Franco Corelli & Eileen Farrell - Andrea Chenier duet: "Vicino a te"
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- Опубліковано 5 жов 2024
- From:
ANDREA CHENIER
Umberto Giordano
Andrea Chenier - Franco Corelli
Maddalena - Eileen Farrell [last performance]
Carlo Gerard - Robert Merrill
Bersi - Nedda Casei
Countess di Coigny - Gladys Kriese
Abbe - Gabor Carelli
Fleville - Gene Boucher
L'Incredible - Andrea Velis
Roucher - William Walker
Mathieu - Elfego Esparza
Madelon - Ruza Baldani
Dumas - Russell Christopher
Fouquier Tinville - Norman Scott
Schmidt - Louis Sgarro
Major-domo - Lloyd Strang
Conductor - Francesco Molinari-Pradelli
Metropolitan Opera House
22 March 1966
The voices were so beautifully matched -- a powerhouse of soaring sound.
Inarrivabile Corelli. ❤
Tremendous..this kind of singing seems to have almost vanished from our world.Bravi
Praticamente è scomparso ormai nn ci sono belle voci io ascolto vecchi cantanti da Lauri Volpi , Corelli e poi come non ascoltare Pavarotti
Not almost. For ever!
...what do you mean "ALMOST"!
Farrell like Tucker seem somewhat undervalued. She was certainly a wonderful soprano of the first rank, and a great pairing for Franco in this sublime duet
Con tutto rispetto per altri bravi tenori dovendo fare un solo nome non ho dubbi il più completo e ' sicuramente Franco Corelli
Caro Franco... Sei stato il più grande chenier, indimenticabile, assoluto.grazie.
I was at a concert by Farrell late in her career at the Auditorium Theater. In the manager's box were Birgit Nilsson [who had just finished a run at the Lyric Opera]; Dietrich Fischer-Dieskau [who was in rehearsal for a production at the Lyric opening the next week] and Elisabeth Schwarzkopf [who was giving a concert with the Chicago Symphony the same week]. Only such a truly great singer as Farrell could bring three such stars to hear her.
Voci magnifiche come questi, oggi non ci sono più.
e endividuali in certi aspetti cantabili ....
Folks it doesn't get any better than this.
Del monaco and stella,in fact del monaco and any leading lady
@@amantedellopera1681 Montserrat caballe and carreras at the met Gala 💗
@@judyjones2475 carreras for me didnt have the voice for the improviso,though he had a glorious voice before he ruined it singing roles not suited to his voice,what a shame,but hes not alone di stafano did likewise
Ps,both gigli and pertile were great in this role as was richard tucker
@@amantedellopera1681 al
Those two voices are electrifying together!
Fantastico sentire il pubblico esplodere prima della fine !!
Two huge and beautiful legendary voices perfectly matched in this most vocally trying triumphant finally. Bravi!!!
there is not enough words to describe Corelli. Big interpretation
Eileen Farrell is GREAT here and Franco. What a way to leave the Met---Brava!!! She was one of the GREAT singers of all time; underappreciated and rated, but happy and secure in her own right and accomplishments. She could sing it all in any style and genre alike.
Please check out soprano Kasondra Kazanjian
@@vincec8218 go away.
This duet is from Eileen Farrell's last performance at the Metropolitan Opera House, March 22, 1966. The performance with Bergonzi is from March 14.
How I envy anyone fortunate enough to have been there to have heard these two massive and beautiful voices together!
Farrell was an American, Corelli Italian. Great duo, 2 fabulous singers.
Meraviglioso💖🎼💖
Eileen Farrell was great singer who sang opera in.later years the Great American songbook with the same talent.Here with for me the all time best Andrea Chenier Franco Corelli
SUBLIMI !
SPLENDIDI !
MERAVIGLIOSI !
FRANCO CORELLI y EILEEN FARRELL conforman otro grandioso Dueto de Amor, el mismo que diversas parejas de grandes solistas han igualmente interpretado con absoluta maestría y con un profesionalismo sin límites. Este dueto marca el cierre impetuoso de la Opera ANDREA CHENIER, original del gran compositor italiano Umberto Giordano y basada en textos sobre episodios reales de la Revolución Francesa, aunque los hechos narrados y los nombres sean realmente ficticios. La magnificencia de las dos voces, la fuerza expresiva de la música, junto con el vigoroso respaldo de los timbales y de los redoblantes en los pasajes más intensos de este cuadro final, hacen de este cierre uno de los más grandiosos jamás escritos en el catálogo de dramas históricos tipificados en las notas vibrantes y arrolladoras de este final.
