# Round 4: Soprano: Boito: L'atra notte. Freni, De Los Angeles, Tebaldi.



## Seattleoperafan (Mar 24, 2013)

For our last round of contestants I chose some big names who were more or less contemporaries. Freni and DLA were suggested to me and I added Tebaldi as I really love her version. I don't think there are too many Tebaldi lovers in our Callas heavy forum besides me but you never know LOL. BTW, she won't win, but I liked Mas's Tebaldi video better and swapped it out. Google let me down.


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## Seattleoperafan (Mar 24, 2013)

I have a question out of my stupidity as I only know the aria, not the opera. In the Freni version above they show both Freni and Caballe in the opera set. Are there two sopranos in the opera? I could imagine them fighting to sing this great aria LOL.


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## Rogerx (Apr 27, 2018)

Seattleoperafan said:


> I have a question out of my stupidity as I only know the aria, not the opera. In the Freni version above they show both Freni and Caballe in the opera set. Are there two sopranos in the opera? I could imagine them fighting to sing this great aria LOL.


Michele Crider (Elena/Margherita) sings both roles in the Muti recoring.
And yes Freni and Caballe singing in the Decca recording. Like Caballe sung Adalgisa in Sutherlands second Norma .


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> I have a question out of my stupidity as I only know the aria, not the opera. In the Freni version above they show both Freni and Caballe in the opera set. Are there two sopranos in the opera? I could imagine them fighting to sing this great aria LOL.


The other soprano is Helen of Troy. Mefistofele takes Faust back to ancient Greece, where Faust seduces her.


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## Woodduck (Mar 17, 2014)

Victoria de los Angeles is one class act. I was riveted by the beauty of her voice and the sensitivity of her reading. She has a superb musicality and a range of subtle colors that make every moment meaningful with no resort to overemphasis or hamminess. It may be understated, but it's lovely on its own terms.

Of the other ladies, Freni is generic, with nothing special to say and a voice slightly past its prime. Not horrible, not interesting. Tebaldi is much more interesting, but sometimes in questionable ways; she produces some odd, abrupt dynamic spurts that have no musical justification, and her ferocious, tense, flat high notes make me wince. Her exaggerated expressive effects would probably work well in the theater, but sitting here at my desk I feel rather aggressed upon.


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## MAS (Apr 15, 2015)

Hmm. The one whose voice I'd think would be best suited to this aria, Renata Tebaldi, is disqualified because her attempted trill is weak, though it is "pulsed" in the old-fashioned manner discussed in a previous contest, plus her high notes don't quite reach the heights she is attempting. She sings better in this video, and even does a _diminuendo_ on one of her high notes!






While I wouldn't think Mirella Freni well suited to Margherita, she does a credible job of the aria, has decent trills, and is fluid in the passage work, but she is stressed by the higher reaches of the aria and the voice spreads. Still, it sort of fits the situation.

The surprise for me here was Victoria de Los Ángeles, who proved equal to all of the challenges of this aria, though I don't think she has the ideal weight for the music, and I'm really not a fan of hers. Nevertheless, she gets my vote.


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## Tsaraslondon (Nov 7, 2013)

Freni sounds past her best and it feels as if she is falsely darkening a voice that is naturally that of a light soprano. She is hardly recognisable here from the delightful Nanetta and Susanna she once was. 

Tebaldi is better, but she doesn't have a proper trill, which is a serious blot in this aria. As I often feel with Tebaldi, her effects seem applied rather than felt.

De Los Angeles is a different matter altogether and sings one of my favourite versions of this aria. As always she is a wonderfully musical singer. Her top register, which could sometimes sounds a bit strained later in her career, is absolutely fine here and she has lovely trills. Nothing is applied. Everything is felt from within the music. This is great singing. An easy winner for me.


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> The other soprano is Helen of Troy. Mefistofele takes Faust back to ancient Greece, where Faust seduces her.


Caballé sings the smaller role of Helen of Troy on the De Fabritiis recording, but she had already recorded the role of Margherita for EMI under Julius Rudel, with Domingo and Norma Treigle as Faust and Mefistofele. Helen is the less well known Josella Ligi.


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## The Conte (May 31, 2015)

All three of these sopranos had the right weight of voice for this role (at least for part of their careers).

Freni is lovely, but there is very little expression in her version and her fioriture are choppy. I also find her phrasing of the coloratura work on 'vola' lifeless, so not a great performance of the aria. I suggested De los Angeles because I knew her version was superb and relistening here it's as perfect as you could get for this piece.

The surprise is Tebaldi, I haven't heard such darkness in her voice before and she is as dramatic as Muzio. However, is this the young Marguerite who should still have a shred of innocence despite having been to hell and back. This could almost be a tie between De los Angeles and Tebaldi, their interpretations are so different.

Whilst I adore wallowing in the drama of the Muzio, Tebaldi and Olivero versions, I prefer De los Angeles' more authentic performance. Callas is the other singer I like in this aria, but don't ask me to choose between her and Vicky.

N.


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> All three of these sopranos had the right weight of voice for this role (at least for part of their careers).
> 
> Freni is lovely, but there is very little expression in her version and her fioriture are choppy. I also find her phrasing of the coloratura work on 'vola' lifeless, so not a great performance of the aria. I suggested De los Angeles because I knew her version was superb and relistening here it's as perfect as you could get for this piece.
> 
> ...


I forgot it was you who helped me out by suggesting her, but De Los Angeles has proved a winner so far here. Thanks.


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## nina foresti (Mar 11, 2014)

I was pleased to hear such a fine rendering by Tebaldi (not normally one of my faves) and her chest tone was superior. but the emotion was missing -- so important in this aria. 
VDLA was an extreme disappointment to me. I expected more in the emotion department but all I heard was a sad sounding voice without much distinctive quality about it, pretty, but not ear-catching.
Whereas Freni was able to exhibit a desperate but at the same time depressing sound to her voice along with some fine trills and a small but decent chest tone. He high notes were presented cleanly and easily.
It's Freni for me.


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