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See Terms & Conditions for p&p rates. | |  | Recorded at the Rome Opera
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| |  | Carlo Bergonzi: Puccini & Verdi Arias & Duets
“Bergonzi sings with sincerity and style” Opera “Bergonzi emerges as a model among tenors, with a rare feeling for the shaping of phrases and attention to detail” Penguin Guide |
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| |  | Live Recording from The Deutsche Oper Berlin, 1962
Renata Tebaldi (Desdemona), Hans Beirer (Otello), William Dooley (Jago), Mario Ferrara (Cassio), Sieglinde Wagner (Emilia), Karl-Ernst Mercker (Rodrigo), Ivan Sardi (Lodovico), Pecca Salomaa (Montano) Deutsche Oper Berlin, Giuseppe Patané (conductor) & Hans-Peter Lehmann (stage director) Set & Costumes by WILHELM REINKING When Renata Tebaldi sang Desdemona in Verdi’s Otello at London’s Covent Garden in 1950, it was her first operatic performance outside Italy. It was also the role in which she made her last appearance on the opera stage, at the Metropolitan Opera New York in 1973. Between these two performances she made close to a hundred stage appearances as Desdemona, not to mention two studio recordings with Alberto Erede and Herbert von Karajan. It was Arturo Toscanini who coined for her the moniker “voce d’angelo” (voice of an angel). She made her highly acclaimed debut as Desdemona at the Metropolitan Opera in 1955 and from that moment on made New York the focus of her life. From there she made regular and extended concert tours all over the world, but opera appearances in Europe – particularly northern Europe – were extremely rare. Tebaldi visited Berlin on just two occasions. She gave a rapturously received concert in the Deutschlandhalle in May 1961. On that occasion she promised her fans she would return, and the Berliner Morgenpost even heard it “rumoured” she would appear in her classic role as Desdemona at the Deutsche Oper Berlin, which was about to reopen. This Otello production was planned as a media event from the outset, with cameras in attendance even at the preliminary rehearsal stage. Whereas the first performance took place before an invited audience on 30 August 1962 and was given over entirely to a TV recording by Sender Freies Berlin (SFB), the second performance was open to the opera-going public and was broadcast by SFB-Hörfunkprogramm. Sound Format: PCM Stereo Picture Format: 4:3 DVD Format: DVD 9, NTSC Subtitles: IT (Original Language), DE, GB, FR, ES Running Time: 150 mins FSK: 0 “Dooley is a sinister Iago” BBC Music Magazine, February 2013 **** “[Tebaldi's] floated pianissimo singing is especially impressive but in every respect this is world class vocalism.” MusicWeb International, 16th May 2013 | | | In stock - usually despatched within 1 working day. |
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| |  | Live recording Tokyo 22/12/1961
Renata Tebaldi (Tosca), Gianni Poggi (Cavaradossi), Giangiacomo Guelfi (Scarpia), Silvano Pagliuca (Angelotti), Arturo La Porta (Sacristan), Antonio Pirino (Spoletta), Giolgio Onesti (Sciarrone) & Takako Kurimoto (Pastore) NHK Symphony Orchestra & Chorus, Arturo Basile | | | In stock - usually despatched within 1 working day. |
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| |  | Puccini: La Bohème
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| |  | Strauss: Die FledermausComplete Opera plus Gala Scene & Ballet Music
Arditi: | Il Bacio Joan Sutherland (soprano) | Berlin, I: | Anything you can do I can do better (from Annie Get Your Gun) Giulietta Simionato (mezzo), Ettore Bastianini (baritone) | Ferrari, Louis: | Domino Fernando Corena (bass) | Gershwin: | Summertime (from Porgy and Bess) Leontyne Price (soprano) | Lavilla Muñarriz: | Lullaby Teresa Berganza (mezzo) | Lehár: | Viljalied (from Die lustige Witwe) Renata Tebaldi (soprano) Dein ist mein ganzes Herz (from Das Land des Lächelns) Jussi Björling (tenor) | Loewe, F: | I Could Have Danced All Night (My Fair Lady) Birgit Nilsson (soprano) | Siecynski: | Wien, Wien nur du Allein (Vienna, City of My Dreams) Ljuba Welitsch (soprano) | Strauss, J, II: | Die Fledermaus Hilde Gueden (Rosalinde), Waldemar Kmentt (Eisenstein), Giuseppe Zampieri (Alfred), Erika Köth (Adele), Regina Resnik (Orlofsky), Eberhard Wachter (Frank), Walter Berry (Falke), Erich Kunz (Frosch) | Valente, N: | Passione Mario del Monaco (tenor) |
