Renata Tebaldi's World Shattering Vocal Resonance!
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- čas přidán 7. 09. 2024
- Legendary vocalist and supreme opera singer, Renata Tebaldi, with some of her best climaxes and high notes!
Subscription to / @omarsomehow69 is absolutely required if you want to learn more about Renata, for the archive present in that channel is huge, possessing several of Tebaldi's operas in their entirety.
A few corrections: at 5:08 that's a Bb5; 13:12 the pitch of this performance has been altered in the performance I saved, originally it is a Bb5. (feel free to comment and they'll be added to this section).
Also please, stream her work to support the legacy of this legendary vocalist:
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I think that we'll never be able to fully understand how Renata sounded like in a theatre. Callas somewhat possesses the qualities of a pop singer, in the sense that her greatness and the emotions she conveys with her voice are clear also in recordings. Tebaldi's recordings are not enough to understand the perfection of her voice. And I'm saying this because I read so many interviews of her colleagues talking about it. Di Stefano said she had a spectacular voice, Bergonzi said that when she started her carreer people working in the theatre (i.e.: people who have listened to hundreds performances) were shocked when they heard Renata's voice. He even mentioned the early years in Parma, when everyone in the conservatory knew when she had her singing class and they all gathered behind the door to listen to her when she was nobody. And also Renata came from nothing and did it all by herself, so it must have been pure talent. She didn't have a husband or someone who supported her besides her family and her mother's family in Pesaro where she moved to study with Carmen Melis. Renata herself in an interview said that there was favouritism in local Italian theatres, and in her early carreer, during the war or shortly after, when she hadn't even met Toscanini and auditioned for him at La Scala, one time the entire cast of Otello refused to sing if that director didn't pick Renata for the part instead of another singer he was trying to favour. She wasn't just one of the greats, she had something more than anybody else. Too bad I was born way too late to be able to see one of her live performances.
I'm happy you wrote this. I first experienced Tebaldi, del Monaco, and other great proponents of that very golden period of operatic singing in the 60's in required music appreciation class in a public school. It was a time when the arts were fully integrated into a quality education. We were also encouraged to attend live performances as part of school sponsored field trips. Opera became a special experience to many of us as the two teachers were incredibly skilled and enthusiastic. Well, how correct you are. The recordings of those greats such as Tebaldi, Price, Vickers, delMonaco, Bergonzi, Merrill, Tucker and many others in operatic singing was an astonishing experience in live theatre. As teens, we would comment to each other that some technical manipulation must be going on in the theatre for singers to demonstrate such amplitude. Of course, nothing devious was going on, just the demonstration of skillfully trained incredible natural resourses. At a performance of Otello with Tebaldi and Vickers at the Philadelphia Academy of music, the power of their voices seemed to vibrate the structure of the place. It's not to be easily forgotten. And even the more mellow sound of an Adriana Maliponte, Lucine Amara or Robert Merrill, was so enveloping as to seem to blanket one. I write all of this to encourage live performance attendance whenever possible, as, despite fine recording techniques, voices are best demonstrated in live accoustically fine venues. ENJOY!!!
I saw her in Andrea Chenier. Incredible size voice, even singing softly. Audio gets so little of her voice.
Definitivamente; la Tebaldi no era de este planeta. Espectacular voz del s.XX!
Tebaldi’s free voice in the upper segments (and lower) takes you soaring with her into the very soul of the character she inhabits. Her great gift to us. Thank you Renata.
Her, Claudia Muzio, Rosa Ponselle, and Helen Traubel all big sopranos with the golden tone. Renata arguably the most beautiful voice that ever lived.
Add Kirsten Flagstad.
Serafin called her the voice of an angel, so I don't argue with Serafin.
Edit: I meant to say Toscanini called her "Voce d'angelo", he was as the one who conducted her Verdi requiem and best Aida. Thanks for correcting me @80Mrmirko
@@lutandomhlalase4416was Toscanini that called her a Voice of Angel not Serafin
@@80Mrmirko Yes you are right sorry my mistake
@@lutandomhlalase4416 ❤️
La voce del cuore ...la più bella voce umana ...
Brava, Diva!
She was indeed one of the last great spinto sopranos. I think the more correct term to use here would be "squillo".
ABSOLUTELY without compare...so FULL, BRILLIANT, PIERCING YET...ROUND...Open like the HEART s all on display for all to FEEL..SO THRILLINGLY HAIR RAISING!
AMEN!!!
Не придумано ещё слов, чтобы оценить пение и голос Ренаты Тебальди, одно только La Divina! ❤❤❤❤❤
The best ❤
Heard her Gioconda and Desdemona.
Totally impressive.......
Her chest tones were massive.
