Word: tebaldi
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...under the Richmond label such gems as George Szell conducting the Concertgebouw Orchestra in Brahms's Third Symphony and the Mozart Requiem conducted by Josef Krips at the bargain-basement price of just $1.98 per record (formerly $4.98). Sales were brisk, so London reissued ten operas, including Renata Tebaldi in La Boheme and Madama Butterfly. Mercury followed London's lead, establishing its Wing label, featuring such surefire favorites as suites from Tchaikovsky's Sleeping Beauty, Nutcracker and Swan Lake ($1.98 for mono, $2.98 for stereo), ably rendered by Antal Dorati and the Minneapolis Symphony...
...SINGERS. Joan Sutherland, Birgit Nilsson and Leontyne Price had only twelve listings among them three years ago; now they have 53, one less than Renata Tebaldi has all to herself. Tebaldi is still the most recorded soprano, but Elisabeth Schwarzkopf is gaining fast and will soon pass her. Maria Callas, who has not done much singing from opera house stages in the past three years, has had eight new recordings issued anyway. Rudolf Schock made the biggest gain among tenors (14 to 38), but it must give him an edgy feeling to see that Enrico Caruso, silent these many years...
...seize the stage before the tenor has a chance to plant himself with arms thrown wide to uncoil one of the soaring rhapsodies that billow through the length of the opera. The trick is particularly tough when the tenor is as talented a scene stealer as Franco Corelli, but Tebaldi handled the job nicely. When she came on in Act I in an ivory gown and red hair, she looked so startlingly unlike the matronly Tebaldi of other years that even her devoted claque paused in surprise for the space of a hand-beat before crashing into applause...
...voice dwindled with the poundage. Adriana is an opera in which Tebaldi can sing much of the time toward the center of her range, where she is happiest, and in last week's performance her voice had all the remembered caressing skill that can breathe dramatic life into a line with effortless ease. Her role gave her ample opportunity to float out those clear, carrying pianissimos that reach to the last row in the house...
...Simple. Tebaldi was alive with animal grace; she made theatrical sense out of the threadbare story of an actress who loves a nobleman, loses him, and is reunited with him on her deathbed. The Met's new production was as handsome as its heroine-a succession of rococo interiors filled with wandering wigs and satins-and Tenor Corelli was in good form. But even at his best last week, he was shaded by Tebaldi...