# Best singer of (insert famous aria here)



## BalalaikaBoy (Sep 25, 2014)

Mon Coeur S'ouvre a ta Voix: Elena Cernei
Casta Diva: Joan Sutherland
Der Holle Rache: Edda Moser
Son lo Spirito: Samuel Ramey
Nessun Dorma: Franco Corelli 
Stride La Vampa: Viorica Cortez
Largo al Factotum: Peter Mattei
A Mes Amis: Luciano Pavarotti
Habanera: Maria Callas
Pres des Remparts de Seville: Maria Ewing


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## silentio (Nov 10, 2014)

^I am bit shy to take part in the kind of _this best_ and _that best_ threads anymore, but since you mentioned _Mon Coeur S'ouvre a ta Voix_, probably my favorite aria by anyone, I need to scratch an itch: Callas is light years better than anyone else. Really, grand-dame mezzo like Cernei, Gorr and Obraztsova drags and oversings the piece to the point that it becomes grotesque rather than erotic. Callas, in contrast, makes it ultra sensual yet still respect the classicism of Saint-Saens setting. Also, this point has been mentioned many times by critics, that she is the only one who sings the phrase "_Ah Réponds à ma tendresse_" in one breath. For a more "conventional" rendition by a true mezzo, I would say Verrett owns the aria.

Looking forward to hearing about other members' favourite, and their opinions about each performance.


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## Tsaraslondon (Nov 7, 2013)

silentio said:


> ^I am bit shy to take part in the kind of _this best_ and _that best_ threads anymore, but since you mentioned _Mon Coeur S'ouvre a ta Voix_, probably my favorite aria by anyone, I need to scratch an itch: Callas is light years better than anyone else. Really, grand-dame mezzo like Cernei, Gorr and Obraztsova drags and oversings the piece to the point that it becomes grotesque rather than erotic. Callas, in contrast, makes it ultra sensual yet still respect the classicism of Saint-Saens setting. Also, this point has been mentioned many times by critics, that she is the only one who sings the phrase "_Ah Réponds à ma tendresse_" in one breath. For a more "conventional" rendition by a true mezzo, I would say Verrett owns the aria.


100% agree on _Mon coeur s'ouvre_. Callas, followed by Verrett. Both make the aria sound sensual and erotic, where most mezzos and contraltos, with their plummy, rich voices sound more like Samson's mother than his lover.

Also, as you mentioned (and these things should count, though for most people they rarely seem to), Callas is one of the very few singers who sings what Saint-Saëns wrote, which is that _Ah, réponds à ma tendresse_ should be sung in one breath. Most add a second _réponds_, allowing them to snatch another breath. It might make it easier for them, but it destroys the musical line.


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## schigolch (Jun 26, 2011)

This is my favorite version of "Mon coeur s'ouvre à ta voix":


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## hpowders (Dec 23, 2013)

Flower Song. Carmen, Bizet. Jussi Björling.

Vissi d' arte. Tosca, Puccini. Maria Callas.

Cortigiani, vil razza dannata. Rigoletto, Verdi. Leonard Warren.

Un bel di vedremo. Puccini, Madama Butterfly. Victoria de los Angeles.


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## Seattleoperafan (Mar 24, 2013)

D'amore Al Dolce Impero from Armida... Callas
Santo di Patria.... Joan Sutherland
Isolde's Narration and Curse.... Flagstad
Bel Raggio Lusinghier Joan Sutherland
Casta Diva... Rosa Ponselle
O Patria Mia... Caballe
In Questa Reggia...Grob Prandl
Depuis le jour.. Alessandra Marc
Ernani envolami... Ponselle
Alein weh ganz alein... Varnay
Esprit de'air .. Joan Sutherland
Suicidio.. Callas
Immolation Scene...early..not late... Jessye Norman
Porgi Amor... Jessye Norman


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## Bonetan (Dec 22, 2016)

Seattleoperafan said:


> D'amore Al Dolce Impero from Armida... Callas
> Santo di Patria.... Joan Sutherland
> Isolde's Narration and Curse.... Flagstad
> Bel Raggio Lusinghier Joan Sutherland
> ...


