I can't believe Zucker talking to Corelli, one of the greatest tenors ever, and telling Corelli that he had used cortisone and that it made him wound "worse." I would have given a fortune to have seen the expression on Corelli's face when he heard Zucker, "the highest tenor in the world." OMG
@@sugarbist He Probably did not surprise Corelli by anything Zucker said, I finally found this, I forgot that Jerry Hines was in on this interview with Corelli, the interview heading does not mention the Bass Jerome Hines, being a guest in the interview here with Corelli by host Zucker. I enjoyed this with Corelli and Hines, Corelli has a rather high speaking voice compared to his singing voice, in fact dramatic tenor Del Monaco also had a rather high speaking voice in interviews, and it was somewhat similar to Corelli's speaking voice. Tucker's speaking voice was somewhat lower then both Corelli and Del Monaco, yet in his especially early years he was apt and sang many lyric roles like Traviata, Butterfly , Boheme, Rigoletto, and even Mozart like Cosi and early Magic Flute ,also Martha but the speaking voice was not light and high pitched, so speaking and singing voice is two different things.,
@@shicoff1398 Lauri Volpi wrote in his book, that Del Monaco's voice was built or fabricated to sing Otello, but when the day comes that Otello has deflated his voice, MDM could sing as a soprano with a different timber of voice and an extension up to E-Flat. Strange, but interesting.
He asked FC are you a dramatic tenor, that he wasn't going to say, yes I'm dramatic tenor? No FC didn't say he was a dramatic tenor, I think he had dramatic color and was a spinto but could sing both dramatic and spinto roles well.
Well Hines either didn't sing with Tucker in the roles when he sang the High C live or didn't remember it, but he did sing high C and live in Ballo, Lescaut and in Turandot and on studio records in both Ballo and Boheme, anyhow in 1966 at age 52 Tucker sang a 6 second interpolated solo high C in an Aida Met. radio Brdcst with Price and Merrill (at the end of the triumphal scene) and I have the tape complete of that Brdcst. I taped at the time, and have it to prove it, when he is talking about his high B getting hard, well of course he was then 60 Years also, and in fact most nights it was still excellent up top, Tucker died at age 61 and had just sung Canio a few weeks before he suddenly died and with success, see his archive Met. reviews for it.
It’s interesting that Hines considered Tucker a dramatic tenor. I’m sure the voice was huge, but Tucker did start out quite lyric. His voice was not necessarily light, and I’m sure it carried, but it was slender. It’s quite amazing how thick it got by the late 60s/early 70s. Steady growth.
I quite like Hines though. He is knowledgeable about technique and history, and he is eloquent. I would have liked to have talked singing with him. But interestingly, he wasn’t a pedagogue. Probably to his credit.
@@ER1CwC Tucker in his prime was a spinto, powerful but not dramatic and even said so himself, early a lyric with a strong top even in 1945 at his opera debut, as Enzo, at the old Met., Tucker him self said that he was a spinto later and early was a lyric, yes Hines and Merrill both said he was later a dramatic but that maybe said that because Tucker sang Samson and Juive live, but only later in his career.
@@ER1CwC Tucker had lyrical voice but he darkened his voice in the verismo style, he did not have as much squillo like spintos such as Filippeschi, Martinelli or Lauri Volpi, he was not a heroic Italian spinto tenor. His sound was actually mostly German, but he had a passionate Italian approach. I have seen some people say that he was a dramatic tenor, but I think the reason for that is because he darkened his voice and placed more emphasis on his middle register. He was a more German lyric spinto tenor because his voice had less squillo and more of a scuro sound. He was creating somewhat of a verismo sound while singing in a German style. Tucker did not really sing stand alone high C notes there is a difference, Del Monaco also sang high C notes in duets. Corelli was a dramatic tenor. It actually makes very little sense to think of him as a spinto. I think the only reason why he has been labeled as a spinto is because of Del Monaco's existence. The idea is as follow, both of them learned the Mellochi technique. Del Monaco was obviously a dramatic tenor, Corelli has the lighter voice so he is a spinto tenor. That is the type of logic you get, which is not terrible, but it is not really that simple. Both Del Monaco and Corelli modified the Mellochi technique according to their personal taste. Del Monaco represents the modern verismo dramatic tenor sound, he reinforces or places a lot of emphasis on his middle register (like Tucker). Del Monaco also used a lot of attack, creating a very homogenous voice, but he also had great squillo. Corelli was also a dramatic tenor but his style was more like the prewar tenors, so he had an older style of singing. Corelli also sometimes used the verismo attack, but he lightened his middle register and he used a higher placement which you can hear in the prewar tenors. If Corelli was a spinto tenor he would have sounded more like Lauri Volpi, Filippeschi and Martinelli, but he is not a spinto so his lower and middle register is far more robust. He was an Italian heroic dramatic tenor. To conclude a long story both Del Monaco and Corelli were dramatic tenors but they use a slightly different style of singing.
Still would love to hear the rest of this interview. In any case the is very valuable. Thank you for posting!
I can't believe Zucker talking to Corelli, one of the greatest tenors ever, and telling Corelli that he had used cortisone and that it made him wound "worse." I would have given a fortune to have seen the expression on Corelli's face when he heard Zucker, "the highest tenor in the world." OMG
Corelli and his wife Loretta used to baby sit Zucker. They became very friendly, so I don't think anything that Zucker stated surprised Corelli.
