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Renata Tebaldi La Mostra Exhibition

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Renata Tebaldi La Mostra Exhibition Renata Tebaldi La mostra exhibition Renata Tebaldi nasce a Pesaro il 1° Febbraio 1922. Cosa si aggiunge ad un mito raccontando la sua infanzia? Studia pianoforte al Conservatorio di Parma e successivamente canto con il Maestro Come si trasforma un’adolescente in un evento miracoloso della musica mondiale? Campogalliani. Al Liceo «Gioacchino Rossini» di Pesaro prosegue i corsi di canto con In che maniera la donna Renata Tebaldi diventa un’icona consacrata ed idolatrata? Carmen Melis. Nel 1944 debutta a Rovigo nel ruolo di Elena nel Mefistofele di Arrigo L’allestimento suddivide in 4 periodi storici la folgorante carriera di Renata Tebaldi Boito. Nel 1946 partecipa al concerto di riapertura della Scala di Milano, sotto la mostrando il rito della creazione di un simbolo dell’eccellenza musicale mondiale, direzione di Arturo Toscanini, cantando nella Preghiera del Mosè in Egitto di Rossini e osservandone la bellezza estetica nelle presenze mondane, la passione per i vestiti, lo nell’assolo del Te Deum di Giuseppe Verdi. In questa stessa occasione Arturo Toscanini stile e l’eleganza, l’ammirazione dei fans: la definisce la «voce d’angelo». 1922-1944 / 1945-1959 /1960-1969 / 1970-1976. Renata Tebaldi possedeva uno strumento di prodigiosa bellezza e morbidezza, capace «Nella mia carriera non sono stata solo Renata ma ognuna delle protagoniste delle di passare da aerei pianissimi a torrenti di suono. opere che ho rappresentato». Nel tradizionale repertorio del tardo Verdi (Aida, Otello, Falstaff), nel Puccini Nel 1976, al termine di una serie di sbalorditive performance, Renata Tebaldi esce un’iniziativa di particolarmente a Lei congeniale (La Bohème e Tosca, Manon Lescaut), in Adriana dal ruolo di profonda ed infinita interprete. Conserva per la sua vita privata la parte MILANO Lecouvreur di Cilea, in Andrea Chénier e Fedora di Giordano, la Tebaldi seppe sfoggiare dell’elegantissima «donna Renata», regalando al mondo, per sempre, la sua icona CUORE D’EUROPA una prodigiosa ricchezza di colori vocali e un superbo stile di canto. perenne. La mostra conclude l’itinerario in quell’istante, consegnando al futuro la sua Nella prima parte della carriera ha affrontato non solo opere di Wagner in lingua italiana celebrazione. (celebratissime la sua Elsa del Lohengrin e la sua Elisabetta del Tannhauser) e di Mozart Non tutti hanno avuto la fortuna di assistere ai suoi concerti dal vivo; ogni visitatore sarà (Le Nozze di Figaro in particolare), ma anche storiche riprese di lavori di Haendel accompagnato nel racconto visivo dalla presenza della sua voce nelle stanze, creando (Giulio Cesare), Spontini (Olimpia e Fernando Cortez), Rossini (L’assedio di Corinto e il una propria memoria di ciò che ha immaginato. Guglielmo Tell) e del primo Verdi (Giovanna D’Arco). Si entra nell’installazione all’ingresso della mostra, come si entra in una foresta Memorabile anche in ruoli drammatici: Tosca, Aida, Leonora in La forza del destino, la evocatrice. Procedendo nella scoperta gioiosa di una delle tantissime immagini di Wally di Catalani alla Scala, Minnie in La fanciulla del west di Puccini. Renata, ognuno ruberà alla donna una propria personale parte, per restituirla, alla fine Comitato Renata Tebaldi per la costituenda Per la Decca, sotto la direzione di Georg Solti, con Carlo Bergonzi incide il Don Carlo, e del viaggio, alla più grande cantante del mondo: Renata Tebaldi. in seguito Un ballo in maschera, nel 1970 a fianco di Luciano Pavarotti. Il debutto americano avviene con Aida alla San Francisco Opera nel 1950. Il 31 gennaio What it adds up to a myth telling her childhood? 1955 si presentò al Metropolitan di New York, trionfando come Desdemona nell’Otello a How can a teenager become a miraculous event of world music? fianco di Mario Del Monaco. How does the woman Renata Tebaldi become consecrated and worshipped icon? Le sue apparizioni al Metropolitan, diventata la sua sede principale, si susseguirono per The exhibition divides into 4 periods the dazzling career of Renata Tebaldi, showing the anni con grande regolarità. Nel 1959, rientra al Teatro alla Scala di Milano, dopo quattro ritual of creating a symbol of world musical excellence, observing the beauty in worldly anni di assenza, con Andrea Chenier e Tosca; in quest’ultimo ruolo riscuote quaranta appearances, a passion for clothes, style and elegance, the admiration of fans: minuti di applausi a fianco di Giuseppe Di Stefano e Tito Gobbi. 