Renata Tebaldi impressive soprano 1922 – 2004

Renata Tebaldi impressive soprano 1922 - 2004

Renata Tebaldi Cavaliere di Gran Croce OMRI (US: /təˈbɑːldi/ tə-BAHL-dee,  Italian: [reˈnaːta teˈbaldi]; 1 February 1922 – 19 December 2004) was an Italian lirico-spinto soprano popular in the post-war period and was especially prominent as one of the stars of La Scala and the Metropolitan Opera. Among the greatest and most beloved opera singers, she has been said to have possessed one of the most beautiful voices of the 20th century, a voice that was focused primarily on the verismo roles of the lyric and dramatic repertoires. Italian conductor Arturo Toscanini praised Tebaldi’s voice as ”la voce d’angelo” (”the voice of an angel”), while La Scala music director Riccardo Muti summed up Tebaldi as ”one of the greatest performers with one of the most extraordinary voices in the field of opera.”

Renata Tebaldi impressive soprano 1922 – 2004

Early years and education

Born in Pesaro, Renata Tebaldi was the daughter of a cellist, Teobaldo Tebaldi,[13] and Giuseppina Barbieri, a nurse. Her parents separated before her birth and Tebaldi grew up with her mother in the home of her maternal grandparents in Langhirano.

Stricken with polio at the age of three,  Renata Tebaldi became interested in music and was a member of the church choir in Langhirano.  Her mother sent her, at the age of thirteen, for piano lessons with Giuseppina Passani in Parma, who took the initiative that Tebaldi study voice with Italo Brancucci, a singing teacher at the conservatory of Parma. She was admitted to the conservatory at the age of 17, taking lessons with Brancucci and Ettore Campogalliani,  and later transferred to Liceo musicale Rossini in Pesaro taking lessons with Carmen Melis,  and on her suggestion with Giuseppe Pais. She later studied with Beverley Peck Johnson in New York City.

Italian career

Renata Tebaldi made her stage debut as Elena in Boito’s Mefistofele in Rovigo in 1944. Wartime conditions made for a difficult trip, with Tebaldi partly travelling by horse cart to Rovigo, and her return trip coming under machine-gun fire. Her early career was also marked by a performance in Parma in La bohème, L’amico Fritz and Andrea Chénier. She caused a stir when in 1946 she made her debut as Desdemona in Verdi’s Otello alongside Francesco Merli as the title role in Trieste.

Her major breakthrough came in 1946, when she auditioned for Arturo Toscanini. Toscanini was favorably impressed, calling her ”voce d’angelo” (voice of an angel).   Renata Tebaldi made her La Scala debut that year at the concert which marked the reopening of the theatre after World War II. She sang the ”Prayer” (”Dal tuo stellato soglio”) from Rossini’s biblical opera, Mosè in Egitto, as well as the soprano part in Verdi’s Te Deum. She was given the operatic roles of Margherita and Elena in Mefistofele and Elsa in Lohengrin in 1946. The following year, she appeared in La bohème and as Eva in Die Meistersinger. Toscanini encouraged her to sing the role of Aida and invited her to rehearse the role in his studio. She was of the opinion that the role of Aida was reserved for a dramatic soprano, but Toscanini convinced her and she made her role debut at La Scala in 1950 alongside Mario del Monaco and Fedora Barbieri in a performance conducted by Antonino Votto. This was the greatest success in her still young career and was to launch her international career.

Her voice was used for Sophia Loren’s singing in the film version of Aida (1953).[26]

International career

She went on a concert tour with the La Scala ensemble in 1950, first to the Edinburgh Festival and then on to London, where she made her debut as Desdemona in two performances of Otello at the Royal Opera House and in the Verdi Requiem, both conducted by Victor de Sabata.

The Met

Renata Tebaldi made her American debut in 1950 as Aida at the San Francisco Opera; her Metropolitan Opera debut took place on 31 January 1955, as Desdemona opposite Mario Del Monaco’s Otello.   For some twenty years, she made the Met the focus of her activities. For the 1962/1963 season, Tebaldi convinced the director of the Met, Rudolf Bing, to stage a revival of Cilea’s Adriana Lecouvreur, an opera that Bing said he ”detested.” Unfortunately, Tebaldi was not in top vocal form and cancelled performances, and, as Bing says in ’1000 Nights at the Opera’, ”we had to do the wretched thing without her.” Her Lecouvreur, however, was a practical move for the Met, as Tebaldi was ”the greatest box-office draw since Flagstad”, according to Francis Robinson, the then assistant manager in charge of ticket sales.

One of the public’s favorite Renata Tebaldi roles is Minnie in Puccini’s La fanciulla del West. When she made her debut in the role at the Met, she was told that, as all Minnies do, she would have to enter in the 3rd act on horseback. Tebaldi, who had a lifelong fear of horses, refused to go near the animal until she was sure he was safe. At her first rehearsal with the animal, Tebaldi approached him, patted his mane, and said, ”Well, Mr. Horse, I am Tebaldi. You and I are going to be friends, eh?” Tebaldi conquered her fear and the performances were a success.

Renata Tebaldi sang more at the Met and far less elsewhere. She had developed a special rapport with the Met audiences and became known as ”Miss Sold Out”, as the Tebaldi name on the marquee was thought to be a performance that could hardly be matched. She sang there some 270 times in La bohème, Madama Butterfly, Tosca, Manon Lescaut, La fanciulla del West, Otello, La forza del destino, Simon Boccanegra, Falstaff, Andrea Chénier, Adriana Lecouvreur, La Gioconda and Violetta in a production of La traviata created specially for her. Puccini’s Tosca became her most performed role at the Met, playing it 45 times. She was the Leonora in La forza del destino on the night that Leonard Warren suddenly died in a performance in 1960, and she was Adriana Lecouvreur on the night Placido Domingo made his Met debut in 1968. She made her last appearance there as Desdemona in Otello on January 8, 1973, the same role in which she had made her Met debut eighteen years earlier and became one of her signature roles.

Renata Tebaldi years in the Met, as well as in America, was that she became a well-loved figure by the American operatic public. Tebaldi did not become a classical temperamental diva, but trusted her own artistic instinct. Rudolf Bing, referring to Tebaldi’s demanding side, once famously said of her, ”she has dimples of iron”.

Tebaldi and Callas

During the early 1950s, controversy arose regarding a supposed rivalry between Renata Tebaldi and the great Greek-American soprano Maria Callas. The contrast between Callas’s often unconventional vocal qualities and Tebaldi’s classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expressive use of sound.

In 1951, Renata Tebaldi and Maria Callas were jointly booked for a vocal recital in Rio de Janeiro, Brazil. Although the singers agreed that neither would perform encores, Tebaldi took two, and Callas was reportedly incensed.[33] This incident began the rivalry, which reached a fever pitch in the mid-1950s, at times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other’s direction. Tebaldi was quoted as saying, ”I have one thing that Callas doesn’t have: a heart”  while Callas was quoted in Time magazine as saying that comparing her with Tebaldi was like ”comparing Champagne with Cognac. No, with Coca Cola.” However, witnesses to the interview stated that Callas only said ”champagne with cognac”, and it was a bystander who quipped, ”No, with Coca-Cola”, but the Time reporter attributed the latter comment to Callas. According to John Ardoin, however, these two singers should never have been compared.  Tebaldi was trained by Carmen Melis, a noted verismo specialist, and she was rooted in the early 20th century Italian school of singing just as firmly as Callas was rooted in 19th century bel canto.   Callas was a dramatic soprano, whereas Tebaldi considered herself essentially a lyric soprano. Callas and Tebaldi generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late Verdi and verismo roles, where her limited upper extension  and her lack of a florid technique were not issues.  They shared a few roles, including Tosca in Puccini’s opera and La Gioconda, which Tebaldi performed only late in her career.

