# Favorite Tosca?????



## Seattleoperafan (Mar 24, 2013)

Well it goes without saying that Callas was the most famous Tosca. Other than the great Maria, who are your favorite sopranos to sing this iconic role. I one time heard someone play me an early Tebaldi when she could sing all those high C's perfectly and it was sensational. I tried to locate that recording but what I purchased was a disappointment. Milanov was great in the role. There was a gorgeous blond American Carol Netblett I heard from the radio on a Met rebroadcast who was amazing and it must have been exciting to see such a looker in the role. Speaking of lookers, Verrett was really wonderful in the role as well. I also loved the English recording with Jane Eaglen. Nilsson would have likely have been great live and she sang it tons, but I don't like her recording.


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## schigolch (Jun 26, 2011)

Try this, and see if you like it:


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## DavidA (Dec 14, 2012)

Seattleoperafan said:


> Well it goes without saying that Callas was the most famous Tosca. Other than the great Maria, who are your favorite sopranos to sing this iconic role. I one time heard someone play me an early Tebaldi when she could sing all those high C's perfectly and it was sensational. I tried to locate that recording but what I purchased was a disappointment. Milanov was great in the role. There was a gorgeous blond American *Carol Netblett* I heard from the radio on a Met rebroadcast who was amazing and it must have been exciting to see such a looker in the role. Speaking of lookers, Verrett was really wonderful in the role as well. I also loved the English recording with Jane Eaglen. Nilsson would have likely have been great live and she sang it tons, but I don't like her recording.


Neblett had a pretty short career sadly. If Eaglen had leapt from the battlements there would have been an earthquake!


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## hpowders (Dec 23, 2013)

Yes. The choice is a no-brainer.

Callas, Di Stefano, Gobbi with De Sabata conducting.

Never equalled!


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## BalalaikaBoy (Sep 25, 2014)

hpowders said:


> Yes. The choice is a no-brainer.
> 
> Callas, Di Stefano, Gobbi with De Sabata conducting.
> 
> Never equalled!


sometimes performances are popular because they really are the best. this is one such example.


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## DavidA (Dec 14, 2012)

BalalaikaBoy said:


> sometimes performances are popular because they really are the best. this is one such example.


It is the best but there are other very good performances like ~Karajan 1 and Pappano


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## hpowders (Dec 23, 2013)

BalalaikaBoy said:


> sometimes performances are popular because they really are the best. this is one such example.


Yes. I've never heard intensity like in this performance. Callas gives 150%!! Amazing performance!

And Gobbi's malevolence as Scarpia can only be equalled by, well, Gobbi!


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## SixFootScowl (Oct 17, 2011)

schigolch said:


> Try this, and see if you like it:


I have that one and it is my favorite complete Tosca on DVD. I also have Behrens and it is pretty good too. But Callas really nails it (and Scarpia :lol in her Act II video. What were they thinking in not filming the whole opera with her?


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## DarkAngel (Aug 11, 2010)

Besides Callas we have many truly great Tosca performances, I could list 3-4 live Tebaldi 1950s Toscas that rise to that level with superb male casts, if you can find a good price for 56 MET Mitropoulos that is a great one (MET radio broadcast) and several years later just recently released is 62 MET Price in prime voice with Corelli in smashing form also from radio broadcast (praise the opera gods for MET Radio that started back in early 1930s)

I have the 56 Mitropoulos in an "arsvocalis" custom CD remaster from vinyl source that is just amazing......


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## DarkAngel (Aug 11, 2010)

The 55 ROH debut of Tosca by Tebaldi is captured live here, highly praised at the time:










July 2011
"Tebaldi's voice is remarkably fresh and secure, with all five high Cs in place and offering no problems, the registers perfectly knit and the sound grand, beautiful and womanly...Gobbi, is, of course, sui generis. From his opening, snarling statement in church, through his lascivious, sneering 'Ebbene' and disgusting 'Tosca, finalmente mia' and even beyond, he terrifies."


SOF wants this me thinks :angel:



> Well it goes without saying that Callas was the most famous Tosca. Other than the great Maria, who are your favorite sopranos to sing this iconic role. *I one time heard someone play me an early Tebaldi when she could sing all those high C's perfectly and it was sensational. I tried to locate that recording but what I purchased was a disappointment*.


