Tosca

Puccini (Artist), Tebaldi (Artist), Monaco (Artist), Pradelli (Artist) | Format: Audio CD

Product Details

• Audio CD (August 9, 1991)
• Number of Discs: 2
• Label: Polygram Records
• ASIN: B0000041PG
• In-Print Editions: MP3 Download
• Average Customer Review: 4.4 out of 5 stars  See all reviews (11 customer reviews)
• Amazon Best Sellers Rank: #266,038 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

19 of 19 people found the following review helpful:

5.0 out of 5 stars The Grandest Grand Opera Tosca..., May 28, 2002

By 

Rachel Howard (ocklawaha, Florida United States) - See all my reviews

This review is from: Tosca (Audio CD)

Is there a version of this dramatic score out there sung by a more sumptuous trio of stars? And even the Sacristan here is sung by Fernando Corena, a rich voiced bass in his own right. Tebaldi has the right mixture of flame and beauty to bring this role alive for me. Her voice sizzles with emotion, whether it's love for Mario Cavaradossi, jealousy for Atavanti, or hatred for Scarpia. This is a role meant for grand effects. Think about it! Tosca causes the deaths of all the main characters, plus Angelotti! Angelotti dies first, after she betrays his location. Then, she kills Scarpia directly, stabbing him to death. I admit he deserves it, but still! Then Mario dies, also a victim of her treacherous jealousy. `Tosca buon falco!' says Scarpia at the start of Act 2. Tosca is the falcon that hunts down his prey. She does his work for him. Then she kills herself when she's caught by Scarpia's officers. And this all in one day! I do have sympathy for her plight, which makes me able to understand her up to a point. What counts here is how much Mario loves her. Their music together sizzles with passion and love. What Tebaldi and Del Monaco do in the Act 1 love duet is worth the price of the entire set.

Mario del Monaco's only vocal rival in Tosca, that I can think of, is Franco Corelli. (We are talking about size, passion, and richness of voice here. Di Stefano and Bjorling are two of my favorite Cavaradossi's, but both of them together wouldn't be a patch on del Monaco's giant instrument. Lyrically, they are superior.) The role abounds with many grand emotional opportunities, and you'd better believe del Monaco takes full advantage of them. His shout of hatred for Scarpia, when talking with Angelotti, makes me fear for Scarpia's life, villain though
he is. Del Monaco sings with vocal variety here, getting into the role of Mario Cavaradossi like a great matador, putting on his suit of lights. This is a masterful interpretation, brimming with humanity and passion.

And speaking of passion... and INHUMANITY- there is Vitellio Scarpia, here brought to frightening life by George London, in his pantherish prime. All the suave elegance is here, as well as the oily hypocrisy, and the sheer, brutal dominating power of a man who holds an entire city in an iron grip. This is not a Scarpia where you wonder WHY Rome feared him. Listen to the times when Scarpia loses his temper- this happens many times(Scarpia is not a patient man!)- and KNOW why. George London not only was loud- of all the complete recorded Scarpias, I think Cesare Bardelli is the only serious rival- his brutality is sharply conveyed, straight into the listener's soul. In those moments, London's voice is the thunderous crack of a bullwhip. And yet... there is the unctuous concern for Tosca, when he fans the flames of her jealousy. (Forgive the pun! I could not help myself!) To my ears, these people, Angelotti and the Sacristan included- are not playing their parts- they ARE these characters.

As for the conducting, the orchestra, and the choral work-for me, Molinari-Pradelli does a masterful job. I cannot understand why this version is not rated higher by many more opera fans. This performance sizzles. As I said, EVERYONE here seems to be into their characters.

The sound is lush; rich and powerful, but crystal clear. As is usual, Decca's technicians did themselves proud. If you love Maria Callas' masterful Tosca, especially in the legendary De Sabata recording, with the great Tito Gobbi and Giuseppi di Stefano, then this recording is also well worth the money and the time. Extremely well worth it!

15 of 17 people found the following review helpful:

5.0 out of 5 stars One of the most "Theatrical" of all opera recordings!, October 27, 1998

By 

Andrew Parks (Beaux Arts, WA USA) - See all my reviews
(REAL NAME)   

This review is from: Tosca (Audio CD)

If one does not own a recording of TOSCA, one should run out and buy this one. Tebaldi, Del Monaco, and London are in fine voice. The Rome Orchestra and Chorus captures the dramatic fire of this wonderfully emotional score. In fact, the entire ensemble presents a thoroughly Theatrical experience for the listener. You feel as if you are in the heart of Rome experiencing the grandeur of the music first hand. It is especially nice to hear London's clarion "heldenbass" carry the day during the "Te Deum", a moment when lesser baritones usually give up! A listener believes that Del Monaco's Cavaradossi loves Tosca passionately while singing "Recondita Armonia!" Tebaldi is La Divina! Go out and get this recording!!

9 of 10 people found the following review helpful:

5.0 out of 5 stars The best studio Tosca for me!!!!, December 20, 2001

By 

Armindo (Greece) - See all my reviews

This review is from: Tosca (Audio CD)

This 1959 recording is Renata Tebaldi's second complete studio Tosca. Her second encounter with the role once again proves how much this role suits her. The grand interpretation and singing have and shall never be equaled. The Athens opera Tosca brochure, after comparing all sopranos who have performed this role concluded that Tebaldi was the greatest, grandest and most decent Tosca ever heard. I couldn't agree more with them. I have heard most of the famous ones (Price, Callas Caballe, Olivero etc.) but only Tebaldi made me feel the magic of Puccini in this opera. Of all her Puccini roles (if not of all her roles in general) I think Tosca was her greatest! Her first Tosca has equally, yet alternatively, great interpretation (Tebaldi's first act entrance and Scarpia's death scene always excite me!). By `59 she deepened it but had less of the unbelievable vocal caliber and beauty displayed in the earlier Tosca (truly it's something every opera fan deserves to experience, listen to "vissi d'arte"). I prefer this `59 one because of the stereo sound and supportive cast.

Del Monaco makes a heroic, powerful and exciting Mario, if not lyrical enough for some Puccinian moments. Many will prefer listening to Di Stefano, Carreras or Domingo. However, I love the Italian fire that comes out of the Tebaldi-Del Monaco duets. Being Italian, their pronunciation always makes the operatic experience a marvel! London, though underrated, is certainly not a less memorable Scarpia than the famous Gobbi. The Tosca-Scarpia moments are great! We should have had a better maestro than Molinari-Prandelli but still the result is sublime!

There certainly exist more popular recordings with great singers but to me the Toscas there are compromises when compared to Tebaldi. Still, Price and Milanov are great but for me Tosca means Tebaldi. Any true opera fan should own her Tosca. She is best in live recordings (try the one here on amazon!) but this studio is a gem too!