The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross in Chicago, Callas said, ”I admire Tebaldi’s tone; it’s beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice.” Francis Robinson of the Met wrote of an incident in which Tebaldi asked him to recommend a recording of La Gioconda in order to help her learn the role. Being fully aware of the alleged rivalry, he recommended Zinka Milanov’s version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas’s recording. She then looked up at him and asked, ”Why didn’t you tell me Maria’s was the best?”  According to Time magazine, when Callas quit La Scala, ”Tebaldi made a surprising maneuver: she announced that she would not sing at La Scala without Callas. ’I sing only for artistic reasons; it is not my custom to sing against anybody’, she said.”

Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in 1968, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and summarized this rivalry:

This rivality [sic] was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality [sic], because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria.

Voice

Renata Tebaldi voice was reputed to be one of the most beautiful of the day,  with rich, perfectly produced tones. At the start of her career, her audition in bomb-ravaged La Scala’s reopening was marked by Arturo Toscanini praising Tebaldi, calling her la voce d’angelo with enthusiastic ”Brava!”s and applauds.  British musicologist Alan Blyth posited that in posterity, Tebaldi holds a position of being one of the last and best spinto sopranos of the last 50 years, due to Tebaldi’s successors in the fach not having the right vocal equipment for her parts. Blyth attributed this in part to Tebaldi’s recordings, and her live performances onstage. Tebaldi’s voice added a frisson of urgency when she sang in an opera house. This was noted in two of her performances as Leonora in Verdi’s La forza del destino, evident in a recording done at the Maggio Musicale Fiorentino in 1953, where conductor Dimitri Mitropoulos urged her to great heights of vocal and dramatic achievement, and a live video recording in Naples.  Montserrat Caballe remarked on an interview that Tebaldi, ”She was our Aida, our Traviata, our Manon Lescaut. She was all the roles, and she was the most perfect human voice we ever heard”, likewise, Robert Merrill and Licia Albanese commented on the sumptuous and beautiful quality of Tebaldi’s voice.

Renata Tebaldii withdrew from performances in 1963 to restudy, made in part due to the emotional stress after eighteen years of singing. After thirteen months of reworking her voice, Tebaldi possessed an unmistakable metallic edge in her voice which only strengthened over the years. On her mid-to-later career, Renata Tebaldi shifted from being a spinto to one with a near-dramatic sound. Adding La Gioconda in her repertoire, Tebaldi had chest notes carried high, bearing ample size and strength but little of the known beauty of Tebaldi’s tone. Similarly, in her recorded Puccini roles at that time, one can’t always count on the ”floats” being easily produced or accurately pitched.

Some critics of Renata Tebaldi have commented adversely on her seemingly incomplete technique, sometimes she took on strident; full-voiced top notes when tackling material above the high B-flat, and occasional lapses on her pitch. For most audiences however, there was a sheer and deep richness of Tebaldi’s voice, her melting legato phrases, the deeply expressive but never maudlin quality of singing, the beauty of her floated pianissimo high notes, and her temperament when dwelling in moments of dramatic intensity.[30] Tebaldi’s often mentioned alleged rival, Maria Callas, said in an interview, ”I admire Tebaldi’s tone; it’s beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice.”

Renata Tebaldi herself mentioned that recording presented challenges for her, as she missed the stimulation of an audience, and her powerful voice would often cause sound engineers to insist that she turn away from the microphone at moments of climactic intensity.

Personal life

Tebaldi enjoyed a beloved relationship with her mother, who helped nurture and was devoted to her career and well-being from an early age. Her mother’s death in 1957 took on a huge blow to Tebaldi, whose grief was unbearable and took effort in going back to the stage.

Tebaldi never married. In a 1995 interview with The Times, she said she had no regrets about her single life. ”I was in love many times,” she said. ”This is very good for a woman.” But she added, ”How could I have been a wife, a mother and a singer? Who takes care of the piccolini when you go around the world? Your children would not call you Mama, but Renata.”[10] She also wrote, ”I started my career at 22 and finished it at 54. Thirty-two years of success, satisfaction and sacrifices. Singing was my life’s scope to the point that I could never have a family.” [5] Tebaldi had a short relationship with bass Nicola Rossi-Lemeni. A longer one with conductor Arturo Basile was formed in 1958, Basile reportedly saying his intentions of marrying but was ended by Tebaldi in 1962 due to Basile’s behavior

Later years

By the end of her career, Tebaldi had sung in 1,262 performances, 1,048 complete operas, and 214 concerts.

Tebaldi retired from the opera stage in 1973 as Desdemona in Verdi’s Otello in the Metropolitan Opera, the same role she debuted there nearly 20 years previously.  In January 1976, she retired from giving recitals, making her last one in New York’s Carnegie Hall where she was overcome with emotion and had to return to perform after a few weeks in a successful but shaky performance. She received six curtain calls and standing ovations from the audience. She then moved out of her New York apartment, her home for many years during her stint in the Met and returned to Italy, where she gave her final public appearance in a vocal recital in La Scala in May 1976. She also made recitals around the globe, in one recital held in Manila with frequent partner Franco Corelli, Tebaldi’s voice cracked in a Manon Lescaut aria, she then massaged her throat and genuflected to great applause from the audience. Regarding her decision to retire, Tebaldi said that she stopped singing while she still had a powerful voice to avoid ”the mortifying season of decline.”

She spent the majority of her last days in Milan. She died at age 82 at her home, in San Marino. She is buried in the Tebaldi family chapel at Mattaleto cemetery in Langhirano. At her death, audiences at Venice’s La Fenice observed a moment of silence in her memory.

Luciano Pavarotti said, ”Farewell, Renata, your memory and your voice will be etched on my heart forever”.

Honours

Renata Tebaldi won the first Grammy Award Best Classical Performance – Vocal Soloist in 1959 for her album Operatic Recital. Their joint recording of Puccini’s Turandot, conducted by Erich Leinsdorf and starring Birgit Nilsson as Turandot, Jussi Björling as Calaf, Tebaldi as Liù and Giorgio Tozzi as Timur with the Rome Opera Orchestra won the Grammy Award for Best Opera Recording in 1961.

Renata Tebaldi became a member of the Order of Merit of the Italian Republic as a Grand Officer in 1968 and a Knight Grand Cross in 1992.  She was also made a Commander of the Ordre des Arts et des Lettres from France.

Proclamation of the ”Tebaldi day”, announced in his honor on 11 December 1995 by Rudolph Giuliani, then Mayor of New York City.[

Legacy

From February 2010 until 2013, the 15th-century Castle of Torrechiara – Langhirano – hosted within its rooms an exhibition dedicated to Renata Tebaldi. This “Castle for a Queen” unveils the many sides of this great diva, whose artistic and personal life remain on display. The items showcased followed her over the arc of time as she spread the world-class tradition of Italian lyrical art, all the way from the beginning of her career and throughout her artistic achievements. The exhibition is presented by the Renata Tebaldi Committee in collaboration with Superintendence of Environmental Heritage and Landscape of the province of Parma and Piacenza, the Regio Theatre Foundation of Parma and the Municipality of Langhirano and with the patronage of the province of Parma. On June 7, 2014, the museum dedicated to Renata Tebaldi was inaugurated in the stables of Villa Pallavicino in Busseto. Tebaldi has been awarded a star for recording in 1960 in Hollywood Walk of Fame in 6628 Hollywood Boulevard, Hollywood, California.

