Palermo (Italy) 1971 – film (1975) - Hamburg (Germany) 1976 & 1978 – Salzburg & Vienna (Austria)yu 1978 – Berlin West (Germany ) 1979, 1982, 1984 & 1986, Varna (1979) - Venice, Pistoia, Genoa, La Spezia (Italy) 1980, Sofia 1981 – Mannheim (Ger-many) 198
Her limpid soprano voice is managed with a virtuoso lightness and has an expressiveness which opens like a rainbow of colours, from a triumphant tone to the paleness of death. She gives a moving human dimension to the image of Leonora
In Trovatore her voice has a darker, more solemn, more regal tint. Certain melodies, but also the verses of the libretto, confer it to those singers who have a feeling for real verdian melodramma. In Kabaivanska’s singing this patina of melncholy nobility gave a sensation of gentle amd almost dreamy sadness. Even the cabaletta ( which Karajan paced with unusual slowness) was permeated by it. Her Leonora was always suffering, was wounded to death from the beginning and inclined to sadness even in the fioriture. I thought that one could say anything about this performance, but that conductore and soprano lacked in imagination.
Il a suffit que Raina Kabaivanska entre en scène et chante un mémorable « Tacea la notte »
pour que le spectacle retrouve son ton. « D’amor sull’ali rosee » révèle l’épanouissement
d’un timbre vibrant, brûlant même, conduit sur le souffle avec une science du legato admi-rable et des pianissimi voluptueux