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## Barbebleu (May 17, 2015)

DarkAngel said:


> The 55 ROH debut of Tosca by Tebaldi is captured live here, highly praised at the time:
> 
> 
> 
> ...


DA, do you know what date in June this recording was made. Opera depot have one from 30th June 1955 but I don't know if that was the first night or not.


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## DarkAngel (Aug 11, 2010)

That BBC CD is also from June 30 1955 performance..........

Barbie the bargain hunter comes through with good advice! There is another noteworthy 58 Tebaldi Tosca at opera depot with Bastianini's only Scarpia recording I believe....a shame he does a great job in a role that was made for his talents

















The patient buyer will fill his buy basket and wait for the 50% sale that always comes eventually 

(I predict an end of year complete catalog celebration sale.......)


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## Seattleoperafan (Mar 24, 2013)

Who was the Tosca who bounced back up when she jumped off the parapet?


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## Barbebleu (May 17, 2015)

DarkAngel said:


> That BBC CD is also from June 30 1955 performance..........
> 
> Barbie the bargain hunter comes through with good advice! There is another noteworthy 58 Tebaldi Tosca at opera depot with Bastianini's only Scarpia recording I believe....a shame he does a great job in a role that was made for talents
> 
> ...


I will probably succumb to temptation and download this later today!


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## SixFootScowl (Oct 17, 2011)

Seattleoperafan said:


> Who was the Tosca who bounced back up when she jumped off the parapet?


I read about that. They had a trampoline behind the parapet and the audience saw her body bounce back in the air. :lol:


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## DarkAngel (Aug 11, 2010)

Seattleoperafan said:


> Who was the Tosca who bounced back up when she jumped off the parapet?







Don't they rehearse these things ahead of time anymore.....................:lol:

She roughly rolls her beloved Mario over like a sack of potatoes

*Tosca - Natalia Ushakova*


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## Pugg (Aug 8, 2014)

​
Hands down winner: Karajan / Price

DVD : Catherine Malfitano/ Domingo on location .


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## Seattleoperafan (Mar 24, 2013)

Pugg said:


> ​
> Hands down winner: Karajan / Price
> 
> DVD : Catherine Malfitano/ Domingo on location .


The interesting thing is Price did not sing Tosca much live. She didn't have enough heft for those high C's in the Scarpia scene most likely.


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## Pugg (Aug 8, 2014)

Seattleoperafan said:


> The interesting thing is Price did not sing Tosca much live. She didn't have enough heft for those high C's in the Scarpia scene most likely.


But the recording sounds to me as a match made in heaven.


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## Sloe (May 9, 2014)

DarkAngel said:


> Don't they rehearse these things ahead of time anymore.....................:lol:
> 
> She roughly rolls her beloved Mario over like a sack of potatoes
> 
> *Tosca - Natalia Ushakova*


It didn´t looked so bad should she jump to her death for real instead?


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## Seattleoperafan (Mar 24, 2013)

Pugg said:


> But the recording sounds to me as a match made in heaven.


She had a beautiful voice and was from my home state of Mississippi.


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## SixFootScowl (Oct 17, 2011)

deleted this double post for a editing mistake hitting the reply button when I meant the edit button, so....


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## SixFootScowl (Oct 17, 2011)

Sloe said:


> It didn´t looked so bad should she jump to her death for real instead?


That would be more realistic, and a way for opera singers to exit their career without going through the loss of vocal abilities etc.! :lol: But at least set the trampoline about 4 feet lower than they did (or the parapet wall 4 feet higher).


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## Sloe (May 9, 2014)

Florestan said:


> That would be more realistic! :lol: But at least set the trampoline about 4 feet lower than they did (or the parapet wall 4 feet higher).


That would still be risk of injury.


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## DarkAngel (Aug 11, 2010)

Florestan said:


> That would be more realistic, and a way for opera singers to exit their career without going through the loss of vocal abilities etc.! :lol: But at least set the trampoline about 4 feet lower than they did (or the parapet wall 4 feet higher).


