Renata Tebaldi

Renata Tebaldi faced great physical problems when she contracted polio in age three. Conquering her impairment, she later researched voice in the Arrigo Boito Conservatory in Parma with the fantastic soprano Carmen Melis. Her 1st public appearance arrived in 1944 as Elena in Boito’s Mefistofele in the Teatro Municipale in Rovigo. That same yr she repeated the part in Parma and Venice. Arturo Toscanini noticed her and asked her to take part in the reopening from the Teatro alla Scala in Milan in 1946. She also sang the Verdi Requiem there that yr, in addition to Mimì in La bohème and Eva in Die Meistersinger (in Italian). From 1949 to 1954, she sang regularly at La Scala, but she left bitter emotions regarding Maria Callas, her only competitor as prima donna of the business. During this time period, she also sang frequently in many from the essential opera homes in Italy. She was also noticed in SOUTH USA and was a popular in Buenos Aires and Rio de Janeiro. In 1950, she debuted in the Royal Opera, Covent Backyard in London as Desdemona in Otello with the SAN FRANCISCO BAY AREA Opera as Aida. She was a normal guest in the Lyric Opera of Chicago. In 1955, she produced her Metropolitan Opera debut as Desdemona and continued to be a popular of the brand new York general public for another twenty years. She sang most her essential assignments in NY including Mimì in La bohème, Maddalena in Andrea Chenier, Tosca, Aida, Violetta in La Traviata, Manon in Manon Lescaut, Adriana Lecouvreur, La Gioconda, and Alice Ford in Falstaff. They are exactly the same assignments that she sang at opera homes in Vienna, Berlin, Paris, Barcelona, and Amsterdam. In the first many years of her profession, Tebaldi sang in lots of operas which she had not been to repeat afterwards including Handel’s Giulio Cesare, Rossini’s L’Assedio di Corinto, Verdi’s Giovanna d’Arco, Wagner’s Lohengrin and Tannhäconsumer, Mozart’s Don Giovanni (Donna Elvira), and Spontini’s Olympia and Agnes di Hohenstaufen. Besides her function in opera, Tebaldi made an appearance in recital and in concerts. Her recital applications consisted mainly of Italian music and operatic arias. Over the concert stage, aside from the Verdi Requiem she also sang Mozart’s Requiem, Rossini’s Stabat Mater and Bach’s St. Matthew Interest. Tebaldi’s tone of voice was an extremely effective spinto soprano of great beauty. She could sustain an extended lyric range with little problems and in the first many years of her profession she exhibited great control of florid passages. The intense top quality was lovely when performing softly, but tended to reduce pitch when sung at complete volume. Toscanini regarded as her voice probably one of the most gorgeous within the twentieth hundred years, and early in her profession some critics experienced that she was slighting the crisis. She experienced a vocal problems in the first 1960s, but came back having restudied her tone of voice and added even more dramatic tasks such as for example Gioconda and Minnie in La fanciulla del western to her repertoire and at exactly the same time becoming a even more intense celebrity. She was careful about the tasks she sang and exactly how often she’d sing. Rudolf Bing, supervisor from the Metropolitan Opera can be quoted stating that “Tebaldi offers dimples of metal,” a sentiment echoed by a great many other managers. Her many recordings record the number of repertoire she sang and the fantastic artistry she shown.