Discography

Lohengrin (Richard Wagner): conducted by Franco Capuana, with Giancinto Prandelli and Elena Nicolai. (1947). Performed in Italian.
Andrea Chénier (Umberto Giordano): Victor de Sabata conducting the Teatro alla Scala, with Mario Del Monaco and Paolo Silveri. (1949)
Giulio Cesare (George Frideric Handel): Herbert Albert conducting the Orchestra del Teatro San Carlo, with Cesare Siepi and Elena Nicolai. (1950)
Tannhäuser (Richard Wagner): Karl Boehm conducting the Orchestra del Teatro San Carlo, with Hans Beirer and Carlo Tagliabue. (1950). Performed in Italian.
La traviata (Giuseppe Verdi): Antonino Votto conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Campora and Paolo Silveri. (1950) (Gramophone Company)
Andrea Chénier (Umberto Giordano): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Mario Filippeschi and Carlo Tagliabue. (1951)
La bohème (Giacomo Puccini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giacomo Lauri-Volpi and Tito Gobbi. (1951)
Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1951) (Urania Records)
Fernand Cortez (Gaspare Spontini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Italo Tajo. (1951). Performed in Italian.
Giovanna d’Arco (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ugo Savarese. (1951)
Giovanna d’Arco (Giuseppe Verdi): Alfredo Simonetto conducting the RAI Milano Orchestra, with Carlo Bergonzi and Rolando Panerai. (1951)
La bohème (Giacomo Puccini): Alberto Erede conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Giancinto Prandelli and Fernando Corena. (1951) (Decca Records)
Madama Butterfly (Giacomo Puccini): Alberto Erede conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Giuseppe Campora, Giovanni Inghilleri and Nell Rankin. (1951) (London Records)
Adriana Lecouvreur (Francesco Cilea): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gianni Poggi and Augosto Romani. (1952)
Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1952)
Otello (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Ramón Vinay and Gino Bechi. (1952)
Le siège de Corinthe (Gioachino Rossini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Miriam Pirazzini and Mario Petri. (1952). Performed in Italian.
La traviata (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giuseppe Campora and Pina Angelici. (1952)
La traviata (Giuseppe Verdi): Carlo Maria Giulini conducting the RAI Milano Orchestra, with Giancinto Prandelli and Liliana Pellegrino. (1952)
Aida (Giuseppe Verdi): Alberto Erede conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario del Monaco and Ebe Stignani. (1952) (Decca Records)
Tosca (Giacomo Puccini): Alberto Erede conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Giuseppe Campora and Enzo Mascherini. (1952) (Decca Records)
Aida (Giuseppe Verdi): Giuseppe Morelli conducting the RAI Milano Orchestra, with Giuseppe Campora and Ebe Stignani. (1953)
Aida (Giuseppe Verdi): Tullio Serafin conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ebe Stignani. (1953)
Cecilia (Licinio Refice): Licinio Refice conducting the Orchestra del Teatro San Carlo, with Pina Ulisse and Alvino Misciano. (1953)
La forza del destino (Giuseppe Verdi): Dimitri Mitropoulos conducting the Teatro Comunale Orchestra, with Mario Del Monaco, Silvio Maionica and Giorgio Tozzi. (1953)
La Wally (Alfredo Catalani): Carlo Maria Giulini conducting the Teatro alla Scala, with Mario Del Monaco and Giangiacomo Guelfi. (1953)
Andrea Chénier (Umberto Giordano): Arturo Basile conducting the RAI Torino Orchestra, with José Soler and Ugo Savarese. (1953) (Cetra Records)
Tosca (Giacomo Puccini): Oliviero De Fabritiis conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Di Stefano and Tito Gobbi. (1953) (Decca Records)
Le nozze di Figaro (Wolfgang Amadeus Mozart): Ionel Perlea conducting the Orchestra del Teatro San Carlo, with Giulietta Simionato, Italo Tajo and Alda Noni. (1954). Performed in Italian.
Manon Lescaut (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Mario Boriello, Fernando Corena. Coro dell’Accademia Nazionale di Santa Cecilia. (1954) (Decca Records).
La traviata (Giuseppe Verdi): Francesco Molinari-Pradelli conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Gianni Poggi and Angela Vercelli. (1954) (Decca)
Turandot (Giacomo Puccini): Alberto Erede conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Inge Borkh, Mario del Monaco and Nicola Zaccaria. (1955) (Decca Records)
Tosca (Giacomo Puccini): Dimitri Mitropoulos conducting, with Leonard Warren, Fernando Corena, Richard Tucker. 7 January 1956 Metropolitan Opera Historic Broadcast Recording.
Il trovatore (Giuseppe Verdi): Alberto Erede conducting the Grand Théâtre de Genève Orchestra, with Mario Del Monaco and Giulietta Simionato. (1956) (Decca)
La traviata (Giuseppe Verdi): Fausto Cleva conducting the Metropolitan Opera Orchestra in 1957, with Giuseppe Campora and Leonard Warren.
Cavalleria rusticana (Pietro Mascagni): Alberto Erede conducting the Orchestra and Chorus of the Maggio Musicale Fiorentino in 1957, with Jussi Björling and Ettore Bastianini. (RCA/London Records)
Andrea Chénier (Umberto Giordano): Gianandrea Gavazzeni conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Fiorenza Cossotto, Ettore Bastianini. Coro dell’Accademia Nazionale di Santa Cecilia. (1957) (Decca).
Madama Butterfly (Giacomo Puccini): Angelo Questa conducting the Orchestra del Teatro San Carlo, with Gianni Raimondi, Giuseppe Valdengo, Anna Di Stasio. (1958)
La fanciulla del West (Giacomo Puccini): Franco Capuana conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cornell MacNeil, Giorgio Tozzi. Coro dell’Accademia Nazionale di Santa Cecilia. (1958) (Decca Import).
Madama Butterfly (Giacomo Puccini): Tullio Serafin conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Fiorenza Cossotto, Enzo Sordello. Coro dell’Accademia Nazionale di Santa Cecilia. (1958) (Decca Records).
Mefistofele (Arrigo Boito): Tullio Serafin conducting the Coro e Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cesare Siepi. (1958) (Decca).
La bohème (Giacomo Puccini): Tullio Serafin conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Gianna D’Angelo, Ettore Bastianini. Coro dell’Accademia Nazionale di Santa Cecilia. (1959) (Decca Records).
Tosca (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Coro e Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco and George London. (1959) (Decca Records).
Tosca (Giacomo Puccini): Gianandrea Gavazzeni conducting the La Scala Theatre Orchestra, with Giuseppe di Stefano and Tito Gobbi. La Scala Theatre Chorus. Recorded live at La Scala in 1959. Opera d’Oro.
Aida (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Carlo Bergonzi, Giulietta Simionato, Cornell MacNeil. Singverein der Gesellschaft der Musikfreunde. (1959) (Decca Legends).
Turandot (Giacomo Puccini): Erich Leinsdorf conducting the Rome Opera Orchestra, with Birgit Nilsson, Jussi Bjoerling and Giorgio Tozzi. Rome Opera Chorus. (1960) (RCA).
Otello (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Mario Del Monaco, Aldo Protti, Nello Romanato. Singverein der Gesellschaft der Musikfreunde. (1961) (Decca Legends).
Adriana Lecouvreur (Francesco Cilea): Franco Capuana conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Giulietta Simionato, Giulio Fioravanti. Coro dell’Accademia Nazionale di Santa Cecilia. (1961) (Decca).
Il trittico (Giacomo Puccini): Lamberto Gardelli conducting Chorus and Orchestra of the Maggio Musicale Fiorentino, with Giulietta Simionato, Mario del Monaco, Robert Merrill, Fernando Corena (1962) (London Records)
Adriana Lecouvreur (Francesco Cilea): Silvio Varviso conducting the Metropolitan Opera Orchestra, with Franco Corelli and William Wilderman. (1963)
Tosca (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Tito Gobbi. (1964)
Don Carlos (opera) (Giuseppe Verdi): Georg Solti conducting Orchestra of the Royal Opera House, with Carlo Bergonzi, Nicolai Ghiaurov, Dietrich Fischer-Dieskau, Grace Bumbry (1965) (Decca)
La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli, Cornell MacNeil, Biserka Cvejić and Cesare Siepi. (1966). (Stradivarius Records)
Otello (Giuseppe Verdi): Alberto Erede conducting the Teatro Regio Orchestra, with Mario Del Monaco and Tito Gobbi. (1966)
Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Louis Quilico. (1967)
La Gioconda (opera) (Amilcare Ponchielli): Lamberto Gardelli conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Robert Merrill, Marilyn Horne and Oralia Domínguez. (1968). (Decca Records)
La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting Metropolitan Opera Orchestra, with Carlo Bergonzi, Cornell MacNeil and Fiorenza Cossotto. (1968).
La Wally (Alfredo Catalani): Fausto Cleva conducting Orchestra of the American Opera Society, with Carlo Bergonzi, Peter Glossop. (1968).
La Wally (Alfredo Catalani): Fausto Cleva conducting L’Orchestre National de l’Opéra de Monte-Carlo, with Mario Del Monaco, Piero Cappuccilli, Justino Diaz. Coro Lirico di Torino. (1968) (Decca Records).
Adriana Lecouvreur (Francesco Cilea): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Morley Meredith. (1969)
La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Seymour Schwartzman. (1969)
La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Alan Wagner. (1969)
La bohème (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Richard Tucker and Gene Boucher. (1970)
La fanciulla del west (Giacomo Puccini): Jan Behr conducting the Metropolitan Opera Orchestra, with Sándor Kónya and Anselmo Colzani. (1970)
Simon Boccanegra (Giuseppe Verdi): James Levine conducting the Cleveland Orchestra, with Cornell MacNeil and Ezio Flagello. (1970) (Legato Classics)
Un ballo in maschera (Giuseppe Verdi): Bruno Bartoletti conducting the Orchestra dell’Accademia Nazionale di Santa Cecilia, with Luciano Pavarotti and Sherrill Milnes. (1970) (Decca Records)
Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Peter Glossop. (1972)
Falstaff (opera) (Giuseppe Verdi): Christoph von Dohnányi conducting the Metropolitan Opera Orchestra. with Tito Gobbi and Luigi Alva. (1972)
Otello (Giuseppe Verdi): James Levine conducting the Metropolitan Opera Orchestra. with James McCracken and Sherrill Milnes. (1973)

