Customer Reviews

Tosca

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

 

 

This is her first complete recording of Tosca in mono. Recorded in 1951, it shows how perfect this role suits Renata Tebaldi. Even in these early stages of her carreer it was obvious that there would never be another soprano to equal her in this role! This was my first recording of Tebaldi as Tosca since I had difficulties finding the latter, stereo sound with Del Monaco and London. Before Tebaldi I had heard Ricciarelli,
Price, Olivero, Callas, Te Kanawa(!), Caballe (and after Tebaldi also others). They all have their moments but there is always something missing, only Tebaldi offers: The GRAND Tosca personality. I believe it also has to do with Tebaldi's full, strong, spinto voice (not to mention beautiful), perfectly suited to the role. As for drama, listen to her outbreaks in actII. Her entrance in act one, when you hear her calling Mario, Mario from a distance is shocking! If that is not enough, the heavenly yet thrilling "vissi d'arte" will leave you breathless for sure! The mono sound seems incapable of capturing the high powerful notes of Renata (especially in vissi d'arte). It's like there is no more space on disc for such a rich voice! But remember, Tebaldi was most of the times even better in live performances!

The reason of rating this recording with 4 stars is the supportive cast. Campora, sufficient for the smaller role of Pinkerton in the fist Tebaldi-Butterfly, here simply will not do. Yes, he has a few good moments but compared to Di Stefano, Carreras, Domingo, Del Monaco Campora is a big compromise. Enzo Mascherini as Scarpia is in the same boat. Fortunately, there is the sublime Corena which is a plus.

ANY Tebaldi Tosca is a must. She simply is the definition of Tosca. This early mono version is a first proof of it!

This 1951 recording shows Tebaldi at her very best. Her voice is round, warm and has considerable power. Her interpretation is straightforward and breaks no dramatic ground but it's very musical and satisfying. To hear her even in a mono recording is quite a treat. Campora as Cavaradossi is good enough and Enzo Mascherini is an adequate Scarpia, all in all the principals, apart from Tebaldi, are nothing special but they do manage to get through their parts. The bigger disappointment is Alberto Erede's lifeless, inert conducting which keeps this performance solidly earthbound despite Tebaldi's contribution. The sound is in good 1950's mono. This particular edition doesn't have a libretto but it does have track information and a synopsis.