You don't like male voices do you? Lol


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## Pugg (Aug 8, 2014)

Bel Raggio Lusinghier ...................Sutherland
Santo di Patria.... ........................ Deutekom.
Depuis le jour................................Caballé 
Pace, Pace mio dio.........................Souliotis.
Piangete voi..................................Souliotis 
In Questa Reggia...........................Sutherland
D'amore Al Dolce Impero................Fleming
Tu che le vanità..............................Freni 
Nel giardin del bello .......................Baltsa


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## Seattleoperafan (Mar 24, 2013)

Bonetan said:


> You don't like male voices do you? Lol


Ha ha. I worship male fashion models. I worship female opera singers. What can I say. I enjoy men in live performances, but don't listen to them in recordings except in duets with women and in pop music. I am a flawed person.


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## Seattleoperafan (Mar 24, 2013)

Pugg said:


> Bel Raggio Lusinghier ...................Sutherland
> Santo di Patria.... ........................ Deutekom.
> Depuis le jour................................Caballé
> Pace, Pace mio dio.........................Souliotis.
> ...


I never heard Caballe in Depuis le jour but can imagine it being perfect for her. I can't imagine anyone being better than Joan in Santo di patria, but having not heard your nominee, I can't say for sure.


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## nina foresti (Mar 11, 2014)

Casta diva-Callas
L'altra notte-Olivero
Kuda kuda-Shicoff
D'amor sull ali rosee-Radvanovsky
Che gelida manina-Tucker
Eri tu and Io morro-Hvorostovsky
Ella giamma m'mo-Siepi
Tu tu tu, piccolo-Scotto
Addio del passato-Gheorghiu
Lamento di Federico-Villazon
E lucevan le stelle-Corelli(Parma)
Va Tosca-Gobbi
To this we've come-Neway
Niun mi tema-Pertile
Poker scene-Tebaldi
Bel raggio-Sutherland
Mad scene(Lucia)-Sills
Pace pace mio dio-Price
In questa reggia-Nilsson


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## TxllxT (Mar 2, 2011)

Kuda kuda by the Orthodox monk Hieromonk Fotiy, who won the Russian version of 'The Voice' in 2015.


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## Tuoksu (Sep 3, 2015)

GregMitchell said:


> 100% agree on _Mon coeur s'ouvre_. Callas, followed by Verrett. Both make the aria sound sensual and erotic, where most mezzos and contraltos, with their plummy, rich voices sound more like Samson's mother than his lover.
> 
> Also, as you mentioned (and these things should count, though for most people they rarely seem to*), Callas is one of the very few singers who sings what Saint-Saëns wrote, which is that Ah, réponds à ma tendresse should be sung in one breath. Most add a second réponds, allowing them to snatch another breath. It might make it easier for them, but it destroys the musical line.*


Yes, absolutely. I'm personally guilty of this. I used to sing it à la Callas and it was very difficult and then I started listening to the others and I caught that second "réponds!" trick and it all got suddenly so much easier :lol:


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## Tsaraslondon (Nov 7, 2013)

Tuoksu said:


> Yes, absolutely. I'm personally guilty of this. I used to sing it à la Callas and it was very difficult and then I started listening to the others and I caught that second "réponds!" trick and it all got suddenly so much easier :lol:


It can work the other way. For instance, Caballé ignores what Puccini wrote at the end of _Vissi d'arte_ in order to show off her fabulous breath control and amazing _pianissimi_, phrasing through and onwards from the top Bb, where Puccini marks a comma after the top note. It's an amazing vocal feat, but I think what Puccini wrote (and what most sopranos sing) actually works better.


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## Tuoksu (Sep 3, 2015)

I'll stick to famous arias only:

*Soprano Arias: *
Casta Diva: Anita Cerquetti 
Ah fors'è lui.. Sempre Libera: Maria Callas
D'amor Sull'ali Rosee: Maria Callas
Tacea La notte Placida: Maria Callas
Suicidio: Callas
Pace, Pace Mio Dio: Rosa Ponselle
Io son l'umile ancella: Magda Olivero
Che il ben sogno di doretta: Magda Olivero
Tu che le vanita: Leyla Gencer
Liebstod: Kirsten Flagstad
Bel Raggio Lusinghier: Joan Sutherland
Der Holle Rache: Edda Moser
Martem Aller Arten: Lilli Lehmann
Qui la voce: Maria Callas
Son vegin vezzosa: Elvira de Hidalgo
Si mi chiamano Mimi: Renata Tebaldi
Signore Ascolta: Renata Tebaldi
Ebben, ne andro lontana: Maria Callas
Vissi D'arte: Maria Callas
Un bel di vedremo: Renata Tebaldi
In Questa Reggia: Birgit Nilsson
Il dolce suono.. Spargi D'amaro pianto: Callas
Ah non credea.. Ah non giunge: Callas
Caro nome: Luisa Tetrazzini
Voi lo Sapete O mamma: Giulietta Simionato 
Ou va la jeune Hindoue: Natalie Dessay