The video camera angle was very high for that final leap, ground level opera seats and orchestra may not have seen anything wrong but upper level seating got to see the *"bounce back" Tosca in action *


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## nina foresti (Mar 11, 2014)

Magda Olivero, of course!!!!!!!!!


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## Sloe (May 9, 2014)

DarkAngel said:


> The video camera angle was very high for that final leap, ground level opera seats and orchestra may not have seen anything wrong but upper level seating got to see the *"bounce back" Tosca in action *


If people can tolerate people in their fifties playing teenagers they can accept a bouncing Tosca.


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## Tuoksu (Sep 3, 2015)

schigolch said:


> Try this, and see if you like it:


"Tosca of the past was Maria Callas. Tosca of our time is Raina Kabaivanska."
Luciano Pavarotti


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## DarkAngel (Aug 11, 2010)

Tuoksu said:


> "Tosca of the past was Maria Callas. *Tosca of our time is Raina Kabaivanska."
> Luciano Pavarotti*


Luciano how could you break my heart singing the praises of another, sigh................


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## Pugg (Aug 8, 2014)

DarkAngel said:


> Luciano how could you break my heart singing the praises of another, sigh................


They: Kabaivanska and Pavarotti did recorded it together, I do think poster means that one.


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## DarkAngel (Aug 11, 2010)

DarkAngel said:


> The 55 ROH debut of Tosca by Tebaldi is captured live here, highly praised at the time:
> 
> 
> 
> ...












If you want the very best sound available get the Pristine XR, but it will be another month or so till the new website is available


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## silentio (Nov 10, 2014)

^I do think Tebaldi's Covent Garden Tosca is her greatest vocally and musically. Indeed, Tebaldi reached her peak around 1955. After that, though the beauty of the voice was unchanged, she sounded "heavier" and uneasy on the top notes (almost screaming).


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## DarkAngel (Aug 11, 2010)

silentio said:


> ^I do think Tebaldi's Covent Garden Tosca is her greatest vocally and musically. Indeed, Tebaldi reached her peak around 1955. After that, though the beauty of the voice was unchanged, she sounded "heavier" and uneasy on the top notes (almost screaming).


I was listening to both of these recently and it is very hard to pick the absolute favorite version, the sound for 56 Mitropoulos is better than 55 ICA label ROH, plus it is great price now at Amazon USA sellers $6.50


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## DavidA (Dec 14, 2012)

DarkAngel said:


> Don't they rehearse these things ahead of time anymore.....................:lol:
> 
> She roughly rolls her beloved Mario over like a sack of potatoes
> 
> *Tosca - Natalia Ushakova*


Like a couple of hundredweight of potatoes! Note that Mario didn't have a bullet mark on him! :lol:


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## Bonetan (Dec 22, 2016)

Which is the best production of Tosca on DVD/Bu-ray in your opinions? (not film version)


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## Pugg (Aug 8, 2014)

Bonetan said:


> Which is the best production of Tosca on DVD/Bu-ray in your opinions? (not film version)


In order of preference:

http://www.prestoclassical.co.uk/r/EMI/4040639
Recorded at the R.O.H

http://www.prestoclassical.co.uk/r/DG/0734100
Recorded at the Met.

http://www.prestoclassical.co.uk/r/Decca/0743420
Modern staging but Kaufmann is on fire.


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## Bonetan (Dec 22, 2016)

Thanks a lot Pugg!


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## nbestreviews (Feb 21, 2020)

Does it actually happen to trampoline? It was funny.


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## DavidA (Dec 14, 2012)

DarkAngel said:


> Luciano how could you break my heart singing the praises of another, sigh................


I believe this cast was to have been for Karajan. Just what genius decided the routine Rescigno should conduct this cast is beyond me.


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## DavidA (Dec 14, 2012)

Of those I have:









The classic performance according to nearly everyone









The sad remake with a routine conductor and faded stars









Karajan / Culshaw special - and how!









Killed by a slack conductor. Pity no-one at Decca was awake to inform Karajan to be ready









Generally not so well regarded as Karajan 1 but pretty good all the same


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## DavidA (Dec 14, 2012)

Absolutely electrifying performance









The best DVD. Pity about Bryn's hippy looks though.