På svenska

Renata Tebaldi ville bli pianist men ändrade sig och började studera sång i Parma, Mantua och Milano. Hon debuterade 1944 på Teatro Municipale i Rovigo som Elena i Boitos Mefistofele och sjöng på olika itallienska scener tills Toscanini hörde henne 1946 och genast ordnade kontrakt åt henne med La Scala. Där var hon i många år den ledande sopranen i Verdi och Puccinipartier.

1955-73 var Renata Tebaldi knuten till Metropolitan där hon både vid debuten och avskedsföreställningen sjöng Desdemona i Otello, som var en av hennes allra bästa roller.Även i Wien, Paris, Rom,London och Chicago hyllades hon för sin oförlikneliga gestaltning av Verdis och Puccinnis hjältinnor, Cileas Adriana Lecouvreur och Madeleine de Cogny i Giordanos Andrea Chénier.

Metropolitan Opera

[Met Performance] CID:167830 
Otello {111}
Metropolitan Opera House; 01/31/1955
Debut: Renata Tebaldi
Review
[Met Performance] CID:167920
La Bohème {510}
Metropolitan Opera House; 02/9/1955
[Met Performance] CID:167940
Otello {112}
Metropolitan Opera House; 02/11/1955
[Met Performance] CID:167990 
Tosca {321}
Metropolitan Opera House; 02/16/1955
Review
[Met Performance] CID:168070
Andrea Chénier {64}
Metropolitan Opera House; 02/23/1955
[Met Performance] CID:168130
Otello {113}
Metropolitan Opera House; 03/1/1955
[Met Performance] CID:168180
Otello {114}
Metropolitan Opera House; 03/5/1955
[Met Performance] CID:168200
Tosca {322}
Metropolitan Opera House; 03/8/1955
[Met Performance] CID:168210 
La Gioconda {172}
Metropolitan Opera House; 03/9/1955
Debut: Giorgio Tozzi
Review
[Met Performance] CID:168250
Otello {115}
Metropolitan Opera House; 03/12/1955
Broadcast
[Met Performance] CID:170030
Aida {587}
Metropolitan Opera House; 11/19/1955
Debuts: Mario Ortica, Carmen De Lavallade
Reviews
[Met Performance] CID:170060
Aida {588}
The American Academy of Music, Philadelphia, Pennsylvania; 11/22/1955
[Met Performance] CID:170080
Aida {589}
Metropolitan Opera House; 11/24/1955
[Met Performance] CID:170220 
Revised Production
Tosca {331}
Metropolitan Opera House; 12/8/1955
Debut: Peter Mark
Review
[Met Performance] CID:170250
Aida {590}
Metropolitan Opera House; 12/10/1955
[Met Performance] CID:170270
Tosca {332}
Metropolitan Opera House; 12/13/1955
[Met Performance] CID:170440
Tosca {333}
Metropolitan Opera House; 12/30/1955
Review
[Met Performance] CID:170460
Die Fledermaus {64}
Metropolitan Opera House; 12/31/1955
Review
[Met Performance] CID:170470
Andrea Chénier {78}
Metropolitan Opera House; 01/2/1956
[Met Concert/Gala] CID:170480
Lily Pons Gala
Metropolitan Opera House; 01/3/1956
Lily Pons’s 25th Anniversary
Review
[Met Performance] CID:170520  Opera News
Tosca {334}
Metropolitan Opera House; 01/7/1956
Broadcast
[Met Performance] CID:170550
La Forza del Destino {83}
Metropolitan Opera House; 01/10/1956
Review
[Met Performance] CID:170600
Andrea Chénier {79}
Metropolitan Opera House; 01/14/1956
[Met Performance] CID:170640
Tosca {336}
Metropolitan Opera House; 01/18/1956
[Met Performance] CID:170680
La Forza del Destino {84}
Metropolitan Opera House; 01/21/1956
Review
[Met Performance] CID:170700
Tosca {337}
The American Academy of Music, Philadelphia, Pennsylvania; 01/24/1956
Review
[Met Performance] CID:171420  Opera News
Manon Lescaut {86}
Metropolitan Opera House; 03/31/1956
Broadcast
Review
[Met Performance] CID:174010
La Bohème {537}
Metropolitan Opera House; 02/8/1957
Review
[Met Performance] CID:174150
New production
La Traviata {394}
Metropolitan Opera House; 02/21/1957
Debut: Oliver Smith
Reviews
[Met Performance] CID:174210
Tosca {356}
Metropolitan Opera House; 02/27/1957
Review
[Met Performance] CID:174260
La Traviata {395}
Metropolitan Opera House; 03/2/1957
[Met Performance] CID:174290
La Traviata {396}
Metropolitan Opera House; 03/6/1957
[Met Concert/Gala] CID:350763
Ed Sullivan Show: Andrea Chenier: Final duet
03/10/1957
Telecast
[Met Performance] CID:174360
La Traviata {397}
Metropolitan Opera House; 03/12/1957
[Met Performance] CID:174400
La Traviata {398}
Metropolitan Opera House; 03/15/1957
[Met Performance] CID:174430
La Bohème {539}
Metropolitan Opera House; 03/17/1957
[Met Performance] CID:174470
La Traviata {399}