*Mezzo Arias:*
Mon Coeur S'ouvre à ta voix: Maria Callas (french version), Ebe Stignani (Italian Version)
Stride la vampa: Fedora Barbieri
O Don Fatale: Stignani
Ré dell'abisso: Simionato
Habanera: Callas
Près des remparts de Seville: Callas
Una voce poco fa: Teresa Berganza


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## BalalaikaBoy (Sep 25, 2014)

a couple ties
1) Bel Raggio: Anna Moffo and Joyce Didonato (from her previous recording from several years back rather than the live performance).
2) D'amore al Dolce Impero: Maria Callas and Montserrat Caballe
3) Vocalise

and a few more
1) O Patria Mia: Martina Arroyo
2) Spargi D'amore: Natalie Dessay
3) Suicidio: Sharon Maxwell (a singer on youtube who drops down to contralto low F at the end of the aria. Absolutely flabbergasting :O )
4) Hojotoho: Frieda Lieder
5) Liebestod: Kirsten Flagstad
6) La Donna e Mobile: Jonas Kaufmann (it's so much more convincing on a dark, sexy tenor voice. the Duke is smooth and seductive, not nasally and whiny)
7) Mentre Gonfiarsi L'anima: Samuel Ramey 
8) Cortigiani, vil razza dannata: Mykola Kondtratyuk 
9) non piu andrai: Bryn Terfel
10) Summertime: Harolyn Blackwell

aaaaand time to cheat a bit (not really "arias" technically)
1) Libera Me: Elisabeth Schwarzkopf 
2) Ave Maria (Schubert): Joan Sutherland
3) Ave Maria (Gounod): Eula Beal
4) Vocalise: Natalie Dessay



silentio said:


> ^I am bit shy to take part in the kind of _this best_ and _that best_ threads anymore, but since you mentioned _Mon Coeur S'ouvre a ta Voix_, probably my favorite aria by anyone, I need to scratch an itch: Callas is light years better than anyone else. Really, grand-dame mezzo like Cernei, Gorr and Obraztsova drags and oversings the piece to the point that it becomes grotesque rather than erotic. Callas, in contrast, makes it ultra sensual yet still respect the classicism of Saint-Saens setting. Also, this point has been mentioned many times by critics, that she is the only one who sings the phrase "_Ah Réponds à ma tendresse_" in one breath.


Seductive is precisely the first thing that comes to mind with Cernei's interpretation. I find it quite natural and flowing rather than "oversung".



> For a more "conventional" rendition by a true mezzo, I would say Verrett owns the aria.
> Looking forward to hearing about other members' favourite, and their opinions about each performance.


No argument there. She owns everything she touches.


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## silentio (Nov 10, 2014)

> 1) Libera Me: Elisabeth Schwarzkopf





> No argument there. She (Verrett) owns everything she touches.


You said it. Schwarzkopf's Libera me in Sabata and Giulini is intelligent and incredibly well-sung. Verrett, again, surprises everyone as she last-minute substituted Freni to sing the soprano part in one performance with Abbado. She sings it with great secure (check out that B-flat pianissimo and the blazing high C), and in full-blood drama recalling the emotional turmoil of Eboli in Don Carlo. This is my favorite Libera me at the moment:


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> a couple ties
> 1) Bel Raggio: Anna Moffo and Joyce Didonato (from her previous recording from several years back rather than the live performance).
> 2) D'amore al Dolce Impero: Maria Callas and Montserrat Caballe
> 3) Vocalise
> ...


Sharon Maxwell!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! OMGOMGOMGOMG Thank you!!!!!!!!!
You are dead on on Freda Leider on Hojotoho.


