The recordings that were played as illustrations are itemised below. This is how Tebaldi was thereafter often referred to by her legion admirers, who included some of the most highly distinguished opera celebrities of her day.įor the tribute documentary posted here, which was made just after her death in December 2004, some of those artists took part as commentators on Tebaldi’s qualities, and they included mezzo-soprano Marilyn Horne, soprano Evelyn Lear, soprano Carol Neblett and baritone Thomas Stewart, among other speakers who also knew and/or worked with her. Her opulent tone was supported by a magnificent technique including remarkable breath-control with which she delivered outstanding legato phrasing, special subtlety of musical phrasing, and powerful vocal characterization.įrom the time of her professional stage debut in 1944 singing Elena in Boito’s Mefistofele in Rovigo, Tebaldi was immediately recognized as an exceptional talent, and when two years later the fearsomely demanding Arturo Toscanini chose her to participate in his gala concert for the re-opening of La Scala opera, he made a play on words about her voice, exclaiming “Ah – la voce d’angelo” (Ah – the voice of an angel) as it floated down from a high balcony near the end of Verdi’s Te Deum.
Although she had the qualities of a true dramatic spinto soprano in the sheer size and weight of her voice, she herself rightly felt she was a lirico-spinto singer in her stylistic approach. Renata Tebaldi was a legend in her own time as one of the most highly sought after sopranos in history. Recorded December 2004, and aired February 2005
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