Yet somehow, whatever the achievements of the oldtimers or the promise of the newcomers, opera fans invariably return to the bubbling controversy about just two singers—Tebaldi and "The Other One" (as Tebaldi partisans coldly dub Callas). Comparing them role by role, aria by aria is one of the more fascinating operatic pastimes. As far as The Other One is concerned, she considers all these comparisons idle. She and Tebaldi are simply not in the same league, Callas explained to a TIME reporter last week, because Tebaldi's repertory is so much smaller. Said Callas:
"My admiration of her is of the fullest, and I am happy for her success. If I hear her sing well, I am the first to cheer her. But I live in another world. She is a vocalist of a certain repertoire. I consider myself a soprano—one who does what they used to do once upon a time. My repertoire, by God's will and nature's blessing, is complete. I have contributed to the history of music. I have taken music that has long been dead and buried and have brought it back to life again. If the time comes when my dear friend Renata Tebaldi will sing, among others, Norma or Lucia or Anna Bolena one night, then La Traviata or Gioconda or Medea the next—then, and only then, will we be rivals. Otherwise it is like comparing champagne with cognac. No—champagne with Coca-Cola."