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## Seattleoperafan (Mar 24, 2013)

I have a few more I thought of
Was Blute Muss from Elektra: Gertrude Grob Prandl. The earth shakes.
4 Last Songs of Strauss: Jessye Norman
Mon cour... Delila: Eileen Farrell .... From Interrupted Melody
Zweite brautnacht: Leontyne Price
Der Manne Sippe: Helen Traubel


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## BalalaikaBoy (Sep 25, 2014)

a few more
1) Regnava nel Silencio: Annick Massis
2) Caro Nome: Anna Moffo
3) La Luce Langue: Maria Callas
4) Nel di della Vittoria: Shirley Verrett
5) Il Lacerato Spirito: Willard White
6) Una Macchia: Birgit Nilsson
7) Di Quella Pira: Franco Corelli
8) Non Piu Mesta: Ewa Podles (during her younger years as a bright, fresh mezzo)
9) Dove Sono: Kiri Te Kanawa
10) The Bell Song: Joan Sutherland



silentio said:


> You said it. Schwarzkopf's Libera me in Sabata and Giulini is intelligent and incredibly well-sung.


somehow, she's able to darken the voice and sound like a formidable dramatic soprano, then lighten it again and sound soft and gentle. That was the first time I'd heard of her and I thought she was a spinto soprano :O



> Verrett, again, surprises everyone as she last-minute substituted Freni to sing the soprano part in one performance with Abbado. She sings it with great secure (check out that B-flat pianissimo and the blazing high C), and in full-blood drama recalling the emotional turmoil of Eboli in Don Carlo. This is my favorite Libera me at the moment:


<3


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## Tsaraslondon (Nov 7, 2013)

BalalaikaBoy said:


> and a few more
> 
> Seductive is precisely the first thing that comes to mind with Cernei's interpretation. I find it quite natural and flowing rather than "oversung".


But she's another one who makes it easier for herself by adding a second _réponds_. Now I've heard it done properly (by Callas), it jars on me every time I hear it.


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## BalalaikaBoy (Sep 25, 2014)

GregMitchell said:


> But she's another one who makes it easier for herself by adding a second _réponds_. Now I've heard it done properly (by Callas), it jars on me every time I hear it.


Admittedly, I don't speak French, so I don't really notice.


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## Tsaraslondon (Nov 7, 2013)

BalalaikaBoy said:


> Admittedly, I don't speak French, so I don't really notice.


But surely you can hear the extra breath and how it breaks the musical line. It is really about the words.


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## The Conte (May 31, 2015)

Other mezzos who sing _Mon Coeur S'ouvre a ta Voix_ without taking a breath in the 'Ah reponds a ma tendresse' line are Jennifer Larmore, Olga Borodina and Waltraud Meier.

I agree with previous comments here that Callas' interpretation is seductive, whereas many mezzos are content to concentrate on the lyrical beauty of the piece with little focus on the text or the aria in the context of the opera. I can also see (or hear) why Cernei and Verrett have been mentioned as they make more of it than many others. (I love Verrett's piano shadings and the way that she expresses the text almost as if she were speaking in song.)

It's a shame that Callas didn't sing the complete role on stage. The album her version of the aria comes from has more mezzo arias on it than soprano ones and had she moved into mezzo/contralto rep at that point her career may have lasted longer. In my opinion most singers of the role don't understand Dalila and play her as if she is in love with Samson. Whilst that is a valid interpretation of the role, I think it more interesting if she is playing the part of a honey trap (which is what the text suggests). Therefore the aria's seductive nature isn't sincere and there is only one singer who I think embodies that in their interpretation. Maybe it's because Waltraud Meier has recorded the complete role that she manages to be seductive, but in such a way that the listener knows she doesn't mean it. By a hair's breath Meier's is therefore my favourite version of the aria.

N.


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## The Conte (May 31, 2015)

Macbeth: Nel di della vittoria - Maria Callas
Andrea Chenier: La mama morta - Magda Olivero
Lohengrin: Einsam in trueben Tagen - Cheryl Studer

Macbeth: Ah, la paterno mano - Joseph Calleja
I Puritani: Ah, credeasi misera - Luciano Pavarotti
Tosca: E lucevan le stelle - Franco Corelli

N.


