Renata tebaldi 1922 - 2004 sings 3 selected pieces GLORIOUS LIVE SINGING!!!!!!! скачать в хорошем качестве

Renata tebaldi 1922 - 2004 sings 3 selected pieces GLORIOUS LIVE SINGING!!!!!!!

0:00 Pace pace mio dio from Verdi's La forza del destino 6:20 Einsam in truben stunden from Wagner's Lohengrin sung in italian 9:54 V'issi darte from Puccini's Tosca Renata Tebaldi OMRI (US: /təˈbɑːldi/ tə-BAHL-dee,[7] Italian: [reˈnaːta teˈbaldi]; 1 February 1922 – 19 December 2004) was an Italian lirico-spinto soprano popular in the post-war period, and especially prominent as one of the stars of La Scala, San Carlo and, especially, the Metropolitan Opera.[8] Often considered among the great opera singers of the 20th century, she focused primarily on the verismo roles of the lyric and dramatic repertoires.[9][10][11] Italian conductor Arturo Toscanini called her voice "la voce d'angelo" ("the voice of an angel"),[1][2] and La Scala music director Riccardo Muti called her "one of the greatest performers with one of the most extraordinary voices in the field of opera."[5] Early years and education Born in Pesaro,[12] Tebaldi was the daughter of cellist Teobaldo Tebaldi[13] and Giuseppina Barbieri, a nurse.[14]: 13  Her parents separated before her birth and Tebaldi grew up with her mother in her maternal grandparents' home in Langhirano.[15][16] Stricken with polio at the age of three,[17] Tebaldi became interested in music and sang with the church choir in Langhirano.[14]: 32  Her mother sent her, at age 13, for piano lessons with Giuseppina Passani in Parma,[18] who took the initiative that Tebaldi study voice with Italo Brancucci at the Parma Conservatory. She was admitted to the conservatory at 17, where she studied with Brancucci and Ettore Campogalliani.[19] She later transferred to Liceo musicale Rossini in Pesaro, taking lessons with Carmen Melis,[20] and on her suggestion with Giuseppe Pais.[21][22][23] She then studied with Beverley Peck Johnson in New York City.[24] Italian career Tebaldi made her stage debut as Elena in Boito's Mefistofele in Rovigo in 1944. Wartime conditions made for a difficult trip, with Tebaldi partly travelling by horse cart to Rovigo, and her return trip coming under machine-gun fire. Her early career was also marked by a performance in Parma in La bohème, L'amico Fritz and Andrea Chénier. She caused a stir when in 1946 she made her debut as Desdemona in Verdi's Otello alongside Francesco Merli as the title role in Trieste.[25] The Met Tebaldi made her American debut in 1950 as Aida at the San Francisco Opera; her Metropolitan Opera debut took place on 31 January 1955, as Desdemona opposite Mario Del Monaco's Otello.[27][self-published source] For some 20 years she made the Met the focus of her activities. For the 1962-1963 season, she convinced Met director Rudolf Bing to stage a revival of Cilea's Adriana Lecouvreur, an opera Bing said he "detested". Tebaldi was not in top form and cancelled performances; and, as Bing was quoted in 1000 Nights at the Opera, "We had to do the wretched thing without her." However, her Lecouvreur was a practical move for the Met, as she was "the greatest box-office draw since Flagstad", according to Francis Robinson, then assistant manager of ticket sales.[28] Tebaldi however returned triumphantly to the role of Adriana for the opening night of the 1968-69 season. The MET scored a box office record of $126,000. One of the public's favourite Tebaldi roles was Minnie in Puccini's La fanciulla del West of which she sang only five performances in February and March 1970. When she made her debut in the role at the Met, she was told that, as all Minnies do, she would have to enter in the 3rd act on horseback. Tebaldi, who had a lifelong fear of horses, refused to go near the animal until she was sure he was safe. At her first rehearsal, she approached him, patted his mane, and said, "Well, Mr. Horse, I am Tebaldi. You and I are going to be friends, eh?" She conquered her fear and the performances were successful.[29] She sang more at the Met and far less elsewhere. She developed a special rapport with the Met audiences and became known as "Miss Sold Out", as her name on the marquee was considered a performance that could hardly be matched. She sang there some 270 times in La bohème, Madama Butterfly, Tosca, Manon Lescaut, La fanciulla del West, Otello, La forza del destino, Simon Boccanegra, Falstaff, Andrea Chénier, Adriana Lecouvreur, La Gioconda, and as Violetta in a production of La Traviata created specially for her. Puccini's Tosca was her most regular role there, with 45 performances. She was the Leonora in La forza del destino on the night in 1960 when Leonard Warren suddenly died mid-performance; and she was Adriana Lecouvreur on the night Placido Domingo made his Met debut in 1968. She made her last appearance there on 8 January 1973 as Desdemona in Otello; it was the role in which she made her Met debut 18 years earlier, and which had become one of her signature roles.[citation needed]