Dommage que ce ne soit pas traduit en français 🤔💖💖🎼🎼🎼🎼🎼
@@sugarbist He Probably did not surprise Corelli by anything Zucker said, I finally found this, I forgot that Jerry Hines was in on this interview with Corelli, the interview heading does not mention the Bass Jerome Hines, being a guest in the interview here with Corelli by host Zucker. I enjoyed this with Corelli and Hines, Corelli has a rather high speaking voice compared to his singing voice, in fact dramatic tenor Del Monaco also had a rather high speaking voice in interviews, and it was somewhat similar to Corelli's speaking voice. Tucker's speaking voice was somewhat lower then both Corelli and Del Monaco, yet in his especially early years he was apt and sang many lyric roles like Traviata, Butterfly , Boheme, Rigoletto, and even Mozart like Cosi and early Magic Flute ,also Martha but the speaking voice was not light and high pitched, so speaking and singing voice is two different things.,
@@shicoff1398 Lauri Volpi wrote in his book, that Del Monaco's voice was built or fabricated to sing Otello, but when the day comes that Otello has deflated his voice, MDM could sing as a soprano with a different timber of voice and an extension up to E-Flat. Strange, but interesting.
@@sugarbist Wow!
#56:10 and #56:37 they are talking about Gino Penno and Caruso, both Corelli and Hines mention them.
#47:16 he talks here about the teacher Douglas Stanley , Hines not keen on him or knowing much about him.
Hines here speaks also.
He asked FC are you a dramatic tenor, that he wasn't going to say, yes I'm dramatic tenor? No FC didn't say he was a dramatic tenor, I think he had dramatic color and was a spinto but could sing both dramatic and spinto roles well.
Well Hines either didn't sing with Tucker in the roles when he sang the High C live or didn't remember it, but he did sing high C and live in Ballo, Lescaut and in Turandot and on studio records in both Ballo and Boheme, anyhow in 1966 at age 52 Tucker sang a 6 second interpolated solo high C in an Aida Met. radio Brdcst with Price and Merrill (at the end of the triumphal scene) and I have the tape complete of that Brdcst. I taped at the time, and have it to prove it, when he is talking about his high B getting hard, well of course he was then 60 Years also, and in fact most nights it was still excellent up top, Tucker died at age 61 and had just sung Canio a few weeks before he suddenly died and with success, see his archive Met. reviews for it.
It’s interesting that Hines considered Tucker a dramatic tenor. I’m sure the voice was huge, but Tucker did start out quite lyric. His voice was not necessarily light, and I’m sure it carried, but it was slender. It’s quite amazing how thick it got by the late 60s/early 70s. Steady growth.
I quite like Hines though. He is knowledgeable about technique and history, and he is eloquent. I would have liked to have talked singing with him. But interestingly, he wasn’t a pedagogue. Probably to his credit.
@@ER1CwC yes, me too! I like him.
@@ER1CwC Tucker in his prime was a spinto, powerful but not dramatic and even said so himself, early a lyric with a strong top even in 1945 at his opera debut, as Enzo, at the old Met., Tucker him self said that he was a spinto later and early was a lyric, yes Hines and Merrill both said he was later a dramatic but that maybe said that because Tucker sang Samson and Juive live, but only later in his career.
@@ER1CwC Tucker had lyrical voice but he darkened his voice in the verismo style, he did not have as much squillo like spintos such as Filippeschi, Martinelli or Lauri Volpi, he was not a heroic Italian spinto tenor. His sound was actually mostly German, but he had a passionate Italian approach. I have seen some people say that he was a dramatic tenor, but I think the reason for that is because he darkened his voice and placed more emphasis on his middle register. He was a more German lyric spinto tenor because his voice had less squillo and more of a scuro sound. He was creating somewhat of a verismo sound while singing in a German style. Tucker did not really sing stand alone high C notes there is a difference, Del Monaco also sang high C notes in duets.
Corelli was a dramatic tenor. It actually makes very little sense to think of him as a spinto. I think the only reason why he has been labeled as a spinto is because of Del Monaco's existence. The idea is as follow, both of them learned the Mellochi technique. Del Monaco was obviously a dramatic tenor, Corelli has the lighter voice so he is a spinto tenor. That is the type of logic you get, which is not terrible, but it is not really that simple. Both Del Monaco and Corelli modified the Mellochi technique according to their personal taste. Del Monaco represents the modern verismo dramatic tenor sound, he reinforces or places a lot of emphasis on his middle register (like Tucker). Del Monaco also used a lot of attack, creating a very homogenous voice, but he also had great squillo. Corelli was also a dramatic tenor but his style was more like the prewar tenors, so he had an older style of singing. Corelli also sometimes used the verismo attack, but he lightened his middle register and he used a higher placement which you can hear in the prewar tenors. If Corelli was a spinto tenor he would have sounded more like Lauri Volpi, Filippeschi and Martinelli, but he is not a spinto so his lower and middle register is far more robust. He was an Italian heroic dramatic tenor. To conclude a long story both Del Monaco and Corelli were dramatic tenors but they use a slightly different style of singing.
Where do I find the other parts of this interview?
Hy. I have it all but didnt make it to published the videos. I Will do it in avgust. Thank you 💫🌟⭐🌈
Thank you!!! 🤩✨
Who is Becci or Becky that they are taking about?
@@delaware-llc A popular excellent past Italian Baritone.
@@delaware-llcGino Becchi. If you have heard the Callas Nabucco, he is the baritone.