Tosca 1956 Movie (Pitch Corrected) Franco Corelli, GG Guelfi, Maria Caniglia with English Subtitles
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- Опубліковано 9 жов 2023
- Tosca 1956 Movie (Remastered and Pitch Corrected with English Subtitles)
Giacomo Puccini
Cast:
- Mario Cavaradossi (Tenor) - Franco Corelli (Actor & Singing Voice)
- Floria Tosca (Soprano) - Franca Duval (Actress) Maria Caniglia (Singing Voice)
- Scarpia (Baritone) - Afro Poli (Actor) Giangiacomo Guelfi (Singing Voice)
- The Sacristan (Baritone) - Vito De Taranto (Actor & Singing Voice)
- Cesare Angelotti (Bass) - Antonio Sacchetti (Actor)
- Spoletta (Tenor) - Fernando Alfieri (Actor)
- Sciarrone (Baritone) - Aldo Corelli (Actor & Singing Voice)
- Jailer (Bass) - Dino Conti
Director - Carmine Gallone
Conductor - Oliviero De Fabritiis
I was 16 when I first saw this movie and fell in love with Corelli. Three years later I saw him in Fanciulla and got his autograph. So fantastically handsome, so much more that any photographs. Later I saw him in Chenier and Tosca when that "Vittoria" melted me. I couldn't move.
Завидую вам!
I envy you as well. I never saw these Italian opera movies until just recently as I love them. Franco Corelli is a perfectionist and sets the highest standard in singing and acting. The voice with Power and beauty
The handsomest tenor with the most spectacular voice!
Only wish to live inside a house to watch this LIVE, thank you for getting the full movie.
Bravo㊗㊗㊗
Introducing my husband to opera Corelli was his instant favorite. He said "I believe every note he sings." There are some beautiful voices that lack expression, making them dull. Corelli has both to the ultimate.
I think this film is to see Franco Corelli! I have it on dvd but this looks and
sounds better. He was something else in looks and voice. Thank you for this.
Maravillosa voz Franco corelli me entusiasma bravisimooooooooo
Первую оперу я увидел в провинциальном театре во времена СССР. Тогда я был мальчиком и опера не произвела на меня никакого впечатления. Называлась она "Князь Игорь" композитор Бородин. Но если бы я попал на этот спектакль, то навсегда бы полюбил оперу, точно бы плакал и переживал. Сюжет простой, понятный зрителю, по времени недолгий и не утомительный. Пуччини великий мастер, а певцы само совершенство!
This plot is still much more complex then the movies we have today. lol
Opera is certainly great when have great voices and good drama to showcase those voices.
Bonjour merci pour ce magnifique cadeau notre beau tenor y est resplendissant tant la voix unique que ce superbe physique bravos et merci vraiment ❤❤❤❤❤
Finally, this production of Tosca with the corrected pitch! Thank you for posting!
Bellissimo...
This is spectacular. Thanks a million.
Corelli, bellissimo!
Wow! Thank you so much!!! This is going to make sharing this opera with friends so much easier-not to mention not having to stick to a libretto until I either learn the opera or Italian! :)
Bravooooo!!!!Graciaaaaaaaaassssss!!!!
Thank you for writing the subtitles - it makes it very nice to watch!
meraviglioso, divino tutto
Che meraviglia! Grazieee😍😍
I think opera movies are quite fun!
Yes, it is also great to have something from Guelfi, that are not that many studio type of recordings from him. And he had an absolutely amazing voice!
i love this movie and opera but i hate that trippy ai filter thing that just makes everything look like some weird oil painting
The AI still needs some work. But this is a very difficult movie to enhance, the lighting within the scenes are constantly changes and original movie had a very high green filter. But hopefully someone else can some day to a better job them me to fix it. Or the AI might improve.
Now how do you determine the passaggio of a singer? Sometimes people’s cover techniques are so good that it’s hard to tell sometimes.
That is very true, especially with experienced singers. Singers sometimes cover before the passaggio or slightly later. Experienced singers can move their passaggio a bit, it doesn't have to be set in stone. It obviously helps if you know the singer very well. But the easiest way is to listen to the notes in their vocal range in a sequence, you can much more easily hear where the passaggio is then.
Here are two examples:
Mario Filippeschi:
ua-cam.com/video/yUq7RMVvewg/v-deo.html&ab_channel=ZubairHossain
Franco Corelli:
ua-cam.com/video/2NmJ810Qz1U/v-deo.html&ab_channel=ZubairHossain
It is somewhat easy with these types of tenors, they generally just cover at F#4.
