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.
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.
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.
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 07:09 - 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.
@@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.
@@user-fu4zx9iu1h 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.
He was in a leage of his own...His voice is what heaven feels like for me.
When Franco Corelli's high notes were released, it was like hearing thunder. they were dazzling notes that no other singer could cover.

Yes of course from another planet, no comparison
The shading is unbelievable
tremendo. Es un autèntico cañon.
From another planet. So powerfull high notes!
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?
Notable y extraordinaria voz del gran tenor y maestro Franco Corelli. 🇨🇱⚓️🇨🇱
The great maestro Franco Corelli,unique, excellent and exceptional
DIE AUSNAHMEERSCHEINUNG SCHLECHTHIN UNERREICHBAR❤
Ascoltare in doveroso silenzio.
❤❤❤❤❤❤❤❤❤❤❤
supremo !!!!! meraviglioso in ogni aspetto vocale. recitativo, interpretativo. ...e bellissimo!!!!!!!
... unico ... il più grande di tutti, ... senza se e senza ma ...
Wow...such an exciting voice!
Unique and unattainable.
Great tenor!
CORREGGO: IMMENSO!
El más grande Tenor Lírico - Spinto del siglo XX .
Non spinto... Di forza!!!
これぞ息の柱の共鳴。ベルカントの鏡！
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!
The best!!!
Great compilation.
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.
Unicoooo!!!!
Yes. Victoria
La forza del destino!
Magnificent! Franco Corelli made opera, OPERA! ❤
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.
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
07:09 - 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.
6:32 ❤
❤️❤️❤️❤️❤️❤️❤️❤️
MA CHI POTRÀ MAI , NON DICO UGUAGLIARLO, MA AVVICINARSI A UN ARTISTA COSÌ IMMRNSO?
Mario Del Monaco
Which is the name of the opera in the 6:00 minute ?
I Puritani di Bellini.
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
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.
@@user-fu4zx9iu1h 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.