Por favor escucha a la soprano Kasondra Kazanjian
Wow!! A wonderful performance !
PARFAIT! OF ANOTHER WORLD.
Ha!! No one was ever able to drown out Farrell! Not even Corelli!
Her voice was one of the biggest instruments of history. Bigger than Nilsson’s voice who had a slimmer voice than Farrell.
Philip Condenzio Or Birgit Nilsson!
Philip Condenzio: Ethel Merman drowns out Farrell in the duets from NORMA and LA GIOCONDA. Of course Farrell struggles to sing Rose in GYPSY but that’s life.
Only Farrel and Tebaldi.
@@johnpickford4222 Ethel Merman singing in Norma??
I really think that I would have fallen out of my seat if I had heard some of those notes coming from EILEEN FARRELL LIVE!
And CORELLI CORELLI CORELLI WOW
MY VOCAL TEACHER SAID THAT EILEEN FARRELL IS MY "VOCAL MOTHER". MIND BLOWN!!!!🤯 I can only sing and sing and study and study and dream and dream because she was EVERYTHING. Beside the phenomenal instrument there was that ability to be so versatile. I have her singing blues and classics as well as opera. A phenomenal woman
duetto eseguito in modo impeccabile!
Please check out soprano Kasondra Kazanjian
@@vincec8218Why?
The applause was almost as thrilling as what produced it.
Please check out soprano Kasondra Kazanjian
@@vincec8218 who is she ? A great soprano ?
@@vincec8218 Why?
A GOD of OPERA!
what wonderful singing! simply amazing! And this was her last performance............
magnificent and thrilling
In his book ''The American Opera Singer,'' the critic Peter G. Davis recounts a story of Ms. Farrell's first performances with the powerhouse tenor Franco Corelli in ''La Forza del Destino'' in Philadelphia. After one duet, Mr. Corelli raced offstage shouting in Italian: ''Who is this woman? She has made me deaf!''
Haha, thats funny
very funny and quite possibly true...Farrell's voice was immense!
Yes, the mysteriously underused, underrated Eileen Farrel had, if nothing else an absolutely MASSIVE voice.
kATIE, So Corelli and Farrell went on stage cold and never rehearsed. Pretty hard to believe that Corelli never heard Farrell's full voice in rehearsal. I don't buy it, and either should you.
True, But Corelli didn't hear her large voice during rehearsal? I don't buy the story.
@Joost Van Berge This recording is most certainly dead ON pitch - not too low. And with Corelli and Farrell singing, there was no half-tone downward transposition of the section from "Abbracciami, baciami, amante!" to the end, as often happens/happened live in the opera house.
Felix73able Just checked the pitch. It's dead center A=440, Metropolitan opera tuning pitch. You're hearing their voices exactly as they sounded in the house. Those are two huge B naturals at the end!
the speed is exact, final note high B natural
You are admirably precise.
Thank you for this wonderful recording.
*Corelli said that Farrell had the largest voice he's ever heard.*
I can't believe I missed it..given how amazing the performance was with Bergonzi...
TITANIC.
2:44 to 4:07 is mute!. Any chance for a re-upload of this historic recording? Thanks.
Bergonzi was very good Chénier, but Corelli was magic in this role!
Maybe it's callous of me, but I always viewed Bergonzi at the Met as a fill in tenor, when MDM, Corelli orTucker were not available. He was a fine singer but never shook me up.
@@sugarbist I quite agree. Bergonzibuilt an international career on his musical intelligence. His was not a thrilling sound. No "squillo" but always a good interpretation.
sugarbist I think the Met treated him that way too... of course all great maestri in their own way
@@sugarbist This is not true. Bergonzi was considered as important as Corelli by the MET and both were above Del Monaco in the way that the MET used to "sell" them. Tucker was above all of them because he was the great American tenor, so his market with the MET was the really huge.
Carlos Gomes How can my opinion be untrue? Del Monaco sang at the Met from 1951 to 1959. Bing wanted to use Del Monaco primarily as a dramatic tenor singing Otello, where Tucker and Bergonzi did not sing Otello. Corelli came to the Met in 1961 and was the highest paid tenor at the Met at this time. Tucker sang at the Met for 30 years and over 700 performances, canceling only twice. IMO, Bergonzi could not compete vocally with FC, MDM or RT in the verismo roles, although he was an accomplished tenor.