Metropolitan Opera House; 03/21/1957
[Met Performance] CID:174520
La Traviata {400}
Metropolitan Opera House; 03/25/1957
[Met Performance] CID:174600
La Traviata {401}
Lyric Theatre, Baltimore, Maryland; 04/1/1957
[Met Performance] CID:174660   Opera News 
La Traviata {402}
Metropolitan Opera House; 04/6/1957
Broadcast
[Met Performance] CID:174750
La Traviata {403}
Boston Opera House, Boston, Massachusetts; 04/13/1957
[Met Performance] CID:174790
La Traviata {404}
Metropolitan Opera House; 04/17/1957
[Met Performance] CID:174830
Tosca {366}
Metropolitan Opera House; 04/20/1957
[Met Performance] CID:174850
La Traviata {405}
Cleveland Public Auditorium, Cleveland, Ohio; 04/23/1957
[Met Performance] CID:174890
Tosca {367}
Cleveland Public Auditorium, Cleveland, Ohio; 04/27/1957
[Met Performance] CID:174930
La Traviata {406}
The Mosque, Richmond, Virginia; 04/30/1957
[Met Performance] CID:174960
La Traviata {407}
Fox Theatre, Atlanta, Georgia; 05/3/1957
[Met Performance] CID:175010
La Traviata {408}
Ellis Auditorium, Memphis, Tennessee; 05/8/1957
[Met Performance] CID:175050
La Traviata {409}
Fair Park Auditorium, Dallas, Texas; 05/11/1957
[Met Performance] CID:175080
Tosca {368}
Music Hall, Houston, Texas; 05/14/1957
[Met Performance] CID:175120
La Traviata {410}
Northrup Memorial Auditorium, Minneapolis, Minnesota; 05/18/1957
[Met Performance] CID:175160
La Traviata {411}
Indiana University Auditorium, Bloomington, Indiana; 05/21/1957
[Met Performance] CID:175200
La Traviata {412}
Opera House, Chicago, Illinois; 05/25/1957
[Met Performance] CID:175250
La Traviata {413}
Maple Leaf Gardens, Toronto, Canada; 05/28/1957
[Met Performance] CID:175280
Tosca {370}
Maple Leaf Gardens, Toronto, Canada; 05/31/1957
[Met Performance] CID:175300
La Traviata {414}
Maple Leaf Gardens, Montreal Canada; 06/3/1957
[Met Performance] CID:176310
Aida {607}
Metropolitan Opera House; 11/30/1957
Broadcast
Review
[Met Performance] CID:176360
Tosca {374}
Metropolitan Opera House; 12/5/1957
Review
[Met Performance] CID:176400
La Bohème {547}
Metropolitan Opera House; 12/8/1957
Review
[Met Performance] CID:180000 
Tosca {382}
Metropolitan Opera House; 10/27/1958
Opening Night {74}
Rudolf Bing, General Manager
Review
[Met Performance] CID:180050
Tosca {383}
Metropolitan Opera House; 11/1/1958
[Met Performance] CID:180080
Tosca {384}
Metropolitan Opera House; 11/4/1958
[Met Performance] CID:180130
Madama Butterfly {375}
Metropolitan Opera House; 11/8/1958
[Met Performance] CID:180190
Otello {126}
Metropolitan Opera House; 11/15/1958
Review
[Met Performance] CID:180230
Madama Butterfly {377}
Metropolitan Opera House; 11/19/1958
[Met Performance] CID:180280
Otello {127}
Metropolitan Opera House; 11/24/1958
[Met Performance] CID:180370
Manon Lescaut {88}
Metropolitan Opera House; 12/3/1958
Review
[Met Performance] CID:180410
Tosca {386}
Metropolitan Opera House; 12/6/1958
[Met Performance] CID:180430
Otello {128}
Metropolitan Opera House; 12/9/1958
Review
[Met Performance] CID:180460
La Bohème {559}
Metropolitan Opera House; 12/12/1958
[Met Performance] CID:180510
Manon Lescaut {89}
American Academy of Music, Philadelphia, Pennsylvania; 12/16/1958
[Met Performance] CID:180550
Otello {129}
Metropolitan Opera House; 12/20/1958
Broadcast
[Met Performance] CID:180570
Manon Lescaut {90}
Metropolitan Opera House; 12/22/1958
[Met Performance] CID:180600
Tosca {387}
Metropolitan Opera House; 12/25/1958
[Met Performance] CID:180640
Otello {130}
Metropolitan Opera House; 12/28/1958
[Met Performance] CID:180680
La Bohème {561}
Metropolitan Opera House; 01/1/1959
[Met Performance] CID:180720
Tosca {388}
Metropolitan Opera House; 01/5/1959
[Met Performance] CID:180810
La Bohème {562}
Metropolitan Opera House; 01/14/1959
[Met Performance] CID:180840
Manon Lescaut {91}
Metropolitan Opera House; 01/17/1959
Broadcast
[Met Performance] CID:180880
La Bohème {563}
Metropolitan Opera House; 01/20/1959
[Met Performance] CID:181040 
Metropolitan Opera Premiere
Macbeth {1}
Metropolitan Opera House; 02/5/1959
Debuts: Leonie Rysanek, Harold Sternberg, Carl Ebert, Caspar Neher
Reviews
[Met Performance] CID:184330
Cancelled Performance
La Forza del Destino: Acts I, II partial

