Besides her work in opera, Tebaldi appeared in recital and in concerts. Her recital programs consisted primarily of Italian songs and operatic arias. On the concert stage, besides the Verdi Requiem she also sang Mozart's Requiem, Rossini's Stabat Mater and Bach's St. Matthew Passion.
Tebaldi's voice was a very powerful spinto soprano of great beauty. She was able to sustain a long lyric line with little trouble and in the early years of her career she exhibited good control of florid passages. The extreme top of the range was lovely when singing softly, but tended to lose pitch when sung at full volume. Toscanini considered her voice one of the most beautiful in the twentieth century, and early in her career some critics felt that she was slighting the drama. She went through a vocal crisis in the early 1960s, but returned having restudied her voice and added more dramatic roles such as Gioconda and Minnie in La fanciulla del west to her repertoire and at the same time becoming a more intense actress. She was very careful about the roles she sang and how often she would sing. Rudolf Bing, manager of the Metropolitan Opera is quoted saying that "Tebaldi has dimples of steel," a sentiment echoed by many other managers. Her many recordings document the range of repertoire she sang and the great artistry she displayed.