# Which of these two ways of singing Tosca do you prefer?



## JTS (Sep 26, 2021)

I thought this might be of interest


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## Woodduck (Mar 17, 2014)

There's no pain in Tebaldi's.


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## MAS (Apr 15, 2015)

Gods, are we starting another contest?


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## Woodduck (Mar 17, 2014)

MAS said:


> Gods, are we starting another contest?


Every raisin wants a moment in the sun.


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## nina foresti (Mar 11, 2014)

There is a 3rd way:


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## MAS (Apr 15, 2015)

nina foresti said:


> There is a 3rd way:


Ah, La Olivero. I saw her sing the role in San Francisco at age 65 or so. She was great onstage. The tenor could've been her grandson, so it was a bit of a weird experience.


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## The Conte (May 31, 2015)

For those wanting to see Olivero as well as hear her, go to 1:14:50 here:






(This aria wasn't exactly among the highlights of Olivero's Tosca and here it is ruined by a stupid cut.)

N.


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## JTS (Sep 26, 2021)

Interesting in that Callas marks a turning point in opera history after which acting took a far more prominent role in opera.


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## The Conte (May 31, 2015)

JTS said:


> Interesting in that Callas marks a turning point in opera history after which acting took a far more prominent role in opera.


Visual acting or vocal acting?

If the latter, are there enough filmed opera performances pre Callas for us to really know?

N.


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## nina foresti (Mar 11, 2014)

The Conte said:


> For those wanting to see Olivero as well as hear her, go to 1:14:50 here:
> 
> 
> 
> ...


Tragically that very important cut was the highlight of her aria to show how spectacularly she handles the "Perche Signor" part like no other soprano I know of -- not a single one! That is why I didn't include this particular blurb. 
Admittedly, she is not known for having a beautiful voice but the spectacular depth to which she is able to reach is enviable and rare in the opera world. I don't think I can count on one hand 5 sopranos who are able to exhibit such inner passion. To me Magda is one of them.


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## Seattleoperafan (Mar 24, 2013)

I would consider myself fortunate to hear any of these ladies;-) Naturally Callas would be my first choice. Tebaldi would be great if she wasn't flat on those C's.


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## BalalaikaBoy (Sep 25, 2014)

nina foresti said:


> There is a 3rd way:


Off topic, but I had been trying to put my finger on what Magda Olivero's voice reminded me of and it just clicked: a cool spring. It's a "cold" voice, but not frigid. You wouldn't think of getting blasted with an arctic storm the way you might if listening to Birgit Nilsson. The timbre is pristine and flows effortlessly, but it's still too cold to be a "gentle" voice like Eleanor Steber or Mary Costa. You get the sense of "I better not leave my hand in too long".


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> Off topic, but I had been trying to put my finger on what Magda Olivero's voice reminded me of and it just clicked: a cool spring. It's a "cold" voice, but not frigid. You wouldn't think of getting blasted with an arctic storm the way you might if listening to Birgit Nilsson. The timbre is pristine and flows effortlessly, but it's still too cold to be a "gentle" voice like Eleanor Steber or Mary Costa. You get the sense of "I better not leave my hand in too long".


Yes. I think she would have been much more effective live than just with her isolated voice. She would have been a powerful performer. It is not a voice I want to listen to for long in the car.


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## JTS (Sep 26, 2021)

The Conte said:


> Visual acting or vocal acting?
> 
> If the latter, are there enough filmed opera performances pre Callas for us to really know?
> 
> N.


Both probably. Going by what people who saw her report she was electric on stage. For example, Solti said he preferred Tebaldi as a singer but when Callas was on stage you couldn't keep your eyes off her. We see her influence now on a generation of singers who act as well as sing.


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## Woodduck (Mar 17, 2014)

The Conte said:


> For those wanting to see Olivero as well as hear her, go to 1:14:50 here:
> 
> 
> 
> ...


It surely is not a cut - nobody would cut the second half of "Vissi d'arte" - but merely a damaged bit of film. Pity.

I watched Act 2 of this, curious to see how it compares with the Callas/Gobbi performance. Not too well, I'm afraid. There isn't anything seriously wrong with the production except that it fails to generate much heat. For some reason I expected more passion from Olivero; her acting seems very deliberately choreographed, and made me think of silent films in which people express strong feelings mainly by staring and rolling their eyes melodramatically. It doesn't help that she's unattractively dressed in a sort of Snow White gown with poofy shoulders, a style that makes her look even older than she is.


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## Tsaraslondon (Nov 7, 2013)

Tebaldi's voice here is still in good condition, whereas the Callas performance is from the year before she retired from the operatic stage, meaning that tone has thinned out and there are some flaps on high, but oh my, how this Tosca suffers. Tebaldi is an opera singer in costume singing a sad aria. Callas simply _is_ Tosca.


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## nina foresti (Mar 11, 2014)

Woodduck said:


> It surely is not a cut - nobody would cut the second half of "Vissi d'arte" - but merely a damaged bit of film. Pity.
> 
> I watched Act 2 of this, curious to see how it compares with the Callas/Gobbi performance. Not too well, I'm afraid. There isn't anything seriously wrong with the production except that it fails to generate much heat. For some reason I expected more passion from Olivero; her acting seems very deliberately choreographed, and made me think of silent films in which people express strong feelings mainly by staring and rolling their eyes melodramatically. It doesn't help that she's unattractively dressed in a sort of Snow White gown with poofy shoulders, a style that makes her look even older than she is.


I couldn't agree more. It was a very poor example of the usual fiery and consumed actor in a role.
A perfect example of an Olivero in action:


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## Woodduck (Mar 17, 2014)

nina foresti said:


> I couldn't agree more. It was a very poor example of the usual fiery and consumed actor in a role.
> A perfect example of an Olivero in action:


A remarkable clip. I think I actually prefer her voice at that age, since her strange, tremulous vibrato has slowed a bit.


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## nina foresti (Mar 11, 2014)

nina foresti said:


> There is a 3rd way:


Did I REALLY say that? What a surprise being that I think La Divina runs away with that role.
Now Adriana or Mefistofele are a totally different story.


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## Francasacchi (7 mo ago)

The first Tosca I heard on record was Maria Caniglia. Gutsy and gusty and the right voice and temperament. Still for me if not number one close to the best. And given that she was woken up from a siesta at the last minute to replace Pacetti, it's even more impressive


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