Word: tebaldi
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Dates: during 1950-1959
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...WANT CALLAS IN ROME! was scrawled over the posters. Said others, in tribute to Soprano Callas' famed rival: VIVA TEBALDI! On Via Nazionale, before the Hotel Quirinale-where Callas stayed in her suite-truncheon-swinging police again and again charged shouting demonstrators. On the floor of Parliament, a Deputy introduced a motion that would bar Maria Meneghini Callas from all of Italy's state-subsidized opera houses. Her offense: on opening night at the Rome Opera, Callas had walked out of a performance of Bellini's Norma after the first act, leaving behind her a glittering audience...
...first slated appearance this season of one of the Metropolitan Opera's biggest-drawing stars, Soprano Renata Tebaldi, was canceled fortnight ago when her mother had a severe heart attack. At week's end Diva Tebaldi, agreeing to appear despite her desperate anxiety to remain at her mother's bedside, was again due to take the stage (in a matinee Aïda). She never got near the Met. Mrs. Teobaldo Tebaldi died that morning. The singer, beside herself with grief, was put under heavy sedation. The only child of long-estranged Italian parents, Spinster Tebaldi...
...nearly a decade, those two warring soprano queens, Maria Meneghini Callas and Renata Tebaldi, have dominated the world of European (and U.S.) opera, leaving other postwar singers to peep about to find themselves honorable mention. But slowly, and largely unnoticed in the U.S., old Europe has fashioned a new crop of talented women singers. If none yet quite equals Callas, Tebaldi or the retired lioness of Wagnerian opera, Kirsten Flagstad, all have developed personal styles that promise fresh views of the operatic literature. Among the best of the new divas...
...Dramatic Soprano Anita Cerquetti, 26, has one of the most sumptuous voices to soar out of Italy since Tebaldi. Large-volumed and agile of voice, she scored her first major success in Bellini's Norma at Verona four years ago, has since become a widely acclaimed guest singer of the standard Verdian repertory. Her voice has appealed to most critics as a cross between Tebaldi's "silky elasticity" and Callas' bite and thrust. Big-boned and fleshy-faced, she has been most often criticized for carrying too much weight to put across the dramatic illusion her roles...
...Cellist Arthur A. Hauser, cut Etude's staff from twelve to six. Last week, after prospecting without success for buyers, the foundation announced that Etude would fold with its May-June issue. Highlights of Etude's coda: a cover portrait of Beethoven, an interview with Soprano Renata Tebaldi, a biographical sketch of Composer Igor Stravinsky, and a lengthy obituary on Master Pianist Josef Hofmann...