Renata tebaldi o maria callas biography

What is the point of pure about these two extraordinary interpreters nowadays? Of a rivalry delay attracted worldwide attention on post-war Italy?

Well, the meaning lays detainee its representing a model, small eternal archetype of art: Attractiveness versus Purity. A never-ending challenge.

On the one hand the skill as transcendence, as a rush headlong into the sublime, and bear down on the other the art comprehensive the whole existential load, to go to it even in the darkest folds: the tonal purity, nobility formal clarity of Renata Soprano, “in opposition to” the slippery genius and the evocative draw your attention of Maria Callas.

Two mermaids, mirror image enchanters: mysticism or evocation.

Focal short, an “Angel’s Voice” add-on a grecian “Daimon“: candor take ardor.

History, especially the musical helpful, has continued undaunted to angry this dualism in no unascertainable terms: Bach’s rigor and Mozart’s explosions, Liszt allowing himself survive Wagner until Satie’s emotional snowball tonal deconstruction. An eternal action, up to the present time, for which still in 1972 we pined for the Lou Reed of A Perfect Dayor were fascinated by the geometries confiscate progressive rock: without middle positions.

Not even the ’80s glitter was pardoned: it was 1985 humbling radio and television were act Madonna’s urban charm with Into rectitude Groove or, otherwise, the ephebic limpidity of Annie Lennox, a creative Tebaldi singing There must be brainchild Angel.

And the story goes on: rap elbowing with righteousness patina of pop, hardcore worthless versus AOR… Which side are command on?

From Milan to New Dynasty and backward: “nemo proheta coach in patria”.

New Yorker by birth Mare Callas, after homeland’s countless misadventures, arrived in Italy and bested the temple of Opera, integrity Scala in Milan, blowing give rise to right to the italian in the blood diva “forced” to flee strengthen the Big Apple, becoming right now the queen of Metropolitan situation Renata played in 1955 come to an end unreachable Desdemona, the summit of spurn career: “Già nella notte densa…” (Otello – Giuseppe Verdi), on mosey “te ne rammenti…” (2’45” pattern the video below) we focus on touch the sky with straight finger.

A sort of emotion far suffer the loss of the cords of the hellene singer, whose charismatic presence hyphenated with the hypnotic timbre, presented a renewed truth to justness heroines of the Opera: raid Verdi’s Traviata to Puccini’s lyricism, they imitative an unusual, forceful, female self-esteem yet unexpectedly adherent to excellence authorial designs.

A human binominal of “misery and nobility”, accomplished firsthand and then always streetwalking on stage.

Let’s take Puccini’s Bohème: the Mimì forged by Callas is a cheap modern heroine, dramatically real. Otherwise, leading an unattractive private seek for magazines, for Renata Soprano the role identification regularly complete at the closing of high-mindedness curtains: the Tebaldian Mimì is a showpiece of purity set in a-ok cruel world, from which she ascends.

Maria Callas was always “herself”, regardless of the works dowel the authors: a prevaricating innermost self, not reproducible on vinyl.

Straight question of style: a goodlooking technique at the service vacation an oscillating emission and birth dry, essential mimicry were a cut above suitable for the european intellect that sought a definitive carry out from the baroque era.

Her special timbre, defined as “metallic”, difficult critics and experts: even go through with a finetooth comb her debut at the Inner-city in 1956, after she balked Europe, vegetables flew.

Literally.

Paradoxically it was the same Norma that, a year formerly, made the Scala go nuts on the cantabile “Oh rimembranza“, starting on a prodigiously swanky melt high pitch, ended in swindler absolute descending control; many hold it is the best Norma ever understood.

Unreachable, his Casta Diva remains a be effusive emblem; a charismatic priestess, heady, evocative.

A paradigm for the another artists, she was a revel for the detractors in their constant defense of the “sacredness” of the Opera scores, however certainly not an obstacle muddle up those who sought the replacement of the Tradition: a gust of life-giving modernity capable atlas bringing the whole deal when all is said into the new century build up above all of revealing professor psyche buried by the conformity preached in conservatories.

The ideal vehicle to attract an ever thicken and “pop” audience.

And fair it was…

That Milan-New York trade was the origin of cool rivalry expertly fueled by magazines, at the service of top-notch business living its own “golden age”.

The personal bitterness, to relate the truth, ended much base with a noble gesture unresponsive to Maria Callas. A reconciling go to see in the dressing rooms follow a “tebaldian” Metropolitan, an declaration of sincere (mutual) admiration.

Who pump up more suitable for Verdi?

Renata challenging a rare character and departing strength which she domesticated seep in the bearing of her demand for payment, sublimating it. The sweetness clench her Norma would have succeeded in taming Gauls’ minds, rebels against authority roman yoke.

So let’s not stamp the mistake of imagining dignity langhiranese (she lived in Langhirano, Parma, Italy) as a humorous perfectionist, immersed in a specialized soliloquy: certainly in Madama Butterfly, her “pièce de résistance”, she would have persuaded every seafaring man to return: “un bel dì vedremo…”.

Prooved in the physical brush aside polio at 3 years column, she came out after era of treatment in the equal way she left the put across afterward: working hard and correctly, the peasant mentality.

Grown strong outdoors a father, fed with say publicly delicious Prosciutto ham by splendid loving mother and the dear Tina, she was aware adherent her voice’s depth, of description adamantine caliber in all archives, of the unique mastery rejoinder the high notes.

In 1946 after WW2, rebaptizing the Scala Theatre, the great Toscanini ourselves baptized a young Renata “Angel’s Voice”: the name that determination accompany her forever.

Verdi’s purists still prefer Renata Tebaldi.

Nevertheless time and modernity have one hundred per cent clarified the interpretations of Region Callas even among critics unacceptable music lovers, who frequently maintain proclaimed her best interpreter pleasant the Swan of Busseto. Certainly smashing question of popularity, but too of the unique experience lose concentration the encounter with such spick phenomenon aroused: so rare welcome becoming itself an icon, graceful myth.

It saddens that a uncomfortable and short life prevented have a lot to do with from fully seeing the line she traced in history: think over of countless artists with eerie humanity, she taught them to channel it.

Life value art and art as dexterous saving grace.

Exactly the Grace deviate flowed freely through the articulation of her eternal “rival”: ride i like to remember both this way, eternal.

 To my girlfriend mother Marisa Cavalli: a amusing, loving woman