If you are a singer trying to determine your own 2nd passaggio, it is just where your voice will naturally switch over to falsetto. Of course the more experienced you are the more accurate it is. Here is a great example, obviously not opera, but you can clearly hear how the voice breaks into falsetto at G4;
ua-cam.com/video/u89m1O-C-Yk/v-deo.html
He sang high notes mostly in full chest voice, that is a very high risky choice for live singing, you will get some occasions, such as this example where the falsetto will overpower the chest voice when you try to go over the passaggio with all of that weight on the voice.
@@ZENOBlAmusic Oh yeah didn't you use that in one of your videos about Freddie Mercury?
@@ZENOBlAmusic I already know my 2nd passaggio to be at E4, making me a lyric baritone. I somewhat suspected it to be around there even before I started taking voice lessons. Now the reason I asked you how to find others' passaggio was just so that I could have fun in classifying contemporary singers (though most of what I do is opera).
@@bradycall1889 Yes, I used it before because it is a nice example that you will find very rarely. It can be more difficult to hear the passaggio with baritones and basses, because these are more uniform types of voices. Some people obviously believe that basses don't even use their passaggio in opera. The more you listen to many singers the easier it would be to identify the passaggio. But it is much easier to hear the difference when you can listen to the notes in a sequence. You can also choose popular arias or parts where the singer needs to sing a high note, or past the passaggio and you can listen to that part and and note and compare it to others. All baritones will sing Largo Al Factotum, there are G4 notes.
It is great that you are taking lessons. A lyric baritone is a really nice type of voice, you can achieve great elegance and lyric baritones usually have great tone of voice.
@@ZENOBlAmusic Thanks!
1:28:08
01:09:17
А что не так с актерами, нормально они играют. Что касается костюмов, то они соответствуют той эпохе.
Yes, it is fine. It is not going to be like big production Hollywood movie (thank goodness). The voices are always the most important in opera, and you will not find a Tosca movie with better voices. The costumes at least don't look cheap. In some opera movies the costumes can look very cheap. No historical movies or stories ever have the absolutely correct costumes that corresponds with time period.
Wonderful to see a pretty decent film of TOSCA. All that is missing is Callas but any number of reasons for that I guess. Though one may miss Gobbi as Scarpia Guelfi‘s voice more than makes up for it + the actor who is dubbed by Guelfi is perfectly acceptable for such a definitive operatic melodrama as this. I wonder why they could not use Guelfi in both capacities as he was one of, if not, the most awesome Scarpias during this time, IMO. No one, of course, could match Gobbi for subtlety in characterization but the actor here, like I said, does a decent job & Guelfi‘s voice is the perfect instrument for this role during this period. The actress for TOSCA though is at least sufficiently glamorous which is a + as well. A fine Covent Garden TOSCA with Milanov, Corelli, & Guelfi was presented a year after this film & the sound of Guelfi‘s voice is predictably awesome. Ditto for Corelli & Milanov in one of her best late career performances. Thanks for posting.
Agreed, exactly with your sentiments. I think this is the best Tosca video, if you consider the voices. It is shame someone like Callas could not have been part of the cast. If you can't get Gobbi, then Guelfi is the next best thing, as you said his voice is perfect for Scarpia. My guess is that they didn't use Guelfi because they wanted an older character, and Guelfi was still in his early 30's at this time. That is really the only reason I can think of. Apparently for Franka Duval who plays Tosca, she did not know the role, that is why her voice wasn't used. She did start singing Tosca after the movie. The Covent Garden Tosca is great!
Maria Caniglia è stata una grande Tosca.
Not Canigula, CANIGLIA. One of the greatest Toscas.
@@AulicExclusiva yes! Missing something here, esp. missing Callas, is like missing a pebble in your shoe
Has anyone thought of synchronising Callas, Corelli, Gobbi’s performance at the Metropolitan Opera to this film?
Not much point in substituting actors for singers if they can't act! The Tosca might have been carved out of wood, and Scarpia had the most unconvincing laugh in stage history! The costumes were of course atrocious (what did I expect of the 1950s?) Still, the musical level was pretty acceptable, as was Corelli.
The "actors" they used wasn't really actors, They were all singers themselves, so it is quite strange decision to overdub them. Afro Poli who plays Scarpia was at the end of his career, so perhaps they felt his voice wasn't quite what they were looking for. Franka Duval who plays the Tosca did not have time to learn the role, she did sing the role later on. Maybe their acting would have been more convincing if they had sung themselves. This project was full of strange decisions, but apparently it is the first opera movie done in colour.
Maria Caniglia grande soprano, x quanto riguarda Corelli ricordo che ha inaugurato 6/ 7 volte il teatro La Scala e ben 13 volte il Metropolitan di New York, 2 prime le ha saltate x impedimenti familiari sennò erano 15.