A glorious tenor with a great body, fabulous handsome looks (they called him "coscie d'oro' (Golden Thighs), and, of coarse, that Golden Throat. His name and reputation will survive all the ages. Many tenors through the yars have graced the opera world with great voices, but not all have had the charisma and absolute authority to do what Franco Corelli did so perfectly for so many years. I might be of today's generation, but, no question, this is a tenor for all generations and for all times. Grazie, Franco - Con rispetto e amore. Riposa bene, Spirito Gentil.
00:03 - Mamma, quel vino è generoso | Cavalleria Rusticana | Pietro Mascagni 00:09 - No, no, Principessa altera | Turandot | Giacomo Puccini 00:23 - Vesti La Giubba | Pagliacci | Rugiero Leoncavallo 00:36 - E lucevan le stelle | Tosca | Giacomo Puccini 00:54 - Pur ti riveggo, mia dolce Aida | Aida | Giuseppe Verdi 01:13 - Il Fior Che Avevi A Me Tu Dato (Flower Aria) | Carmen | Georges Bizet 01:23 - Vittoria! | Tosca | Giacomo Puccini 01:43 - Ch'ella Mi Creda | La Fanciulla del West | Giacomo Puccini 01:53 - Addio fiorito asil | Madame Butterfly | Giacomo Puccini [The photo is from Fedora | Umberto Giordano] 02:02 - Mamma, quel vino è generoso | Cavalleria Rusticana | Pietro Mascagni 02:11 - Mi batte il cor... O Paradiso! | L'Africaine | Giacomo Meyerbeer 02:22 - Un di all'azzurro spazio | Andrea Chenier | Umberto Giordano 02:31 - Recondita Armonia | Tosca | Giacomo Puccini 02:41 - ??? [I'm guilty of being ignorant with this aria. But it seems like it's from Verdi's Don Carlo] 02:54 - Cielo e Mar | La Gioconda | Amilcare Ponchielli 03:11 - Ah! leve toi soleil | Roméo et Juliette | Charles Gounod 03:35 - Meco all'altar di venere | Norma | Vincenzo Bellini 03:47 - I' te vurria vasà (Interpolated ending) | Neapolitan song | Eduardo Di Capua 04:00 - Celeste Aida | Aida | Giuseppe Verdi 04:16 - O Sole Mio (Interpolated ending) | Neapolitan song | Giovanni Capurro; music by Eduardo di Capua and Alfredo Mazzucchi 04:29 - La pia materna mano | La Battaglia di Legnano | Giuseppe Verdi 04:39 - La Vita Mi Costasse | Tosca | Giacomo Puccini 04:50 - Core n'grato | Neapolitan Song | Salvatore Cardillo; Riccardo Cordiferro 05:02 - Di quella pira | Il trovatore | Giuseppe Verdi 05:13 - Nessun Dorma | Turandot | Giacomo Puccini 05:27 - Gli'enigmi sono tre uno la vita (In Questa Reggia) | Turandot | Giacomo Puccini 05:51 - Che gelida manina | La Boheme | Giacomo Puccini 06:04 - A te O Cara | I Puritani | Vincezo Bellini 06:15 - Bianca al par di neve alpina | Gli Ugonotti | Giacomo Meyerbeer 06:26 - Giustio ciel, che vegg'io | Gli Ugonotti | Giacomo Meyerbeer 06:34 - Granada | Mexican song | Agustín Lara 06:44 - Dio che nell'alma infondere | Don Carlo | Giuseppe Verdi 06:53 - Act 3: Le Duc! Le Duc ! Roméo et Juliette | Charles Gounod 07:08 - No, no, Principessa altera | Turandot | Giacomo Puccini 07:29 - O Muto Asil Del Pianto | Guglielmo Tell | Gioachino Rossini [Home rehearsal 1961/62] 07:46 - Sfolgoro Divino Raggio | Poliuto | Gaetano Donizetti [Home rehearsal] 07:54 - Act 1 (Terzetto): Di geloso amor sprezzato | Il Trovatore | Giuseppe Verdi 08:10 - Gli'enigmi sono tre uno la vita (In Questa Reggia) | Turandot | Giacomo Puccini [Macerata] 08:30 - Di quella pira | Il trovatore | Giuseppe Verdi [Concert in New York] You're welcome.