Ik ben geen kenner , het geluid ,de omvang , alles maar tegelijk is het een heel fragiele stem ,Tebaldi probeerde alles zuiver te houden ,geen lelijke klanken ,voor mij was de dirigent Mitropoulos dan ook de perfecte dirigent voor La Tebaldi,voce D’angelo was dan soms zwaar te dragen , tot 1955 is dit zeker zo, voce D’angelo , daarna was en is de stem nog altijd uniek maar zoals bij alle sopranen,veranderd de stem , maar blijft ongelooflijk en fascinerend
For the C’s you should have added the early ‘Inflammatus’. She was always best with that note in a leap rather than a chromatic approach (cf. ‘Aida’). There are definitely tape speed issues. At the end of her career she lowered ‘Un bel di’ in concerts, but I don’t think she ever raised it!
Un fiume in piena ...un portento...
14:15 Fantastic.
Un fiume d’oro
that her formant frequencies have such a wide spectrum, are so powerful and so consistent is very, very impressive. even in those bad recordings it shows. live her voice must have been enormously loud.
typically, singers like nilsson, flagstad, sutherland and callas are famed for having huge voices.
(callas' voice wasn't naturally large, though. she forced her voice to achieve it. and payed with a shockingly short period of good voice)
but tebaldi certainly does not stand behind.
and isn't that amazing? none of the very few other singers i mentioned could outsing or replace the other.
i love being able to equally but differently admire many voices and not just one.
but this here is about tebaldi. and her voice is glorious.
15:40 shows very well the granitic characteristisc of Tebaldi's high notes, she uses much toraxic resonance in her singing, her high notes are not only from head voice (like Callas or Caballé) but she hits them from below using toraxic resonance and of course mixed with head
That makes no sense physiologically.
I think (and seriously HOPE) he is referring to the chest register mechanism jn which case his argument is totally valid. Tebaldi’s voice was totally “anchored” in her chest voice (the laryngeal mechanism which opens the larynx during phonation) which allowed her to open her high notes so thrillingly. I heard her “live” often and her voice was not only warm, gorgeous, enveloping. It was absolutely TITANIC in the theater. Admittedly it was comfortably tuned to Bb, but her high Bs were always also quite thrilling. Cs were not easy in a voice this size, but she could thrill with those also even late in her career. And she was able to happily retire at age 54 knowing she never emitted a wobbly note from that golden throat!
@@jeffreymiller4814 She was definitely blessed with a voice made of pure gold that I'd kill myself to hear once. But to be this perfect yet face a mid-career crisis that she never recovered from says she was basically singing on the gift of God without proper technique. As early as 1956 critics started to notice some issues like dragging behind the tempo, singing off-pitch, and screaming which isn't less terrible than a wobble. I think even she said later that her teacher Melis gave her an unfinished technique.
@@Distefano5 save yourself from talking nonsense. Tebaldi never screamed, nor in 1950 nor in 1960 and nor in 1970, it was precisely she who became famous for being the first to sing the high notes without shrilling.All the others sopranos before Tebaldi, all shrilled on top
Ghena Dimitrova, Eileen Farrell Zinka Milanov, Maria Caniglia, Gina Cigna they all shrilled on top. Tebaldi always sings "a tempo", always sing in time. Stop writing garbage about Tebaldi DiStefano. Tebaldi had a very good and solid technique , she never harmed her voice which remained beautiful until the end of her career. Tebaldi suffers from a pathological hatred of Maria Callas fans, Tebaldi is "only" case in opera history of a singer who possessed the most perfect and round soprano voice , seamless from top to bottom, and she is the most hated and difamed soprano just because of Maria Callas and her fans. Tebaldi is very intoned singer, much better intuned than Ghena Dimitrova, than Maria Caniglia than Gina Cigna, than Anita Cerquetti, than Elena Souliotis etc etc. Shut your mouth before writing lies and nonsense about Tebaldi . DI STEFANO wretched liar mystifier
@@Distefano5 Cretin, in 1956, 1957 and 1958 Tebaldi's voice was perfection, what you don't have is shame, delinquent. Callas voice was a voice that had no cure from the beginning, Callas corrupts the public and the singing, that's what Beniamino del Fabbro wrote in the Corriere della Sera, Callas is a terrible voice, full of flaws, a ventriloquist's voice, acid, with horrible high notes Callas sings all sharp because she forces her voice, Callas has a very ugly chest voice, a middle tubed and strident high notes, clear in color and frightful
8:45 Naples march 20 , 1958
Can you link please? Cannot find the music peace
@@monolith757 czcams.com/video/k9sRRKNZULE/video.html
1:32
14:54 is a Cflat (Dobemolle)
Un si naturale!
@@alexeyizmirliev64 Do bemolle
@@ginopietracupa4305me la spieghi la differenza tra un do bemolle è un si naturale in tonalità di do maggiore? Domando per un amico