofele to follow "La mamma morta". This allows us to see the incredible versatility and depth of interpretation of this great artist. Too bad Decca is not following EMI's example in re-releasing Tebaldi's great recordings, it would only be fair.

The debate will go on as it always does when it comes to artistic giants. But let it be stated here that as far as sheer beauty of voice, musical intelligence and class Tebaldi will always remain far superior to Callas, no matter how much the critics (or crazed fans) would want you to believe otherwise. Just listen.

This CD is a part of Decca's fabulous "Grandi Voci" series. These albums (Freni, Domingo, Ghiaurov, Del Monaco) tend to quickly disappear from our market, so I suggest you grab this one fast.

This has to be the best Tebaldi-CD around!!! Her golden voice will warm your heart, especially her Desdemona, Wally and Liu. Puccini and Giordano were her best, in short verismo operas at most. Her Maddalena in Andrea Chenier has been recorded often, but the heartbreaking pathos, the honesty and charms she gave this loveable character fades NEVER! I urge you to buy the complete Chenier with her and del Monaco from Tokyo (1961). Absolutely phantastic! Her Desdemona is so lovely, she had me in tears! (And that rarely happens!) If you can find it, buy the complete Manon Lescaut with her and Corelli. (Live) She sounds absolutely incredible. Yeah, above the B she sounds flat occasionally but I can forgive her that easily, she was one of the greatest singers ever. And such a sweet lady, kindness herself!!

Renata Tebaldi was my favorite soprano until Joan Sutherland came along. But that's apples and oranges. What I love about Tebaldi is that she is the complete package. She's got the looks, the acting, the voice and she knew how to use all of them to her best advantage. On top of all that, she has a huge voice, capable of singing Wagner! And may I say she sings it very well also.
I love this cd so much I can't say enough about it. Tebaldi's rendition of "Vissi D'arte" is a classic. She sings it better than anyone, even Leontyne Price. I admit that her "O mio babbino caro" puts me to tears everytime. And I'm a grown man. The "Retorna vincitor" is both powerful and beautiful. Tebaldi sings it like a woman in love rather than a prisoner of war. This can be compare to Price again. However, being a huge Tebaldi fan, I'll take Renata's rendition over Price any day of the week. The favorite of the group is the lovely and tragic "Tu Che Di Gel Sei Cinta". The other Liu aria, "Signore ascolta" is not included. But that's ok because I already have two of those, one from her Liu with Mario Del Monaco(another favorite of mine) and another with Jussi Bjoeling(also a favorite). The diva of the time these days seem to be Callas, whom I don't particularly like, but respect. But I feel that Tebaldi's days will return. Come on, with talent like that, she'll be prima donna assoluta again. I only hope that day comes sooner rather than later.

This word fully characterises my relationship with Renata Tebaldi since the day I bought the edition of La Boheme with her as Mimi and C.Bergonzi as Rodolfo. Tebaldi is the definition of "Grande Voci". As mentioned in other reviews, once heard, this voice cannot be forgotten. No wonder why one of the greatest conductors of all time, A.Toscannini named her voice "the voice of an Angel". For me, Tebaldi is the absolute Puccinian soprano. No other singer has the same moving effect on me. I loved her as Butterfly and Liu, enjoyed her as Minnie and in the roles of Triticco, admired her as the divine Tosca, adored her as Manon and cried with her as Mimi! The good thing with Tebaldi is that she rarely performed roles which did not suit her. This is why most of her recordings are among the best of all times.

On this superb collection, besides her puccini roles, we also hear some other top performances proving how versatile this soprano was (Wally, Desdemona, Adriana, Maddalena, Aida etc) . Although one should own complete opera recordings of Renata Tebaldi this collection is a wonderful introduction to the World of Renata, my most favourite soprano and one of the best of the 20th century.

Now about the Tebaldi - Callas rival: to my oppinion, they are both among the best. Maria Callas is wonderful in roles that demand spectacular high notes such as Lady Mackbeth, Lucia and Norma. I entirely disagree though that she was supreme in everything she has sung. I mainly don't like her in Puccini roles where her theatrical overload often as a compensate for no vocal warmth comes. There is also a myth surrounding this woman. One must admit that it is not because of her performances but because of her life (first fat then attractive, Onassis etc). Fame is not artistry and this should be made clear. People who have heard of her know her, not because she was a sublime Lady Mackbeth or Lucia but because she was a famous woman.

Concluding I admit I am a big Tebaldi fan but admire Maria Callas too. For her voice as well as her skillful understanding of many roles. We are lucky to have them both so let's enjoy them.

Once there was a baseball player named Lou Gehrig. There was no one else even close to being as good as he was, he was the greatest baseball player of all time, save for a guy on his team at the same time called Babe Ruth, who actually WAS the greatest of all time.

To me the same could be said of Renata Tebaldi's career. She was perhaps the greatest singer of the Italian repertoire of her day, but she had to compete against a singer who was a myth even in her own time. Compare the tracks on this CD to those recorded by you-know-who and I believe it is obvious why Ms. Tebaldi is a close second. (Though to me her Mimi and Butterfly are #1)

Take NOTHING. I mean NOTHING, away from Renata Tebaldi. If I had the opportunity I'd give a limb to see her in her prime. No one singing today comes close.

Renata Tebaldi shows how Italian Opera should be sung while her famous rival shows how it CAN be sung. Both are integral to the opera fan's library. But the fact remains Toscanini picked Tebaldi for La Scala's re-opening in 1946 because he had not heard Callas, who hadn't yet come to Italy.

It seems that only every few decades a great voice like that of Renata Tebaldi comes along to completely enrapture the public. Her singing was the best in all aspects of musicality, interpretation, humanity, diction - and she was breathtaking on stage, because she was also very beautiful. This CD belongs in the collection of every opera lover. I highly recommend the purchase.