Metropolitan Opera House; 03/4/1960
Death of Leonard Warren
Review and Account
[Met Performance] CID:184370
Simon Boccanegra {29}
American Academy of Music, Philadelphia, Pennsylvania; 03/8/1960
[Met Performance] CID:184410 Opera News
La Forza del Destino {97}
Metropolitan Opera House; 03/12/1960
Broadcast
[Met Performance] CID:184440
Simon Boccanegra {30}
Metropolitan Opera House; 03/15/1960
Review
[Met Performance] CID:184480
Andrea Chénier {89}
Metropolitan Opera House; 03/18/1960
[Met Performance] CID:184540
La Forza del Destino {98}
Metropolitan Opera House; 03/23/1960
[Met Performance] CID:184580
Andrea Chénier {90}
Metropolitan Opera House; 03/26/1960
Broadcast
[Met Performance] CID:184620
Tosca {406}
Metropolitan Opera House; 03/30/1960
Review
[Met Performance] CID:184670
Madama Butterfly {398}
Metropolitan Opera House; 04/2/1960
[Met Performance] CID:184720 
Simon Boccanegra {33}
Metropolitan Opera House; 04/7/1960
Debut: Anselmo Colzani
Review
[Met Performance] CID:184760
Madama Butterfly {399}
Metropolitan Opera House; 04/10/1960
[Met Performance] CID:184800
La Forza del Destino {99}
Metropolitan Opera House; 04/13/1960
Debut: Aurelio Oppicelli
[Met Performance] CID:184850
Andrea Chénier {94}
Metropolitan Theatre. Boston, Massachusetts; 04/18/1960
[Met Concert/Gala] CID:186510
Gala Performance
Metropolitan Opera House; 12/14/1960
Review
[Met Performance] CID:186560
Simon Boccanegra {41}
Metropolitan Opera House; 12/19/1960
Review
[Met Performance] CID:186620
La Bohème {585}
Metropolitan Opera House; 12/24/1960
Review
[Met Performance] CID:186660
Manon Lescaut {99}
Metropolitan Opera House; 12/29/1960
Review
[Met Performance] CID:186700
Madama Butterfly {411}
Metropolitan Opera House; 01/2/1961
Review
[Met Performance] CID:186740
Simon Boccanegra {42}
Metropolitan Opera House; 01/6/1961
[Met Performance] CID:186770
La Bohème {586}
Metropolitan Opera House; 01/9/1961
Review
[Met Performance] CID:186800
Simon Boccanegra {43}
Metropolitan Opera House; 01/12/1961
Review
[Met Performance] CID:186870
Madama Butterfly {412}
Metropolitan Opera House; 01/18/1961
[Met Performance] CID:187060
Madama Butterfly {413}
Metropolitan Opera House; 02/5/1961
[Met Performance] CID:187100
La Bohème {587}
Metropolitan Opera House; 02/9/1961
[Met Performance] CID:187150
La Bohème {588}
Metropolitan Opera House; 02/14/1961
[Met Performance] CID:187190
Simon Boccanegra {45}
Metropolitan Opera House; 02/18/1961
Broadcast
[Met Performance] CID:187220
Madama Butterfly {414}
Metropolitan Opera House; 02/21/1961
[Met Performance] CID:187280
La Bohème {589}
Metropolitan Opera House; 02/26/1961
[Met Performance] CID:193000
New production
Adriana Lecouvreur {4}
Metropolitan Opera House; 01/21/1963
Debuts: Igor Youskevitch, Casa d’Arte Firenze di Ruggero Peruzzi, Carlo Maria Cristini
Review
[Met Performance] CID:193070
Adriana Lecouvreur {5}
Metropolitan Opera House; 01/28/1963
[Met Performance] CID:193110
Adriana Lecouvreur {6}
Metropolitan Opera House; 02/1/1963
[Met Performance] CID:193150
Adriana Lecouvreur {7}
Metropolitan Opera House; 02/5/1963
[Met Performance] CID:193190
Adriana Lecouvreur {8}
Metropolitan Opera House; 02/9/1963
Broadcast
[Met Performance] CID:193230
Adriana Lecouvreur {9}
Metropolitan Opera House; 02/13/1963
[Met Performance] CID:193500 
New production
Otello {132}
Metropolitan Opera House; 03/10/1963
Reviews
[Met Performance] CID:197520 Opera News
La Bohème {620}
Metropolitan Opera House; 03/14/1964
Broadcast
Review
[Met Performance] CID:197620
Tosca {432}
Metropolitan Opera House; 03/22/1964
Debut: Stuart Fischer
[Met Performance] CID:197700
Tosca {433}
Metropolitan Opera House; 03/26/1964
[Met Performance] CID:197750
Tosca {434}
Metropolitan Opera House; 03/30/1964
[Met Performance] CID:197820
Otello {155}
Metropolitan Opera House; 04/4/1964
Review
[Met Performance] CID:197870
Otello {156}
Metropolitan Opera House; 04/9/1964
[Met Performance] CID:197930
La Bohème {626}
Metropolitan Theater, Boston, Massachusetts; 04/15/1964
[Met Performance] CID:198040
La Bohème {627}
Cleveland Public Auditorium, Cleveland, Ohio; 04/25/1964
[Met Performance] CID:198120
Otello {157}
Metropolitan Opera House; 04/30/1964
[Met Performance] CID:198230
Otello {158}
Metropolitan Opera House; 05/9/1964
[Met Performance] CID:198260
Aida {703}
Fox Theater, Atlanta, Georgia; 05/11/1964
Review
[Met Performance] CID:198270
La Bohème {631}
Fox Theater, Atlanta, Georgia; 05/12/1964
[Met Performance] CID:198360
La Bohème {632}
Northrup Auditorium, Minneapolis, Minnesota; 05/21/1964
[Met Performance] CID:198420
La Bohème {633}
Masonic Temple, Detroit, Michigan; 05/25/1964
[Met Concert/Gala] CID:200480 
Gala Performance
Metropolitan Opera House; 11/29/1964
[Met Performance] CID:200580
Simon Boccanegra {47}
Metropolitan Opera House; 12/9/1964
Review
[Met Performance] CID:200620
Tosca {442}
Metropolitan Opera House; 12/12/1964
[Met Performance] CID:200690
Simon Boccanegra {48}
Metropolitan Opera House; 12/19/1964
[Met Performance] CID:200720
Otello {163}
Metropolitan Opera House; 12/23/1964
[Met Performance] CID:200780
Otello {164}
Metropolitan Opera House; 12/29/1964
[Met Performance] CID:200860
Simon Boccanegra {49}
Metropolitan Opera House; 01/6/1965
[Met Performance] CID:200920
Tosca {443}
Metropolitan Opera House; 01/12/1965
Review
[Met Performance] CID:200990
Tosca {444}
Metropolitan Opera House; 01/18/1965
[Met Performance] CID:201110  Opera News
Simon Boccanegra {50}
Metropolitan Opera House; 01/30/1965
Broadcast
[Met Concert/Gala] CID:201780
Gala Performance
Metropolitan Opera House; 03/31/1965
[Met Performance] CID:202030
Otello {166}
War Memorial Auditorium, Boston, Massachusetts; 04/22/1965
[Met Performance] CID:202080
Tosca {453}
Cleveland Public Auditorium, Cleveland, Ohio; 04/26/1965
[Met Performance] CID:202120
Otello {167}
Cleveland Public Auditorium, Cleveland, Ohio; 04/30/1965
[Met Performance] CID:202200
Otello {168}
Fox Theatre, Atlanta, Georgia; 05/7/1965
[Met Performance] CID:202240
Tosca {454}
Memphis, Tennessee; 05/11/1965
[Met Performance] CID:202280
Tosca {455}
State Fair Music Hall, Dallas, Texas; 05/15/1965
[Met Performance] CID:202320
Otello {169}
Kiel Opera House, St. Louis, Missouri; 05/18/1965