In reply to PrevitaliA, there is a beautiful video of Farrell doing the Liebestod which hints at what a Tristan und Isolde might have been with her as Isolde. I don't know that she ever did the role, but that piece is fabulous in her voice.
She did sing the 2nd act love duet with James King. That performance is still available. She said on an interview that she had sung some of act one in concert . But that has not surfaced to my knowledge.
Henry Tudor That would be quite fantastic I'm sure!
Eileen Farrell is the saving grace of this recording because, unlike the others who ruin it with overdramatic camp, she sings believeably. Sadly, few singers of the past had that skill.
Being camp is fabolous, it is shame there not anymore camp people and singers.
Chenier was a great favorite of Bergonzi. When he evolved from a baritone to a tenor, Chenier was his debut tenor role. He sang it with Arroyo in 1978 at the Met. He scored a great success. People listening to Bergonzi's voice only on record do not know the great power he had. He was a dramatic tenor. His voice could dominate when the parts called for it----say Radames at the end of the 2nd act of Aida, His creamy sound was just the sound his voice made. And he could hold his own with anybody.
Bergonzi is at most a spinto, not even close to being a dramatic, let alone a heroic dramatic. His timbre lacks the monumental element to do dramatic tenor roles justice. Bootleg live recordings hailing from the late fifties to the mid-seventies show that he was repeatedly dominated by the likes of Tebaldi, Leontyne Price, Caballe, Sills and Horne, just to name a few.
I saw him often at the MET between 1972 and 1981 when I relocated to the west. You could always here him live.
I heard bergonzi he was no dramatic tenor
Yes, it was the absence of Sqello that made his voice sound, especially on recording, smaller than it was. It was not so much a big voice as a loud-and yes beautiful-voice. And a voice that was through the years more and more artfully used.
Henry Tudor Bergonzi was a fine musician but never a dramatic tenor in any stretch of any ones imagination but yours. A lyric spinto for sure or even a medium sized spinto. Vickers Vinay Zenatello Del Monaco are some examples of Dramatic type voices, and Otello was a big part of their repertory. Not true about Bergonzi
Is there any way to fact check? I thought she did another with Bergonzi right after this...anyway I can't believe this tape exists....she was a fabulous Magdalena. She had volume to give away...the audience went mad.
Not at the Met. This was absolutely her last Met performance. She sang it with Bergonzi on March 14th.
Please check out soprano Kasondra Kazanjian
yes - you can check out the MET Data Base - it states her last MET Performance was March 22, 1966 - with Corelli and Robert Merrill conducted by Francesco Molinari-Pradelli
Supposedly Corelli once said, '' who is this woman who is making me deaf.''
Lovely choice, but the audio goes dead at 2:44 into the piece.
Thanks
Farrell should have sung Wagner at the Met. But there was Bing. And Nilsson.
I think it was Farrell.
Thanks but there is a bad ending to the duet then a blank on the recording. Did you intend us to hear more? You gave us the complete cast.
Bergonzi was a fantastic Chenier! One of my very favorites! His voice didn't have the spaciousness of Corelli or the direct squillo of Tucker, but there was always a poetic fervor to his performances, especially of Chenier, and a sovereign musical judgement that made every phrase seem spontaneously created. A True Artist!!
Bergonzi's phrasing and musicality were amazing and he was a true artist, but imo his voice is too light for much of the repertoire he sang. He was a great Pinkerton, but a Chenier he was not! The thing that Bergonzi did that made him great and such an artist is that he never sacrificed his vocal legato, sang those heavier roles with HIS voice, and didn't push or force his voice like DiStefano, Carreras and Araiza did.
March 14, 1966 Harriet Johnson review: Carlo Bergonzi in the title role sang beautifully, but his voice is too lyric to due the role full justice.But Bergonzi did sing Chenier 18 times at the Met.
What causes the weird silence around 3:00?
Grande Corelli. Pero no olvidemos a Pedro Lavirgen que también fué un gran Adrea Chenier.
You forget Rita Hunter!
Conducting is rushed
I guess you don't like Callas - and I happen to find Sutherland's voice extremely ugly, but we seem to agree that Farrell is the most underrrated singer of the 20th century! I'd have loved to hear more of her Wagner...
Vladimir Polionov: If you are too deaf and dumb to appreciate the majesty of JOAN SUTHERLAND, then be satisfied with what little EILEEN FARRELL recorded as you don’t deserve more.
the recording is off pitch. half tone too low
Joost Van Berge bullshit
@@matejknezevic6989 It clearly is.
Please check out soprano Kasondra Kazanjian