Antonio juvarra: ad accomunare i due tenori c’era la stessa eccezionale potenza vocale naturale… ma a stabilire LA SUPERIORITÀ TECNICO-VOCALE DI CORELLI ERA LA SUA CAPACITÀ DI CANTARE A MEZZA VOCE E DI FARE PRODIGIOSI DIMINUENDI ANCHE IN ZONA ACUTA… Chi di più?
ha quello che e' cosa rara nelle voci liriche, la riconoscibilita', un tratto distintivo nei colori e tanta roba ancora andrebbe ricordato piu' spesso.
I must thank the Corelli haters. If it was not for their comments and disdain for such a great singer, I probably would not have found his legendary art. Rest in peace, Maestro.
The A flat in Tosca Vittoria, some in the audience were not happy with Franco because he held the note so long it caused them to miss dinner reservations
This is a very good lesson - Vittoria - @1:28 the O sound and the A sound are exactly the same. And the E of Ardenti in the Turandot contains the same open o/a sound. He only stays true to the I vowel. Vien Pareil, of Roméo - again is the A/O of Vittoria. Once you understand how he does it perfectly every time, then there is no excuse for not learning it. La Vita Mia Costasse (last act Tosca) - that "A" of costasse is EXACTLY THE SAME VOWEL as ARDENTE in Turandot. VinCERo only gets the diphthong right at the end of the note and it is a tiny tiny change to get that diphthong of the E - before that it is the A/O of Vittoria. This is how you do it.
@ 5:49 Wait a minute. The climactic note in Rodolfo's aria from La Bohème is a C , but there is no recording of Corelli singing it in the original key--- but rather with ½ down transposition--- either "live" or in the studio. But no matter. Corelli is still the greatest Rodolfo since Gigli and Caruso before him.
Por favor, sres. hay comparaciones odiosas. Corelli era el primus inter pares; ciertamente los hubo buenos y buenísimos pero que agrupasen en una sola voz las características más excelsas del canto, sólo hubo uno, FRANCO CORELLI.
@@alexj.denton7453 si es para tanto, por que el que hizo el vídeo se tomó su tiempo, en editar y buscar. Es como tomar el trabajó de otro sin preguntar. Eso es robo
This was a consequence of the vocal technique used by Corelli. As far as I know, the sound cannot be directed at the larynx and the lips of the singer at the same time.
@@SagEinmalAmore There have been other tenors that lowered their larynx and have had very good diction. Del Monaco had impeccable diction, as well as Limarilli, and Cechele who came out of the Melocchi school. However, Corelli claims that he used a floating larynx technique, and stated he was born with the mezza voce`, but could not teach it. Corelli also stated that the lowering larynx technique was around for a long time and did not originate with Melocchi. Giacomini studied the Melocchi method under Marcello Del Monaco, but his diction was good but not exemplary. Martinucci and Monsalve also used the The method.
@@sugarbist His dictation was not always bad this is a generalisation. I recently did a translation of Mario Del Monaco in Andrea Chenier and his dictation wasn't that great, some of it was quite sloppy. So he did not always have great dictation, just as a Corelli did not always have bad dictation. Giacomini did not have good diction at all, I also did subtitles for him, they were pretty bad. None of the other Melocchi students had the same facility as Corelli on high notes, so there is probably a pay off somewhere. I have added subtitles to many different videos, and Corelli's dictation is very often some of the best. Yes, he did at times have sloppy dictation but it certainly wasn't as often as some people pretend, I would say it more in his later years. I don't think the bigger voiced tenors ever really had impeccable dictation, from what I have seen lyric tenors just have far better dictation in general. Of course Corelli was right in that the lowered larynx technique have been around for a long time, but he was very wrong with his idea that Melocchi's students could not do diminuendos and mezza voice, Melocchi had a few baritones who had good mezza voce. Maybe if he actually had more lessons with Melocchi he would have understood that. Del Monaco had a very extreme personality, so he took the Melocchi method as far as he possibly could. He taught that same method to his students, thus all of his students had depressed larynxes such as Giacomini. Del Monaco could sing with that extreme method but it didn't work that well for his students. I really like Giacomini but he had some obvious problems.