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## Rogerx (Apr 27, 2018)

> Does it actually happen to trampoline? It was funny.


https://www.ualrpublicradio.org/post/dame-eva-turner-and-trampoline-incident


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## Rogerx (Apr 27, 2018)

DavidA said:


> Of those I have:
> 
> View attachment 130619
> 
> ...


Unbeatable .........................


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## Rogerx (Apr 27, 2018)

DavidA said:


> View attachment 130622
> 
> 
> Absolutely electrifying performance
> ...


The first one is actualy a soundtrack.
I will stick with The R.O.H production .


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## The Conte (May 31, 2015)

It's fascinating how this thread has evolved over time. The OP asks for people's favourite singer in the role of Tosca _other than_ Callas and now it has become a 'best Tosca on DVD' thread. (That isn't necessarily a bad thing.)

My favourite other than Callas in the role is without doubt Magda Olivero and fortunately there is a film of her in the role:









This comes with a second DVD of bonus material and so is a great buy. I also have the soundtrack which has been issued on CD and is Olivero's best Tosca soundwise (although there are a number of live performances where she is even more dramatic/wild/over the top (delete according to your own personal taste), but in worse sound quality).

When it comes to the best live performance on DVD of the complete opera, then I would also go with the ROH live performance:









Finally, the film from Rome has to be mentioned as it preserves what was a unique event that has been copied, but only with mediocre results.









I also like the recordings with Price (although she comes very far behind Callas and Olivero in the role for me). The famous Karajan is justly recommended (it's full of drama), but I perhaps prefer the live one from the Met with Corelli.

N.


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## The Conte (May 31, 2015)

DavidA said:


> Of those I have:
> 
> View attachment 130617
> 
> ...


I'm intrigued by your comments about some of the recordings here, since it would seem that you have a low opinion of two of them, why keep Callas II and the Freni/Pavarotti? I think Callas' second recording is greatly undervalued, although the live recording from the ROH from the same year is better than the studio version, also has Gobbi in and is in very good sound for a live audio document:









I would also suggest getting the Price/Corelli live from the Met too (you'll have room if you ditch the turkeys from your collection!) :devil:

N.


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## DavidA (Dec 14, 2012)

The Conte said:


> I'm intrigued by your comments about some of the recordings here, since it would seem that you have a low opinion of two of them, why keep Callas II and the Freni/Pavarotti? I think Callas' second recording is greatly undervalued, although the live recording from the ROH from the same year is better than the studio version, also has Gobbi in and is in very good sound for a live audio document:
> 
> View attachment 130644
> 
> ...


The two turkeys actually came in boxed sets which I acquired. I was keen to see whether Callas's second Tosca was as bad as feared and the problem is that nowhere does it match the earlier one. Just shows singers in decline with a routine conductor. Just shows how Callas needed her stage presence at this stage in her career.


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## SixFootScowl (Oct 17, 2011)

My favorites on CD:


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## wkasimer (Jun 5, 2017)

Callas/de Sabata is a pretty obvious choice - not that it's a bad one!

There are a couple of others I enjoy. This one, conducted by Rostropovich, features an absolutely first-class Scarpia and a real diva Tosca, with Bonisolli on his best behavior:









There's also a live, Russian language version with Vishneskaya and the late Virgilius Noreika (a terrific singer who deserves greater reknown) from the Bolshoi.

And while this one may lack the dramatic intensity of Callas/de Sabata, it's very well sung, particularly Carreras' Cavaradossi:


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## MAS (Apr 15, 2015)

Of course, the famous De Sabata with Callas, Di Stefano, Gobbi
But also this with Callas, Corelli, Gobbi






It's available on CD


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## DarkAngel (Aug 11, 2010)

DarkAngel said:


> The 55 ROH debut of Tosca by Tebaldi is captured live here, highly praised at the time:
> 
> 
> 
> ...


Pristine XR now has the best sound for this Tosca, Rose was able to source acetate discs of FM radio broadcast that night, Renata has a warm radiant pure tone, this night she reaches for the stars and sweeps us away with great male cast.......

https://www.pristineclassical.com/pr...b6202835&_ss=r


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## Forsooth (Apr 17, 2018)

How could I find out the occasions (and some of the details) on which Tosca was presented on the Metropolitan Opera broadcast? Just a website would be fine if a list exists. I searched, but was not successful. Thanks!