[Met Performance] CID:202360
Tosca {456}
Northrup Memorial Auditorium, Minneapolis, Minnesota; 05/22/1965
[Met Performance] CID:202410
Otello {170}
Masonic Temple Auditorium, Detroit, Michigan; 05/26/1965
[Met Performance] CID:202440
Tosca {457}
Masonic Temple Auditorium, Detroit, Michigan; 05/29/1965
[Met Concert/Gala] CID:202460
Gala Opening: Tebaldi Concert
New York, Manhattan, Lewisohn Stadium; 06/21/1965
[Met Performance] CID:204630
La Fanciulla del West {54}
Metropolitan Opera House; 12/1/1965
Review
[Met Performance] CID:204670
La Bohème {644}
Metropolitan Opera House; 12/4/1965
[Met Performance] CID:204720
La Bohème {645}
Metropolitan Opera House; 12/10/1965
[Met Performance] CID:204760
La Bohème {646}
Metropolitan Opera House; 12/14/1965
[Met Performance] CID:204840
Tosca {459}
Metropolitan Opera House; 12/21/1965
[Met Performance] CID:204900
Tosca {460}
Metropolitan Opera House; 12/27/1965
[Met Performance] CID:204930
La Bohème {647}
Metropolitan Opera House; 12/30/1965
[Met Performance] CID:205010
Tosca {461}
Metropolitan Opera House; 01/7/1966
[Met Performance] CID:205060
La Bohème {648}
Metropolitan Opera House; 01/11/1966
[Met Performance] CID:205110
La Bohème {649}
Metropolitan Opera House; 01/15/1966
[Met Performance] CID:205260
Andrea Chénier {112}
Metropolitan Opera House; 01/30/1966
Debut: Lamberto Gardelli
[Met Performance] CID:205320
Andrea Chénier {113}
Metropolitan Opera House; 02/5/1966
Broadcast
[Met Performance] CID:205380
Andrea Chénier {114}
Metropolitan Opera House; 02/10/1966
[Met Performance] CID:205430
Andrea Chénier {115}
Metropolitan Opera House; 02/15/1966
[Met Performance] CID:205560
Tosca {465}
Metropolitan Opera House; 02/26/1966
[Met Concert/Gala] CID:206150
Gala Farewell
Metropolitan Opera House; 04/16/1966
Last performance by the Metropolitan Opera in the opera house at Broadway and 39th Street.
[Met Performance] CID:206170
Andrea Chénier {120}
War Memorial Auditorium, Boston, Massachusetts; 04/19/1966
[Met Performance] CID:206700
La Bohème {658}
New York, Manhattan, Lewisohn Stadium; 07/1/1966
[Met Concert/Gala] CID:206990
Renata Tebaldi Concert
New York, Manhattan, Lewisohn Stadium; 8/13/1966
[Met Performance] CID:208010
New production
La Gioconda {197}
Metropolitan Opera House; 09/22/1966
Debut: William Mellow
Review
[Met Performance] CID:208150
La Gioconda {198}
Metropolitan Opera House; 10/10/1966
[Met Performance] CID:208270
La Gioconda {199}
Metropolitan Opera House; 10/22/1966
[Met Performance] CID:208350
La Gioconda {200}
Metropolitan Opera House; 10/29/1966
[Met Performance] CID:208390
La Gioconda {201}
Metropolitan Opera House; 11/3/1966
[Met Performance] CID:208460
La Gioconda {202}
Metropolitan Opera House; 11/10/1966
[Met Performance] CID:208500
La Gioconda {203}
Metropolitan Opera House; 11/14/1966
[Met Performance] CID:208600
La Gioconda {204}
Metropolitan Opera House; 11/23/1966
[Met Performance] CID:208660
La Gioconda {205}
Metropolitan Opera House; 11/29/1966
[Met Performance] CID:208790
La Gioconda {206}
Metropolitan Opera House; 12/11/1966
Review
[Met Performance] CID:209790
La Bohème {667}
Metropolitan Opera House; 03/18/1967
[Met Performance] CID:209840
La Bohème {668}
Metropolitan Opera House; 03/22/1967
[Met Performance] CID:209890
La Gioconda {207}
Metropolitan Opera House; 03/27/1967
Review
[Met Performance] CID:210040
La Bohème {669}
Metropolitan Opera House; 04/7/1967
[Met Performance] CID:210080
La Bohème {670}
Metropolitan Opera House; 04/11/1967
[Met Performance] CID:210120  Opera News
La Gioconda {208}
Metropolitan Opera House; 04/15/1967
Broadcast
[Met Performance] CID:210150
La Gioconda {209}
War Memorial Auditorium,, Boston, Massachusetts; 04/18/1967
Review
[Met Performance] CID:210210
La Gioconda {210}
Cleveland Public Auditorium, Cleveland, Ohio; 04/24/1967
[Met Performance] CID:210280
La Gioconda {211}
Fox Theater, Atlanta, Georgia; 05/1/1967
[Met Performance] CID:210350
La Gioconda {212}
Auditorium, Memphis, Tennessee; 05/8/1967
Review
[Met Performance] CID:210390
La Gioconda {213}
State Fair Music Hall, Dallas, Texas; 05/12/1967
[Met Performance] CID:210440
La Gioconda {214}
Northrup Memorial Auditorium, Minneapolis, Minnesota; 05/17/1967
[Met Performance] CID:210530
La Gioconda {215}
Masonic Temple Auditorium, Detroit, Michigan; 05/26/1967
[Met Performance] CID:210620
La Gioconda {216}
Philadelphia Civic Center, Philadelphia, Pennsylvania; 06/3/1967
[Met Performance] CID:210660
La Gioconda {217}
Metropolitan Opera House; 06/15/1967
[Met Performance] CID:210700
La Gioconda {218}
Metropolitan Opera House; 06/20/1967
Review
[Met Performance] CID:210880
Otello {183}
Building #302, Newport Naval Base, Newport, Rhode Island; 08/25/1967
[Met Performance] CID:212030
La Gioconda {219}
Metropolitan Opera House; 09/21/1967
Debut: Paul Plishka
[Met Performance] CID:212070
La Gioconda {220}
Metropolitan Opera House; 09/25/1967
[Met Performance] CID:212120
La Gioconda {221}
Metropolitan Opera House; 09/30/1967
[Met Performance] CID:212180
La Gioconda {222}
Metropolitan Opera House; 10/6/1967
[Met Performance] CID:212340
Manon Lescaut {112}
Metropolitan Opera House; 10/21/1967
[Met Performance] CID:212390
La Gioconda {223}
Metropolitan Opera House; 10/27/1967
[Met Performance] CID:212430
Manon Lescaut {113}
Metropolitan Opera House; 10/31/1967
[Met Performance] CID:212470
Manon Lescaut {114}
Metropolitan Opera House; 11/4/1967
[Met Performance] CID:212520
Manon Lescaut {115}
Metropolitan Opera House; 11/9/1967
[Met Performance] CID:212560
Manon Lescaut {116}
Metropolitan Opera House; 11/13/1967
[Met Performance] CID:212620
La Gioconda {224}
Metropolitan Opera House; 11/18/1967
[Met Performance] CID:212650
La Gioconda {225}
Metropolitan Opera House; 11/22/1967
[Met Performance] CID:212720
La Gioconda {226}
Metropolitan Opera House; 11/29/1967
[Met Performance] CID:213630
La Gioconda {228}
Metropolitan Opera House; 02/24/1968
Review
[Met Performance] CID:213690 Opera News
La Gioconda {229}
Metropolitan Opera House; 03/2/1968
Broadcast
[Met Concert/Gala] CID:213860
Gala Performance
Metropolitan Opera House; 03/16/1968
[Met Performance] CID:213870
Tosca {481}
Metropolitan Opera House; 03/18/1968
[Met Performance] CID:213920  Opera News
Manon Lescaut {117}