It is pretty useless making a comment about dictation on high notes, there is no dictation or even words on high notes it is just ahh sounds. Opera singers are not able to sing words on high notes, whereas some contemporary singers can sing whole sentences on C5 notes.
supremo !!!!! meraviglioso in ogni aspetto vocale. recitativo, interpretativo. ...e bellissimo!!!!!!!
... unico ... il più grande di tutti, ... senza se e senza ma ...
tremendo. Es un autèntico cañon.
Notable y extraordinaria voz del gran tenor y maestro Franco Corelli. 🇨🇱⚓️🇨🇱
When Franco Corelli's high notes were released, it was like hearing thunder. they were dazzling notes that no other singer could cover.

From another planet. So powerfull high notes!
A glorious tenor with a great body, fabulous handsome looks (they called him "coscie d'oro' (Golden Thighs), and, of coarse, that Golden Throat. His name and reputation will survive all the ages. Many tenors through the yars have graced the opera world with great voices, but not all have had the charisma and absolute authority to do what Franco Corelli did so perfectly for so many years. I might be of today's generation, but, no question, this is a tenor for all generations and for all times. Grazie, Franco - Con rispetto e amore. Riposa bene, Spirito Gentil.
The great maestro Franco Corelli,unique, excellent and exceptional
00:03 - Mamma, quel vino è generoso | Cavalleria Rusticana | Pietro Mascagni
00:09 - No, no, Principessa altera | Turandot | Giacomo Puccini
00:23 - Vesti La Giubba | Pagliacci | Rugiero Leoncavallo
00:36 - E lucevan le stelle | Tosca | Giacomo Puccini
00:54 - Pur ti riveggo, mia dolce Aida | Aida | Giuseppe Verdi
01:13 - Il Fior Che Avevi A Me Tu Dato (Flower Aria) | Carmen | Georges Bizet
01:23 - Vittoria! | Tosca | Giacomo Puccini
01:43 - Ch'ella Mi Creda | La Fanciulla del West | Giacomo Puccini
01:53 - Addio fiorito asil | Madame Butterfly | Giacomo Puccini [The photo is from Fedora | Umberto Giordano]
02:02 - Mamma, quel vino è generoso | Cavalleria Rusticana | Pietro Mascagni
02:11 - Mi batte il cor... O Paradiso! | L'Africaine | Giacomo Meyerbeer
02:22 - Un di all'azzurro spazio | Andrea Chenier | Umberto Giordano
02:31 - Recondita Armonia | Tosca | Giacomo Puccini
02:41 - ??? [I'm guilty of being ignorant with this aria. But it seems like it's from Verdi's Don Carlo]
02:54 - Cielo e Mar | La Gioconda | Amilcare Ponchielli
03:11 - Ah! leve toi soleil | Roméo et Juliette | Charles Gounod
03:35 - Meco all'altar di venere | Norma | Vincenzo Bellini
03:47 - I' te vurria vasà (Interpolated ending) | Neapolitan song | Eduardo Di Capua
04:00 - Celeste Aida | Aida | Giuseppe Verdi
04:16 - O Sole Mio (Interpolated ending) | Neapolitan song | Giovanni Capurro; music by Eduardo di Capua and Alfredo Mazzucchi
04:29 - La pia materna mano | La Battaglia di Legnano | Giuseppe Verdi
04:39 - La Vita Mi Costasse | Tosca | Giacomo Puccini
04:50 - Core n'grato | Neapolitan Song | Salvatore Cardillo; Riccardo Cordiferro
05:02 - Di quella pira | Il trovatore | Giuseppe Verdi
05:13 - Nessun Dorma | Turandot | Giacomo Puccini
05:27 - Gli'enigmi sono tre uno la vita (In Questa Reggia) | Turandot | Giacomo Puccini
05:51 - Che gelida manina | La Boheme | Giacomo Puccini
06:04 - A te O Cara | I Puritani | Vincezo Bellini
06:15 - Bianca al par di neve alpina | Gli Ugonotti | Giacomo Meyerbeer
06:26 - Giustio ciel, che vegg'io | Gli Ugonotti | Giacomo Meyerbeer
06:34 - Granada | Mexican song | Agustín Lara
06:44 - Dio che nell'alma infondere | Don Carlo | Giuseppe Verdi
06:53 - Act 3: Le Duc! Le Duc ! Roméo et Juliette | Charles Gounod
07:08 - No, no, Principessa altera | Turandot | Giacomo Puccini
07:29 - O Muto Asil Del Pianto | Guglielmo Tell | Gioachino Rossini [Home rehearsal 1961/62]
07:46 - Sfolgoro Divino Raggio | Poliuto | Gaetano Donizetti [Home rehearsal]
07:54 - Act 1 (Terzetto): Di geloso amor sprezzato | Il Trovatore | Giuseppe Verdi
08:10 - Gli'enigmi sono tre uno la vita (In Questa Reggia) | Turandot | Giacomo Puccini [Macerata]
08:30 - Di quella pira | Il trovatore | Giuseppe Verdi [Concert in New York]
You're welcome.