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## Rogerx (Apr 27, 2018)

Forsooth said:


> How could I find out the occasions (and some of the details) on which Tosca was presented on the Metropolitan Opera broadcast? Just a website would be fine if a list exists. I searched, but was not successful. Thanks!


They do have a archive

https://www.metopera.org/discover/archives/


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## Forsooth (Apr 17, 2018)

Rogerx said:


> They do have a archive
> https://www.metopera.org/discover/archives/


:tiphat: That'll do it. Thanks!


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## adriesba (Dec 30, 2019)

OK, so, I know I'm not familiar with many _Tosca_ recordings, ... but am I the only one who likes the Decca recording conducted by Maazel?


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## nbestreviews (Feb 21, 2020)

Is there really a trampoline there? I have a 12ft trampolines and I think I should try it hhhh


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## Rogerx (Apr 27, 2018)

adriesba said:


> OK, so, I know I'm not familiar with many _Tosca_ recordings, ... but am I the only one who likes the Decca recording conducted by Maazel?


It seem that way , but do you care, if you like it, its enough.


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## adriesba (Dec 30, 2019)

Rogerx said:


> It seem that way , but do you care, if you like it, its enough.


I don't mind. I quite like the Decca Maazel recording. From people's opinions I have read online, it seems that Dietrich Fischer-Dieskau's performance is rather divisive. I can see why people don't like his performance. He doesn't have the the polished performance that other baritones may have, but his characterization is excellent. He really makes the character come across as the lustful villain he is. From listening to samples of other performances, it just doesn't seem like many other baritones give such characterization. Nilsson gives nothing less than a superb performance as usual. She is able to be sympathized with when needed, but what she excels in is coming across as a force not to be underestimated which is the type of characterization that she is best at. Corelli is also excellent. His lisping is noticeable and somewhat bothered me at first, but after listening a few times, I don't really pay attention to it. Since Corelli is such a good singer otherwise, his lisping is rather negligible to the point that I sort of feel it is not worth mentioning. The other singers are ones that I don't think I recognize, but they all do well. The sound quality is really good as well. The sound effects were well done and add to the performance marvelously. I typically like Maazel's conducting, and I do like it here. All in all, I think it is a solid performance. I can see why people wouldn't like Fischer-Dieskau's singing, but for me it works, quite well actually.

The classic performance with Callas, Gobbi, and Stefano I'm sure is good, but I just have a hard time getting past the sound quality.


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## adriesba (Dec 30, 2019)

^ I said Del-Monaco at first. 
Sorry, I'm tired today.:lol:
Or maybe I just can't keep the earlier singers straight in my mind to begin with.


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> The classic performance with Callas, Gobbi, and Stefano I'm sure is good, but I just have a hard time getting past the sound quality.


Personally I think the sound is pretty amazing for a mono recording from 1953. It's particularly good in the most recent Warner transfer and a good deal better than the botched EMI Great Recordings of the Century issue.

In any case, the performance quite outclasses most of its rivals.


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## SixFootScowl (Oct 17, 2011)

adriesba said:


> OK, so, I know I'm not familiar with many _Tosca_ recordings, ... but am I the only one who likes the Decca recording conducted by Maazel?


I have never heard it. Probably would like it though.


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## adriesba (Dec 30, 2019)

SixFootScowl said:


> I have never heard it. Probably would like it though.


I assume most people would enjoy Nilsson and Corelli in the performance (maybe I'm wrong :lol, but from what I've seen people say on the internet, Fischer-Dieskau's performance seems to be either loved or hated.


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## SixFootScowl (Oct 17, 2011)

adriesba said:


> I assume most people would enjoy Nilsson and Corelli in the performance (maybe I'm wrong :lol, but from what I've seen people say on the internet, Fischer-Dieskau's performance seems to be either loved or hated.


For some reason, not everybody likes Fischer-Dieskau.


