Gabriella Tucci, Robert Merrill, Franco Corelli: Ist Act Trio From Il Trovatore
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- Опубліковано 3 жов 2024
- Many will agree that there was a golden age of operatic singing, but people tend to disagree over precisely when that was. There is certainly a case to be made for the 1950's through the 1970's. It is hard to imagine the Trovatore First Act Trio sung more excitingly than this, or by better voices.
Che voci meravigliose, fantastiche ❣️
Corelli IS Manrico. I listen to other performances and every time I go back to the unsurpassed Corelli. Merrill and Tucci are also amazing.
I always thought Tucci was very underrated. I have the highlights of this recording of Trovatore with Corelli and Merrill. I also have a complete recording of Pagliacci Tucci was involved in with Mario Del Monaco and Cornell MacNeil. She makes a very good accounting of herself there as well.
Frank Maiorana true.
Gabriella non era amata in Italia...
Top rate singing. Great cast. We don't have anything like this today and that is sad.
aforwood1 true.
Tre SUPER INTERPRETI.Corelii forse il più bel Manrico della storia.Merril mi stupisce stavolta anche per una buona dizione che era il suo tallone d Achille.Dulcis in fundo la meravigliosa in tutti i sensi Gabriella Tucci.
phenomenal voices, taught by masters who were famous at the turn of the 19th century, teaching an art of theatrical sound, orchestra directors who memorized full librettos and understood the drama and purpose of each composer. They formed voices , nor dismantle the talent,
Give us the names of those masters famous at the turn of the 19th century who were the teachers of the singers in this video . I have a feeling you can't... Furthermore ,memorizing librettos or scores is just a pony trick for conductors , completely unnecessary because they have the score at hand . Singers need to memorize , conductors don't .Learning something by rote does not guarantee understanding the purpose of that something .All singers need to memorize ,few understand what they memorize ,and even fewer can express what they have understood .
Franco Corelli would object to the notion he was taught by a 19th century / turn of century master…
I remember randomly searching YT for opera clips as a freshman in undergrad, mainly listening to the "stars" that everyone else listened to, then I happened to click on a video of Merrill out of curiosity, and I was blown away! This is another example of how the older singers were head and shoulders above those singing today.
I love Merrill too, he is one of the finest baritones of the 20th century.
All are great, especially Franco Corelli. He has the most beautiful tenor voice.
Grazie mille !!!
High d from corelli.
His voice is most special and most powerfull ever
… saw him only once at the Met as Don Carlo - BIG VOICE indeed! ….
D flat... 😀
@朱慧詠 The role of the Duke isn't in the least about the high D or Db ,which isn't even in the score .It's about tessitura and agility demands . FC could not sustain the first and had no last to speak of .
@@Nangis123 Yet, Del Monaco sang the Duke. Of course Corelli could have sung it, but it did not suit his personality at all.
Best version EVER of this trio. UNSURPASSABLE. Period.
Grande Merrill! Sublime!
What an interesting childhood you have. I envy you. By the time I first heard of Corelli, he passed away less than a year later.
CORELLI MERRILL TUCCI EINFACH SUPERB
Mestro gracias, una clase maestra para mi, que estoy en pleno proceso de retomar el rol de "Manrico". Muchas gracias por esta "joya de la lírica mundial". Imaginar un mejor elenco imposible!!! (Corelli, Tucci, Merrill,etc.). Un lujo realmente!!!!. saludos y muchas gracias de nuevo!!!John
Very good question, and I'm sorry to say I don't know, simply because he must have sung Trovatore many, many times over the years, and a lot of those performances weren't recorded. I haven't found any on UA-cam that I can think of. I tend to think that in performance he always sang it down one half tone, so that the high note was a B natural. The main reason would be that it comes late in the opera, and he's already been singing his head off by the time he gets to Di Quella Pira!:-)
FC sang few Trovatore's , all in all maybe 35-40 performances .He had the role for about 5-6 years in his rep and had given it up well before before turning 45 .I guess it wasn't a congenial role for him ,it has many similarities with the Duke in Rigoletto and Rodolfo in Luisa Miller , and FC never sang Duke or Rodolfo .
Manrico sings very little in Act 1 and not much in Act 2 ,his tour de force comes in Act 3 and 4 ,so by the time he gets to Pira he shouldn't be tired .if anything the voice should be well warmed up by then .
@@Nangis123 He sang Torvatore 81 times. He was likely tired of getting hired to simply sing Trovatore so often.
Such great singers! Tucci is wonderful. I guess she didn't have good Mafia connections like the other two. Merrill! Where is his like today? Or Corelli? Real singers. Today...hyped popera singers. It is sad, really.
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Fantasticosss!!!!!!!!!!!!!!!!!!!!!!!!!!!
Thanks
Corelli usually transposed DI QUELLA PIRA down a half step when performing live probably due to his notorious nerves. Here in the relative safety of the recording studio he sings it in key & the effect is predictably awesome. He even adds a D flat along with the soprano in the Act 1 trio. This he often sang in live performances but the exposed C in the stretta apparently terrified him. Some stylistic sloppiness aside here. Manrico was in ideal role for Corelli IMO.
Everyone focuses on Corelli - exciting Yes but his voice sounds more like a shotgun than a finely made rifle. What about Merrill? He had one of the finest baritone voices on sound alone. Here, he is wonderfully dramatic as well.
Corelli agreed with you. In an interview for "Opera Fanatic" Corelli named Merrill as his favorite basitopne, saying that Merill's voice was" always right there."
That period you mentioned also coincides with the development and use of the mass media that made those artists available to us. If the media had been available in 1850 ff, I wonder what we would have heard.
You have heard more opera singers than Verdi ever did; he never heard a recorded voice, and rode from theater to theater in a horse and buggy.
EMI studio recording... as alway emi made perfect recording.... if instead of Simionato were some other mezzo and without the insane cuts of caballetas this should be the best recording of our days.
Mamma mia!!!
trio forverer!!!!
@ChristophePhilippe Thank you for a most interesting comment!
Il a Trovatore a quei tempi non avevi problemi a pensare chi potesse cantarlo, Corelli non poteva che essere Manrico, Leonora tutte bravissime, Price, Stella, Tucci, il Conte per me era solo Bastianini, ma Merrill niente da dire, Azucena poi tra la Simionato, la Cossotto, là Barbieri una meglio dell'altra!
Ma signora Rosati.dove e Callas ?Dove e Tebaldi ?
Sia per la Callas che la Tebaldi il Trovatore non era il meglio.
Ciao Gabriella 1929 2020.
@@marcelpopa8018, la Stella era triste e moscia sempre, la Tucci un timbro piuttosto ordinario e senza caratteristiche d'alcun tipo tranne un grande volume non sempre controllato. La Leontyne Price? Non puo' essere inserita nella lista, era perfetta, con una voce meravigliosa, una Leonora nata, una fuoriclasse che le prime due non sono mai state. Callas non ne parliamo. Tebaldi,a parte il disco, non ha mai cantato il ruolo in teatro.
obwohl robert merrill ein Sprachfehler hatte , konnte er super singen.
it is Corelli but the photos above it is Bjorling
Is it ?????????
Manrico wasn't a congenial role for FC . He could manage well in his prime for a couple of years ,but not in the long run .
How is it possible for a tenor to have such poor diction? His mouth seems to be full of marbles most of the time, particularly in live recordings. The worst diction I have ever heard, by far.
Ha provato a pulire le orecchie ?
Great singing.