Ascoltare in doveroso silenzio.
❤❤❤❤❤❤❤❤❤❤❤
Antonio juvarra: ad accomunare i due tenori c’era la stessa eccezionale potenza vocale naturale… ma a stabilire LA SUPERIORITÀ TECNICO-VOCALE DI CORELLI ERA LA SUA CAPACITÀ DI CANTARE A MEZZA VOCE E DI FARE PRODIGIOSI DIMINUENDI ANCHE IN ZONA ACUTA… Chi di più?
The shading is unbelievable
What exactly do you mean by shading?
He was in a league of his own...His voice is what heaven feels like for me.
For anyone who will listen to it
@@cristinapedraza3322 ???
ha quello che e' cosa rara nelle voci liriche, la riconoscibilita', un tratto distintivo nei colori e tanta roba ancora andrebbe ricordato piu' spesso.
la nota smorzata in celeste aida...epica!
DIE AUSNAHMEERSCHEINUNG SCHLECHTHIN UNERREICHBAR❤
Muchos grandes tenores, pero sin dudas FRANCO CORELLI ..EL UNICO INMENSO
Yes of course from another planet, no comparison
Que voz maravillosa sin palabras
Corelli, Primo Tenore di Tutto il Mondo!!!!❤❤😊😊👑👑
Wow...such an exciting voice!
Great tenor!
I must thank the Corelli haters. If it was not for their comments and disdain for such a great singer, I probably would not have found his legendary art. Rest in peace, Maestro.
Unico e iniettabile grazie corelli❤❤❤
El más grande Tenor Lírico - Spinto del siglo XX .
Non spinto... Di forza!!!
Tenor dramático
Great compilation.
Semplicemente DIVINO!!!🥰🥰🥰
Nothing more to say❤ unmatchable
Unicoooo!!!!
❤❤❤❤❤❤❤❤❤❤❤ very satisfying so much viewers, thank you very much
The A flat in Tosca Vittoria, some in the audience were not happy with Franco because he held the note so long it caused them to miss dinner reservations
😂👏🏻
Corelli il più grande tenore del 900 ma anche grande attore e una presenza stupenda.
Oops. It was a B flat.
This is a very good lesson - Vittoria - @1:28 the O sound and the A sound are exactly the same. And the E of Ardenti in the Turandot contains the same open o/a sound. He only stays true to the I vowel. Vien Pareil, of Roméo - again is the A/O of Vittoria. Once you understand how he does it perfectly every time, then there is no excuse for not learning it. La Vita Mia Costasse (last act Tosca) - that "A" of costasse is EXACTLY THE SAME VOWEL as ARDENTE in Turandot. VinCERo only gets the diphthong right at the end of the note and it is a tiny tiny change to get that diphthong of the E - before that it is the A/O of Vittoria. This is how you do it.
CORREGGO: IMMENSO!
Un leone della lirica .
Divino .
❤
@ 5:49 Wait a minute. The climactic note in Rodolfo's aria from La Bohème is a C , but there is no recording of Corelli singing it in the original key--- but rather with ½ down transposition--- either "live" or in the studio.
But no matter. Corelli is still the greatest Rodolfo since Gigli and Caruso before him.