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## Rogerx (Apr 27, 2018)

adriesba said:


> I don't mind. I quite like the Decca Maazel recording. From people's opinions I have read online, it seems that Dietrich Fischer-Dieskau's performance is rather divisive. I can see why people don't like his performance. He doesn't have the the polished performance that other baritones may have, but his characterization is excellent. He really makes the character come across as the lustful villain he is. From listening to samples of other performances, it just doesn't seem like many other baritones give such characterization. Nilsson gives nothing less than a superb performance as usual. She is able to be sympathized with when needed, but what she excels in is coming across as a force not to be underestimated which is the type of characterization that she is best at. Corelli is also excellent. His lisping is noticeable and somewhat bothered me at first, but after listening a few times, I don't really pay attention to it. Since Corelli is such a good singer otherwise, his lisping is rather negligible to the point that I sort of feel it is not worth mentioning. The other singers are ones that I don't think I recognize, but they all do well. The sound quality is really good as well. The sound effects were well done and add to the performance marvelously. I typically like Maazel's conducting, and I do like it here. All in all, I think it is a solid performance. I can see why people wouldn't like Fischer-Dieskau's singing, but for me it works, quite well actually.
> 
> The classic performance with Callas, Gobbi, and Stefano I'm sure is good, but I just have a hard time getting past the sound quality.


I always have the feeling that this recording was made, just to be made. They( Decca, ) thought what have some cash some singers and let's do it. 
If you get what I mean.


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## MAS (Apr 15, 2015)

Rogerx said:


> I always have the feeling that this recording was made, just to be made. They( Decca, ) thought what have some cash some singers and let's do it.
> If you get what I mean.


It's possible that Nilsson put the pressure on Decca to record some Italian opera...


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## Rogerx (Apr 27, 2018)

MAS said:


> It's possible that Nilsson put the pressure on Decca to record some Italian opera...


Perhaps, yes, could also have been D-F-F , he did Traviata along with wth Lorengar /Aragall and of course Macbeth with Souliotis.


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## MAS (Apr 15, 2015)

Rogerx said:


> Perhaps, yes, could also have been D-F-F , he did Traviata along with wth Lorengar /Aragall and of course Macbeth with Souliotis.


I love the Lorengar/Aragall Traviata! Methinks Nilsson had it in her contract to record other that just Wagner.


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## Rogerx (Apr 27, 2018)

MAS said:


> I love the Lorengar/Aragall Traviata! Methinks Nilsson had it in her contract to record other that just Wagner.


Me too, without # 
Lorengar is so underrated, but let's not go there, its about Tosca, sorry O.P


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## The Conte (May 31, 2015)

Rogerx said:


> I always have the feeling that this recording was made, just to be made. They( Decca, ) thought what have some cash some singers and let's do it.
> If you get what I mean.


I've only listened to the recording twice, but that is the impression it gives me. Other than Corelli, who seems to be singing into the void, I find it decidedly routine. The centrepiece of the entire opera is the act two confrontation between Tosca and Scarpia (I nearly typed Callas and Gobbi!) and you can get away with a weak Cavaradossi. It's obvious that the role doesn't suit Nilsson and she has to keep her voice in check, which means she sounds either hysterical or bored, whilst DFD's subtle take on Scarpia might have worked with a different cast and conductor, he is out of place here (and he's not the sort of dramatic baritone with resonant low tones that the part absolutely needs).

The recording therefore feels like an inversion: strong Cavaradossi and weak central pair. However, it's the conducting that makes this mediocre IMO. Maazel hones in on details whilst ignoring the architectural sweep of the whole, but most importantly it lacks fizz, buzz and drama.

N.


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## Diminuendo (May 5, 2015)

Tsaraslondon said:


> Personally I think the sound is pretty amazing for a mono recording from 1953. It's particularly good in the most recent Warner transfer and a good deal better than the botched EMI Great Recordings of the Century issue.
> 
> In any case, the performance quite outclasses most of its rivals.