Metropolitan Opera House; 03/23/1968
Broadcast
Debut: Cecelia Entner
[Met Performance] CID:213990
Manon Lescaut {118}
Metropolitan Opera House; 03/29/1968
[Met Performance] CID:214040
Manon Lescaut {119}
Metropolitan Opera House; 04/3/1968
[Met Performance] CID:214120
Manon Lescaut {120}
Metropolitan Opera House; 04/10/1968
[Met Performance] CID:214170
Tosca {482}
Metropolitan Opera House; 04/13/1968
[Met Performance] CID:214210
Tosca {483}
Metropolitan Opera House; 04/18/1968
[Met Performance] CID:216000
Adriana Lecouvreur {14}
Metropolitan Opera House; 09/16/1968
Opening Night {84}
Rudolf Bing, General Manager
Review
[Met Performance] CID:216050
Adriana Lecouvreur {15}
Metropolitan Opera House; 09/21/1968
[Met Performance] CID:216130 
Adriana Lecouvreur {16}
Metropolitan Opera House; 09/28/1968
Debut: Plácido Domingo
Review
[Met Performance] CID:216160
Adriana Lecouvreur {17}
Metropolitan Opera House; 10/2/1968
[Met Performance] CID:216220
Adriana Lecouvreur {18}
Metropolitan Opera House; 10/8/1968
[Met Performance] CID:216300
Adriana Lecouvreur {19}
Metropolitan Opera House; 10/16/1968
[Met Performance] CID:216390
Adriana Lecouvreur {20}
Metropolitan Opera House; 10/25/1968
[Met Performance] CID:216430
Adriana Lecouvreur {21}
Metropolitan Opera House; 10/29/1968
[Met Performance] CID:216490
Adriana Lecouvreur {22}
Metropolitan Opera House; 11/4/1968
[Met Performance] CID:217760
Tosca {505}
Metropolitan Opera House; 03/8/1969
[Met Performance] CID:217820
Adriana Lecouvreur {23}
Metropolitan Opera House; 03/14/1969
[Met Performance] CID:217880
Adriana Lecouvreur {24}
Metropolitan Opera House; 03/20/1969
Debuts: Suzanne Laurence, Jean Winters
[Met Performance] CID:217920
Adriana Lecouvreur {25}
Metropolitan Opera House; 03/24/1969
[Met Performance] CID:217960
La Bohème {686}
Metropolitan Opera House; 03/28/1969
[Met Performance] CID:218030
Tosca {511}
Metropolitan Opera House; 04/3/1969
[Met Performance] CID:218080
Tosca {513}
Metropolitan Opera House; 04/7/1969
[Met Performance] CID:218150
La Bohème {688}
Metropolitan Opera House; 04/12/1969
[Met Performance] CID:218190
La Bohème {689}
Metropolitan Opera House; 04/16/1969
[Met Performance] CID:218220 Opera News
Adriana Lecouvreur {26}
Metropolitan Opera House; 04/19/1969
Broadcast
[Met Performance] CID:218280
Adriana Lecouvreur {27}
War Memorial Auditorium, Boston, Massachusetts; 04/25/1969
[Met Performance] CID:218350
Adriana Lecouvreur {28}
Cleveland Public Auditorium, Cleveland, Ohio; 05/2/1969
[Met Performance] CID:218410
Adriana Lecouvreur {29}
Civic Center, Atlanta, Georgia; 05/8/1969
[Met Performance] CID:218480
Adriana Lecouvreur {30}
State Fair Music Hall, Dallas, Texas; 05/15/1969
[Met Performance] CID:218560
Adriana Lecouvreur {31}
Northrup Memorial Auditorium, Minneapolis, Minnesota; 05/23/1969
[Met Performance] CID:218600
Adriana Lecouvreur {32}
Detroit, Michigan; 05/27/1969
[Met Performance] CID:218660
Tosca {516}
Metropolitan Opera House; 06/2/1969
[Met Performance] CID:218720
La Bohème {696}
Metropolitan Opera House; 06/7/1969
[Met Performance] CID:220020
Tosca {517}
Metropolitan Opera House; 12/31/1969
[Met Performance] CID:220060
Tosca {518}
Metropolitan Opera House; 01/3/1970
[Met Performance] CID:220090
Tosca {519}
Metropolitan Opera House; 01/7/1970
[Met Performance] CID:220120
Tosca {520}
Metropolitan Opera House; 01/10/1970
Broadcast
Review
[Met Performance] CID:220170
La Bohème {700}
Metropolitan Opera House; 01/15/1970
[Met Performance] CID:220260  Opera News
La Bohème {701}
Metropolitan Opera House; 01/24/1970
Broadcast
[Met Performance] CID:220440
La Fanciulla del West {69}
Metropolitan Opera House; 02/11/1970
Debuts: Andrij Dobriansky, Raymond Gibbs
Review
[Met Performance] CID:220550
La Fanciulla del West {70}
Metropolitan Opera House; 02/21/1970
[Met Performance] CID:220580
La Fanciulla del West {71}
Metropolitan Opera House; 02/25/1970
[Met Performance] CID:220630
La Fanciulla del West {72}
Metropolitan Opera House; 03/2/1970
[Met Performance] CID:220750
La Fanciulla del West {75}
Metropolitan Opera House; 03/14/1970
Broadcast
[Met Concert/Gala] CID:221100
Gala Performance
Metropolitan Opera House; 04/11/1970
Richard Tucker’s 25th Anniversary
[Met Performance] CID:221190
La Bohème {705}
Hynes Civic Auditorium, Boston, Massachusetts; 04/20/1970
[Met Performance] CID:223250
Andrea Chénier {127}
Metropolitan Opera House; 10/9/1970
[Met Performance] CID:223300
Andrea Chénier {128}
Metropolitan Opera House; 10/14/1970
[Met Performance] CID:223350
Andrea Chénier {129}
Metropolitan Opera House; 10/19/1970
[Met Performance] CID:223450
Andrea Chénier {130}
Metropolitan Opera House; 10/29/1970
[Met Performance] CID:223480
La Traviata {572}
Metropolitan Opera House; 10/31/1970
Robert Merrill’s 25th Anniversary
Review
[Met Performance] CID:223540
Andrea Chénier {131}
Metropolitan Opera House; 11/7/1970
[Met Performance] CID:223600
Andrea Chénier {132}
Metropolitan Opera House; 11/13/1970
[Met Performance] CID:223920
Andrea Chénier {133}
Metropolitan Opera House; 12/15/1970
[Met Performance] CID:224000
Andrea Chénier {134}
Metropolitan Opera House; 12/23/1970
[Met Performance] CID:224050
Andrea Chénier {135}
Metropolitan Opera House; 12/28/1970
[Met Performance] CID:228590
Falstaff {108}
Metropolitan Opera House; 02/25/1972
Debut: Christoph Von Dohnányi
[Met Performance] CID:228650
Falstaff {109}
Metropolitan Opera House; 03/2/1972
[Met Performance] CID:228700
Falstaff {110}
Metropolitan Opera House; 03/7/1972
[Met Performance] CID:228780
Falstaff {111}
Metropolitan Opera House; 03/15/1972
[Met Performance] CID:228820
Falstaff {112}
Metropolitan Opera House; 03/18/1972
[Met Performance] CID:228900
Falstaff {113}
Metropolitan Opera House; 03/27/1972
[Met Performance] CID:228960 Opera News
Falstaff {114}
Metropolitan Opera House; 04/1/1972
Broadcast
[Met Performance] CID:229240
Otello {191}
Hynes Civic Auditorium, Boston, Massachusetts; 04/26/1972
Review
[Met Performance] CID:232060
Otello {207}
Metropolitan Opera House; 01/2/1973
[Met Performance] CID:232110
Otello {208}
Metropolitan Opera House; 01/5/1973
[Met Performance] CID:232140
Otello {209}
Metropolitan Opera House; 01/8/1973

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