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## schigolch (Jun 26, 2011)

Addio del passato - Claudia Muzio:


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## Pugg (Aug 8, 2014)

Verdi - Nabucco - Abigaille's Aria - Elena Souliotis.

:angel:


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## BalalaikaBoy (Sep 25, 2014)

Pugg said:


> Verdi - Nabucco - Abigaille's Aria - Elena Souliotis.
> 
> :angel:


so.....bloody....GLORIOUS!


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## Rossiniano (Jul 28, 2017)

Some favorites:

Tu che le vanità... Callas
Santo di Patria... Sutherland 
Una voce poco fa... Peters (soprano version in F)
Una voce poco fa... de los Angeles (mezzo version in E)
Casta diva... Callas 
Bel raggio... Sutherland / Anderson tied
Largo al Factotum... Bruscantini
Cessa di più resistere... Brownlee
A mes amis... Pavarotti
Nessun dorma... Corelli 
D'Amore al dolce impero... Callas
Bolena final scene... Callas
Ernani involami... Callas
Nel dì della vittoria... Callas
Una macchia... Callas
Ben io t'invenni... Souliotis (sorry, but true! )
L'altra notte... Callas
Addio del passato... Callas
Ah forse lui/Sempre libera... Sutherland
D'amore sull'ali rosee...Callas 
Ah! Non credea mirarti... Callas
Ah! Non giunge... Callas / Sutherland tied
Qui la voce... Callas
Vien diletto... Sutherland
Liebestod... Nilsson
Lucia Mad scene... Callas / Sutherland depending. 
Ebben, ne andro... Callas
Sombre Forêt... Caballé
Ah, quel giorno... Horne
Di tanto palpiti... Horne
Naqui all'afanno/Non più mesta... Valentini Terrani


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## Woodduck (Mar 17, 2014)

Sticking with sopranos for the moment, I, like Rossiniano, would have to choose Callas for the majority of Italian opera arias, to the extent that I would almost feel the need to justify the rare exception.

Among my exceptions would be Rosa Ponselle's sublime "O nume tutelar" from _La Vestale,_ simply a demonstration piece for the art of singing: 




I'd also choose Ponselle over Callas in _Aida._ Her voice was made for the role: 




It would have been wonderful to have heard Adelina Patti in her prime. We have only a few recordings she made in her 60s after a career that began in 1859 (!), but in spite of her age and the primitive recording technology they are very special documents of a lost style of singing. Great as Callas was as Amina in _La Sonnambula,_ Patti sings an "Ah non credea" that takes me to another world: 




Except for Callas's definitive Tosca, I think I'd go for the sheer beauty of Tebaldi in Puccini. Here she is with Bjorling in a _La Boheme_ love duet that hasn't been surpassed and hardly could be:


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## CJC (Aug 17, 2017)

Rossiniano said:


> Some favorites:
> ......
> Ben io t'invenni... Souliotis (sorry, but true! )
> ......


The younger, fat Callas live in San Carlo, Naples in December 1949 topples Souliotis' (and practically those of everyone else who recorded the role of Abigaille studio or live), and she had exciting trills that is lacking in Souliotis in the cabaletta. It's just too bad the sound of the live recording is poor, with a balance that favors the orchestra rather the the voices and nothing much can be done to improve it (best, imo, on Ars Vocalis, not Warner). It was rather too late for Callas when she came to record the arias from Nabucco 8 years later (1958) for the Verdi arias album. Her voice by then had lost much of its former amplitude, force and strength.


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## CJC (Aug 17, 2017)

Woodduck said:


> Sticking with sopranos for the moment, I, like Rossiniano, would have to choose Callas for the majority of Italian opera arias, to the extent that I would almost feel the need to justify the rare exception.
> 
> Among my exceptions would be Rosa Ponselle's sublime "O nume tutelar" from _La Vestale,_ simply a demonstration piece for the art of singing:
> 
> ...


In agreement with all your choices and would like to add that for Ebben ne andro from _La Wally_ I would choose the Argentinian soprano Hina Spani's version above Callas', however great Callas' version is:


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> Except for Callas's definitive Tosca, I think I'd go for the sheer beauty of Tebaldi in Puccini. Here she is with Bjorling in a _La Boheme_ love duet that hasn't been surpassed and hardly could be:


For *Madama Butterfly*, I think I'd still take Callas's heart-rending, and absolutely shattering take on the role over Tebaldi, who always sounds a mite too heavy for Butterfly to me. If I can't take the emotionally draining experience of the Callas set, then I turn to Scotto with Barbirolli or De Los Angeles (preferably her first recording with Di Stefano) rather than Tebaldi.