If I remember correctly it won an award for sound at the time. De Sabata and his perfectionism with microphone and instrument placement really paid off. I think that most people who normally don't like mono, will be pretty happy with it. And the performances alone, make it a must listen at least once.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I've only listened to the recording twice, but that is the impression it gives me. Other than Corelli, who seems to be singing into the void, I find it decidedly routine. The centrepiece of the entire opera is the act two confrontation between Tosca and Scarpia (I nearly typed Callas and Gobbi!) and you can get away with a weak Cavaradossi. It's obvious that the role doesn't suit Nilsson and she has to keep her voice in check, which means she sounds either hysterical or bored, whilst DFD's subtle take on Scarpia might have worked with a different cast and conductor, he is out of place here (and he's not the sort of dramatic baritone with resonant low tones that the part absolutely needs).
> 
> The recording therefore feels like an inversion: strong Cavaradossi and weak central pair. However, it's the conducting that makes this mediocre IMO. Maazel hones in on details whilst ignoring the architectural sweep of the whole, but most importantly it lacks fizz, buzz and drama.
> 
> N.


Another one that always seemed like production line opera was the Solti with Te Kanawa, Aragall and Nucci. Decca released it with a fanfare of publicity, but it never sold. I was working at Music Discount Centre in the Strand, I remember, and we had ordered in an enormous quantity of the records on a sale or return basis, with Decca coming in to do an enormous display. Unfortunately most of the sets were sent back and it was deleted and remaindered fairly quickly.


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## vivalagentenuova (Jun 11, 2019)

adriesba said:


> I don't mind. I quite like the Decca Maazel recording. From people's opinions I have read online, it seems that Dietrich Fischer-Dieskau's performance is rather divisive. I can see why people don't like his performance. He doesn't have the the polished performance that other baritones may have, but his characterization is excellent. He really makes the character come across as the lustful villain he is. From listening to samples of other performances, it just doesn't seem like many other baritones give such characterization. Nilsson gives nothing less than a superb performance as usual. She is able to be sympathized with when needed, but what she excels in is coming across as a force not to be underestimated which is the type of characterization that she is best at. Corelli is also excellent. His lisping is noticeable and somewhat bothered me at first, but after listening a few times, I don't really pay attention to it. Since Corelli is such a good singer otherwise, his lisping is rather negligible to the point that I sort of feel it is not worth mentioning. The other singers are ones that I don't think I recognize, but they all do well. The sound quality is really good as well. The sound effects were well done and add to the performance marvelously. I typically like Maazel's conducting, and I do like it here. All in all, I think it is a solid performance. I can see why people wouldn't like Fischer-Dieskau's singing, but for me it works, quite well actually.
> 
> The classic performance with Callas, Gobbi, and Stefano I'm sure is good, but I just have a hard time getting past the sound quality.


Nilsson and Corelli are indeed great. But I often don't hear what people call characterization as characterization. In this case, all I hear is what sound like a small voiced singer trying not to be smothered by the others and the orchestra. That's not how I want my Scarpia to sound at all. Are there any specific moments in DFD's performance that you find particularly characterful?


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## vivalagentenuova (Jun 11, 2019)

A great Scarpia. He kind of sounds like Sherril Milnes is he were good.


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## DavidA (Dec 14, 2012)

SixFootScowl said:


>


Used to have the Levine Tosca on cassette. Certainly a very good performance even if Bruson not quite nasty enough. Scotto good. Domingo excellent


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## adriesba (Dec 30, 2019)

vivalagentenuova said:


> Nilsson and Corelli are indeed great. But I often don't hear what people call characterization as characterization. In this case, all I hear is what sound like a small voiced singer trying not to be smothered by the others and the orchestra. That's not how I want my Scarpia to sound at all. Are there any specific moments in DFD's performance that you find particularly characterful?


I thought he was particularly expressive at the end of Act I during the Te Deum and also throughout Act II, especially while Mario is in the torture chamber and while attempting to bribe Tosca.


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## Ofekaaa (Mar 7, 2020)

I feel obligated to introduce to you another and heartbreaking live recording- give it a try:
Tebaldi, Corelli from Livorno - 1959.


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## Rogerx (Apr 27, 2018)

Ofekaaa said:


> I feel obligated to introduce to you another and heartbreaking live recording- give it a try:
> Tebaldi, Corelli from Livorno - 1959.


Is this a recording or You Tube?


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## Ofekaaa (Mar 7, 2020)

Rogerx said:


> Is this a recording or You Tube?


A Live recording.


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