Por favor, sres. hay comparaciones odiosas. Corelli era el primus inter pares; ciertamente los hubo buenos y buenísimos pero que agrupasen en una sola voz las características más excelsas del canto, sólo hubo uno, FRANCO CORELLI.
Unico irripetibile
Non me ne vogliano i tantissimi altri bravi tenori apparsi nello scenario della lirica!! Ma Corelli è inarrivabile !!
I love how pre verdi composers only show up like twice but they are also like the only ones who have notes above C# lol.
Unique and unattainable.
La forza del destino!
これぞ息の柱の共鳴。ベルカントの鏡！
Yes. Victoria
The best!!!
Which performance of "O Paradiso" is that? Thank you. Terrific video.
CORELLI MONSTRUO!!!!!!!!!!!
Magnificent! Franco Corelli made opera, OPERA! ❤
the king
6:53 high C was glorious
6:32 ❤
MA CHI POTRÀ MAI , NON DICO UGUAGLIARLO, MA AVVICINARSI A UN ARTISTA COSÌ IMMRNSO?
Mario Del Monaco
Io
❤️❤️❤️❤️❤️❤️❤️❤️
❤
Forgotten Alain Vanzo 1985 video Philadephia and beautifull diminuendo !!
Which is the name of the opera in the 6:00 minute ?
I Puritani di Bellini.
it can't be that there is damage to the sound recording in every fragment, but they are present...You had to "clean" the recordings
One of few GOATs who sung for a very short time from over singing
Le robaste ese video a tenorino medici
Es solo una colección de ácido agudos, tampoco es para tanto
Menos mal porque El lo quito
@@alexj.denton7453 si es para tanto, por que el que hizo el vídeo se tomó su tiempo, en editar y buscar. Es como tomar el trabajó de otro sin preguntar. Eso es robo
Corelli is great but Bonisolli is the best.
He always sounded like he forgot to put his false teeth in --- very poor diction
His diction wasn't great, but everything else about the voice was.
This was a consequence of the vocal technique used by Corelli. As far as I know, the sound cannot be directed at the larynx and the lips of the singer at the same time.
@@SagEinmalAmore There have been other tenors that lowered their larynx and have had very good diction. Del Monaco had impeccable diction, as well as Limarilli, and Cechele who came out of the Melocchi school. However, Corelli claims that he used a floating larynx technique, and stated he was born with the mezza voce`, but could not teach it. Corelli also stated that the lowering larynx technique was around for a long time and did not originate with Melocchi. Giacomini studied the Melocchi method under Marcello Del Monaco, but his diction was good but not exemplary. Martinucci and Monsalve also used the The method.
@@sugarbist His dictation was not always bad this is a generalisation. I recently did a translation of Mario Del Monaco in Andrea Chenier and his dictation wasn't that great, some of it was quite sloppy. So he did not always have great dictation, just as a Corelli did not always have bad dictation. Giacomini did not have good diction at all, I also did subtitles for him, they were pretty bad. None of the other Melocchi students had the same facility as Corelli on high notes, so there is probably a pay off somewhere.
I have added subtitles to many different videos, and Corelli's dictation is very often some of the best. Yes, he did at times have sloppy dictation but it certainly wasn't as often as some people pretend, I would say it more in his later years. I don't think the bigger voiced tenors ever really had impeccable dictation, from what I have seen lyric tenors just have far better dictation in general.
Of course Corelli was right in that the lowered larynx technique have been around for a long time, but he was very wrong with his idea that Melocchi's students could not do diminuendos and mezza voice, Melocchi had a few baritones who had good mezza voce. Maybe if he actually had more lessons with Melocchi he would have understood that. Del Monaco had a very extreme personality, so he took the Melocchi method as far as he possibly could. He taught that same method to his students, thus all of his students had depressed larynxes such as Giacomini. Del Monaco could sing with that extreme method but it didn't work that well for his students. I really like Giacomini but he had some obvious problems.
It is pretty useless making a comment about dictation on high notes, there is no dictation or even words on high notes it is just ahh sounds. Opera singers are not able to sing words on high notes, whereas some contemporary singers can sing whole sentences on C5 notes.