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## The Conte (May 31, 2015)

GregMitchell said:


> For *Madama Butterfly*, I think I'd still take Callas's heart-rending, and absolutely shattering, take on the role over Tebaldi, who always sounds a mite too heavy for the role to me. If I can't take the emotionally draining experience of the Callas set, then I turn to Scotto with Barbirolli or De Los Angeles (preferably her first recording with Di Stefano) rather than Tebaldi.


I've only heard Tebaldi's second studio Butterfly and I find her cold and uninvolved, that together with finding Bergonzi dramatically unsatisfying, makes it a dull affair for me. (The sound quality is superb for its age and from the point of view of technique, polish and style Tebaldi and Bergonzi are excellent.) I don't normally enjoy Tebaldi, but two recordings of hers where I really like her singing are the live Naples Forza and live Vienna Chenier. Was she someone who was involved when singing live, but couldn't reproduce it in the studio? (Or did she just need 'hot' Franco to melt her ice?)

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I've only heard Tebaldi's second studio Butterfly and I find her cold and uninvolved, that together with finding Bergonzi dramatically unsatisfying, makes it a dull affair for me. (The sound quality is superb for its age and from the point of view of technique, polish and style Tebaldi and Bergonzi are excellent.) I don't normally enjoy Tebaldi, but two recordings of hers where I really like her singing are the live Naples Forza and live Vienna Chenier. Was she someone who was involved when singing live, but couldn't reproduce it in the studio? (Or did she just need 'hot' Franco to melt her ice?)
> 
> N.


I find the *Butterfly* uninvolving too. Both the Scotto and De Los Angeles are infinitely more touching, if not so shattering as Callas. I prefer Freni in Karajan's second recording as well.


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## Woodduck (Mar 17, 2014)

GregMitchell said:


> For *Madama Butterfly*, I think I'd still take Callas's heart-rending, and absolutely shattering take on the role over Tebaldi, who always sounds a mite too heavy for Butterfly to me. If I can't take the emotionally draining experience of the Callas set, then I turn to Scotto with Barbirolli or De Los Angeles (preferably her first recording with Di Stefano) rather than Tebaldi.


For Butterfly as a complete characterization, I'd take Callas over Tebaldi, without question. But when it comes to Puccini, I don't always want to get involved with his pathetic heroines' torments (about once in five years will do, at most). With Callas, total involvement is unavoidable, along with some paint-peeling tone in some of Puccini's almost Wagnerian climaxes. So, when I'm not in a mood to deplore the misogyny of the patriarchy, lament the plight of the working class, or use up a box of Kleenex, I can rely on lovely Renata to bathe me in the sheer sensuous beauty of sunny Italia.

A Wagnerite needs his shallow moments.


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## Barbebleu (May 17, 2015)

Woodduck said:


> For Butterfly as a complete characterization, I'd take Callas over Tebaldi, without question. But when it comes to Puccini, I don't always want to get involved with his pathetic heroines' torments (about once in five years will do, at most). With Callas, total involvement is unavoidable, along with some paint-peeling tone in some of Puccini's almost Wagnerian climaxes. So, when I'm not in a mood to deplore the misogyny of the patriarchy, lament the plight of the working class, or use up a box of Kleenex, I can rely on lovely Renata to bathe me in the sheer sensuous beauty of sunny Italia.
> 
> A Wagnerite needs his shallow moments.


Puccini? Shallow? Shame on you Duck, fie, I say, for shame. There is no shame in wallowing in the overt emotion in which Giacomo excels.:lol:


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## Woodduck (Mar 17, 2014)

Barbebleu said:


> Puccini? Shallow? Shame on you Duck, fie, I say, for shame. There is no shame in wallowing in the overt emotion in which Giacomo excels.:lol:


I didn't mean Puccini (though he, also a Wagnerite, has his shallow moments too).

Afterthought: Isn't "Renata Tebaldi" a beautiful name, a _musical_ name? If your parents name you that, how can you not become a singer?


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