My listening to her began in the mid-sixties, when the bloom was long off the rose. I just could not understand why so many nice people got so worked up about her. I hardly had access to her work of the late 40′s or early 50′s, so I did not know that other voce d’angelo, then.

Still, there was always something beautiful about her personality and bella figura, that probably helped her to get away with the shouted out high notes.

We can only be grateful, in the end, for the beauty she did create in the very beginning. The La Wally of the early 50′s (with Scotto’s debut as Walther) has the most beautiful account of ‘Ebben ne andro lontano’, by anyone, ever. Replete with splendid high B’s and hysterical scaligera ovation.

Would someone please post it, if available?

Someone I know that worked with her described her as “un po matta”. I don’t know what that was all about, but it is certainly an accomplished piece of singing in which she shows herself not skirting those high parts of the singing as is usually performed.

Still vote for Callas ’52 Cetra, though.

I recall having read something, somewhere, wish I knew,in which Callas stated that of the work she recorded, Gioconda, particularly in the 4th Act, was representative of what she was all about and what she was trying to effect from the music. I found that interesting as she was so much a belcantista, I would have thought she’d have indicated something in that repertory instead. Also love her Kundry, which proves it can be sung in a musical fashion, and not just caterwauled.

Poor Deborah! It was nothing at all like that last autumn.

I feel now as if I’ve had some of the money thrown away on that Gioconda returned to me in this video.

As for Tebaldi, fu#k a flat tone here and there….she was dramatically effective. Who has ever projected the dishing out of the final card in the card game of Act 2 of Golden Girl of the West with such punch? It irks me those fans that want to be ‘maestro singing teachers’, every time they hear an operatic sound. I thought listening and enjoying was the ‘action’ not proclaiming to the World they are walking Beckmessers’.

Our quest has ended

There are score desk seats (available through the auspices of the Met Opera Guild), for a mere pittance.
If you are in luck, you may snag a seat in the Family Box seats adjacent.
Orchestra– to snag a seat. — that’s the only reason to stand there as the sound is not so good, nor the sightline, naturally.

These days, with the Varis rush tickets on Mondays thru Thursdays, if you can STAND to stand online for a couple hours, at least you will have the recompense of viewing opera seated. Many times, helas, the seats are near or just under the overhang.

I’d also like to put in a word of another sort for the Gioconda of the “divine” Olive Middleton. I saw a complete performance of it in the early 60′s at La Puma Opera at the Palm Gardens. What a company, what a performance…and Olive was, of course, divine.

I wish. Miss Millo a great, big knock-out success.

No matter what her merits or demerits may be, she seems to sincerely and deeply love opera and the art of singing.

Her style has gone out of style (the grand manner), and therein lies her crime.

These days no one wants to believe in heart.
She attempts, in her own way, to communicate ‘dal cor al cor’.

IN BOCCA AL LUPO, Egregia Signora Millo!!

Great idea! LOLOL
But, I don’t think the trains would drown out those chest tones!

Furthermore, while I acquiesce with the nothing short of brilliant comments by mrmyster regarding Tebaldi, I must say that I am quite partial to her recording of this opera with Marilyn Horne. The duet is exquisitely and excitingly sung by both parties.

Cheers.