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| |  | Royal Opera House, 30 June 1955
This June 1955 performance of Puccini’s Tosca marked Renata Tebaldi’s first appearance with the Covent Garden Company. The roles of Cavaradossi and Scarpia were filled by two of Italy’s finest singers, Ferruccio Tagliavini (Cavaradossi) and Tito Gobbi (Scarpia). All three went on to make memorable studio recordings for Decca, Cetra and EMI. The Times wrote on 29 June 1955, the day after the first performance of the revival, ‘The performance was tremendous, not only in the singing, which was up to the heroic standards of the past, but in dramatic tension’. The conductor came in for particular praise, ‘Mr Molinari-Pradelli gave no quarter to his singers and extracted every ounce of power out of the orchestra’. Of Tebaldi’s Tosca, The Times wrote, ‘With an imposing presence, a fine voice, and a sure judgement of dramatic gesture she made Tosca credible and sympathetic in phrases that were moulded to exploit every intonation of her voice’. The same critic praised Ferruccio Tagliavini, ‘his voice is generous. his mezza voice is pleasing and his tone does not harden in forte passages’ while Tito Gobbi’s Scarpia was described as ‘an aristocrat corrupted by power’. “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.” International Record Review, July 2011 “Tebaldi's heady tone is equal to every one of the role's musical demands, while dramatically she proves an engaged and potent heroine...[Gobbi's Scarpia] as always is dramatically thrilling; though not the greatest voice for the brutal police chief, Gobbi's baritone arguably provides more theatrical frisson than any other exponent. Francesco Molinari-Pradelli is an idiomatic conductor of very respectable forces.” BBC Music Magazine, August 2011 *** | | | (also available to download from $21.50) | In stock - usually despatched within 1 working day. |
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| |  | Renata Tebaldi sings Puccini and Verdi Favourites
“If you were to have just one Tebaldi CD in your collection this must be it. Each aria is an object lesson in how to sing this repertoire.” BBC Music Magazine, August 2011 ***** “To hear Tebaldi in (say) Butterfly's Un bel di...is to be reminded that hers are the classic virtues: those of beautiful tone, musical feeling, sincere utterance. And if for these qualities she was supreme among her contemporary Italian sopranos, she surely stands head and shoulders above any of the present generation” Gramophone Magazine “the recital rightly concentrates on her stereo remakes of the key Puccini operas...voice still creamily fresh. Vissi d'arte (1959) is particularly beautiful...thrilling in Verdi, too, as the splendid Ritorna vincitor! vibrantly demonstrates...this recital should disappoint no-one.” Penguin Guide | | | In stock - usually despatched within 1 working day. |
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| |  | Renata Tebaldi - Voice of GoldPuccini & Verdi Arias
Arias from
Aida
Turandot
Manon Lescaut
Adriana Lecouvreur
Otello
Lodoletta
Forza del Destino
Il Trovatore
La Traviata “Inevitably set up as a rival to Callas, Tebaldi specialised in the lirico-spinto repertory that suited her creamy tone. Heard here at her best period, she shines in the verismo roles and the grander Verdi heroines.” BBC Music Magazine, February 2009 **** | | | In stock - usually despatched within 1 working day. |
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