1922-1944/1945-1959/1960-1969/1970-1976. Con un trionfale concerto il 23 Maggio 1976 alla Scala dà il denitivo addio alle scene. «In my career I have not only been Renata but each of the protagonists of the works which I represented». She was born in Pesaro on the 1st of February 1922, and studied piano at the Conservatory In 1976, after a series of stunning performances, Renata Tebaldi exits from the role of Parma and afterwards lyric with Maestro Campogalliani. At the “Gioacchino Rossini” of deep and endless interpreter. She keeps for her private life the part of the elegant high school at Pesaro she studied singing with the famous soprano Carmen Melis. “woman Renata», giving to the world, forever, her perennial icon. The exhibition route She made her debut as Elena in Mefistofele by Arrigo Boito in Rovigo in 1944 She took ends at that instant, handing to the future her celebration. part in the re-opening concert of the Scala of Milan, directed by Arturo Toscanini, Not everyone was lucky enough to attend her live concerts; each visitor, here though, singing the Prayer from Moses in Egypt by Rossini and in the “Te Deum” by Giuseppe will be accompanied in the visual novel by the presence of her voice in the rooms, Verdi. On this very occasion Arturo Toscanini defined her voice as the “voice of an creating his own memory. angel”. Renata Tebaldi possessed a prodigiously beautiful, velvety instrument, able to You enter in the installation, at the entrance of the exhibition, as you can enter in a go from incredibly high pianissimo notes to rivers of sound. evocative forest. Proceeding in the joyous discovery of one of the many pictures of In the traditional repertoire of Verdi’s later operas (Aida, Othello, Falstaf), in Puccini Renata, everyone will steal «to the woman» a part, to return it, at the end of the museum The myth of the song, the style of a diva in the heart of Milan which she found particularly congenial (La Boheme and Tosca, Manon Lescaut), in tour, to the greatest singer in the world: Renata Tebaldi. MILANO, Palazzo Morando | Costume Moda Immagine Cilea’s Adriana Lecouvreur, in Giordano’s, Andrea Chénier and Fedora, Renata Tebaldi 20 Novembre 2014 - 1 Febbraio 2015 was able to show, with perfect expressive intuition, a prodigious richness of vocal color November 20, 2014 - February 1, 2015 and a superb lyrical style. During the first part of her career she faced not only works of Wagner in Italian (her Elsa Via Sant’Andrea 6, 1° piano - first floor from Lohengrin and her Elizabeth from Thannauser are both very famous) and Mozart 5 4 3 apertura da martedì a domenica 9-13 / 14-17.30 (in particular The Marriage of Figaro), but also historical representations of works of 2 opening from tuesday to sunday am 9-13 / 14-17.30 Haendel (Julius Caesar), Spontini (Olimpia and Fernando Cortez), Rossini (The Siege of +39 02 884 65735 - 64532 www.civicheraccoltestoriche.mi.it | www.museorenatatebaldi.it Corinth and William Tell) e her first Verdi (Joan of Arc). 6 9 She also gave memorable performances in dramatic roles: Tosca, Aida, Leonora in The 1 Force of Destiny and Wally by Catalani at the Scala. A record was made in 1958 for Decca Progetto di allestimento - Exhibit design Alessandra Ferrari in which she played the role of Minnie in the The Girl of the Golden West, by Puccini. For Decca, directed by Georg Solti, with Carlo Bergonzi she made a record of Don Carlo, and Coordinamento - Coordination 7 Giovanna Colombo later of “Masked Ball” in 1970 with Luciano Pavarotti. Her real American debut was with Presidente Comitato Renata Tebaldi Aida at the San Francisco Opera in 1950, but her New York debut, at the Metropolitan took place only on the 31st of January 1955 when she triumphed as Desdemona in Collaborazione al progetto - Collaboration to design Othello together with Mario Del Monaco. Her appearances at the Metropolitan, which Studio Carzaniga Ferrari 8 became her main theatre, continued with great regularity. Allestimento - Set-up Arredamenti Carotti di Maurizio Acerbis & C snc In 1959 after an absence of four years, she returned to the Scala in Milan in Andrea Chenier and Tosca with Giuseppe Di Stefano and Tito Gobbi and together they received Impiantistica - Technics audio and video 1 - Ingresso 6 - 1960-1969 Multimagine soc.coop. 40 minutes of applause. 2 - L’artista e le prime Stampe digitali - Digital print She gave a definitive farewell to the stage on the 23rd of May, 1976 with a triumphant 7 - 1970-1976 Santini Pubblicità srl 3 - La voce concert at the Scala. 8 - L’ascolto © Video 4 - 1922-1944 9 - Amici e colleghi Tutti le immagini dell’allestimento Giorgia Padovano 5 - 1945-1959 sono di proprietà del Comitato Renata Tebaldi. Consulenza - Counsuling Vietata qualunque riproduzione. Alfredo Padovano.
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