• La Traviata: They were Violetta - the 1950s



    Renata Tebaldi

    Many people don't immediately associate Violetta with Tebaldi, regardless she sung several times the role (and with some success), and there is also a DECCA recording, in 1954 (not great, other live recordings are better). Clearly, Tebaldi was always hard pressed by the first Act coloratura, that she used to transpose down. She was a better second/third Act Violetta, but with a different portrait of Violetta than Callas's, she was more an experienced courtesan before her last chance to real passion, that a woman still young, and madly in love for the first time. She is also a true spinto, so perhaps not the best type of voice for Violetta,

    Follie! Sempre libera - Tebaldi, 1954

    Amami, Alfredo - Tebaldi, 1952

    Addio del passato - Tebaldi, 1951




    Antonietta Stella

    Her studio recording in 1956 was possible because Callas, the original choice, could not sing Violetta due to contractual problems with CETRA. Stella was a good soprano, with the bad luck of being sandwiched between Callas and Tebaldi, but she was able to get a nice career in the '50s and '60s. She is not a great Violetta. Simply, a nice one, but her style and approach are quite worthy of attention.

    Ah! Fors´e lui ...Sempre Libera - Stella, 1956

    Parigi, o cara - Stella with Giuseppe di Stefano, 1956




    Virginia Zeani

    The Romanian soprano had been one of the most active Violettas in history, with more than 600 performances of the role. Her voice was warm, dark in the low and middle register, but flexible and bright in the top notes (except the very top). She was able also to phrase with intention, and boasted a fine legato. Singing Traviata she was passionate, perhaps too passionate in some pieces like "Addio del passato", but all in all, an excellent Violetta. And she had the looks, too!.

    Ah fors'e lui - Zeani, 1962

    Invitato...Alfredo, di questo core - Zeani with Bruno Prevedi, 1966

    Addio del passato - Zeani, 1957




    Victoria de los Angeles

    She recorded one Traviata in 1959, for EMI, with Serafin conducting. The Spanish primadonna is very stressed by "Sempre Libera". On the other hand, if you listen to her in Act 2, she perfectly understands and transmits Violetta's heart rending dilemma. Of course, as always, de los Angeles offers us her precise legato, and clear diction, helped by the caring hand of Serafin.

    Ah, fors'e lui - de los Angeles, 1956

    Parigi, o cara - de los Angeles with Carlo del Monte, 1959


free html visitor counters
hit counter




Official Media Partners of Opera Carolina

Opera Lively is the Official Media Partner of Opera Carolina

Official Media Partners of NC Opera

Opera Lively is the Official Media Partner of North Carolina Opera

Official Media Partners of Greensboro Opera

Opera Lively is the Official Media Partner of Greensboro Opera

Official Media Partners of The A.J. Fletcher Opera Institute and Piedmont Opera

Opera Lively is the Official Media Partner of The A.J. Fletcher Opera Institute
of the University of North Carolina School of the Arts and Piedmont Opera

Official Media Partners of Asheville Lyric Opera

Opera Lively is the Official Media Partner of Asheville Lyric Opera

Official Media Partners of UNC Opera

Opera Lively is the Official Media Partner of UNC Opera
Dept. of Music, UNC-Chapel Hill College of Arts and Sciences

www.operalively.com

VISIT WWW.OPERALIVELY.COM FOR ALL YOUR OPERA NEEDS