Tebaldi: The Voice of an Angel

The author of this biography is an Italian journalist who has been a music critic for Italian periodicals for many years; she is obviously a Tebaldi fan. The translator is "Tebaldi's close personal friend for more than 30 years." The result is a competent, professional, rather bland "fan" biography of one of the great sopranos of the post-World-War-Two era. That is to say, it falls into the trap of many gushing celebrity biographies by making no serious attempt to be objective or even-handed in its treatment of its subject: everything about Tebaldi here is rosy, positive, marvelous; the book is all bravas, applause, ovations, adulation. The Tebaldi portrayed here is unremittingly wonderful, and nothing of a questioning or critical nature is permitted to rear its ugly head. If you want to read this kind of book about Tebaldi, you probably won't be disappointed in this one. It's not as gushing as some, but its subject is permitted no faults, no flaws; only positive reviews are quoted; no criticism is allowed, nor any realistic discussion of vocal ups and downs, the strengths and weaknesses of Tebaldi's voice and performances, etc.Although I've admired Tebaldi's singing ever since her first recordings of the 1950s, have many of her CDs, and am positively disposed toward her, the plain truth is that her life is not a particularly interesting one. She came from a conventional middle-class background, and her exceptional voice was recognized early on; she enjoyed early success as a singer and a rapid progress to the top (she was singing at La Scala within two years of her provincial debut), and marched from one success to another. A large, tall woman, she remained single and childless, had admirable self-discipline, and lived entirely for her career. Once past her childhood and youth, her story becomes a repetitive one of moving around the globe singing opera successfully all over the world, with concertizing figuring more prominently in her later career. She made her debut in Rovigo in 1944 in Mefistofele, was brought to La Scala by Toscanini in 1946, and from there went on to triumph after triumph, first in Italy, then around the world. Most Tebaldi buffs consider that she did her best singing in the 1950s (although you won't read that here). She had a vocal crisis of sorts in early 1963 (again, you won't find it called that here), withdrew from singing for a year, and re-worked her vocal method with a voice coach (who happened to be the brother-in-law of the translator of this book). She then resumed her career in 1964, continuing singing opera until a final Falstaff at the Met in 1972 and a final Otello there in 1973. Thereafter she concertized until her final concert at La Scala in 1976. Although she certainly had a great international career and sang in major opera houses everywhere, it would probably be fair to say that her main bases of operation were La Scala from 1946 to 1955, and the Met from 1955 to 1973. One unusual aspect

I believe that the book is very good, as an authorized biography,it is easy to be read,has a lot of good photos and it brings good memories for Tebaldi's fans. On the other hand if one want to find bad comments should try another biography, because this is a book for Tebaldi's fans and she deserves it, like a homage to a so beautiful voice and sweet person. I would like to read the original in italian. That's all...