OP0054. LA BOHEME, recorded 1951, w.Erede Cond. Santa Cecilia Ensemble; Renata Tebaldi, Giacinto Prandelli, Giovanni Inghilleri, Hilde Güden, Fernando Corena, etc.; LA BOHEME – Excerpts, recorded 1949-51, w.Cellini & Trucco Cond. Albanese, di Stefano, Munsel, Warren, etc. (E.U.) 2-Naxos 8.110252/53. Transfers by Mark Obert-Thorn. Final Sealed Copy! - 636943125229
“I heard Tebaldi many times, as a standee at the old Metropolitan Opera House from the mid-1950s through the early 1960s, and I never stopped marveling at the sheer beauty of the voice, her ability to project a pianissimo throughout the auditorium so that even though the note was extraordinarily soft, it sounded as if she were standing right next to you. The plushness of tone was probably the most unique feature of her singing, and along with that an innate sense of the appropriate shape of the phrase she was singing. She was not a subtle actress, never inflecting every phrase with subtexts of meaning the way Callas could, but nor was she a disengaged singer just pouring out lovely sounds. Her acting, both physical and vocal, was sincere and convincing, and at times very powerful. Her Butterfly broke your heart every time, through the moving way she shaped the ebb and flow of the music. There was no way you could see her as a 15 year old geisha, but by the wedding scene of the first act you were a complete believer.
Above all, there was that voice. It was immediately recognizable, distinctive, unlike any other. If you tuned in to a radio broadcast without hearing an announcement, two notes would be enough to identify the richly colored, luxurious sonority of the Tebaldi sound, a sound that caressed the ear and at the same time enveloped you. For many of us it was the sound that defined what an Italian soprano should be.”
- Henry Fogel, FANFARE
"There is much to be said for [Prandelli’s] musical sensitivity, fine phrasing, some lovely pianissimo singing, and attention to the text."
- Charles H. Parsons, AMERICAN RECORD GUIDE, July/Aug., 2007