Thrilling voice - amazing tenor. Thanks for posting this. Who sings like this anymore? So many greats all gone. Corelli was in a league of his own. Great passion that comes though every time.
"That diminuendo Corelli just did at studio". I was there a few times when Corelli did the same thing on the same note in other contexts on the stage, not in the studio. Also, a somewhat distantly recorded "live" Aida has surfaced from a year later than his studio pianissimo. The studio one is '65 to '67 (sources differ); this newly discovered "live" one is early '68. And in the latter, he does the same diminuendo/pianissimo on the final "vicino al sol". His pianissimo here was quite real.
Incredible! This is the best Nessun dorma amongst the many brilliant Nessun dormas I've heard with Corelli. And the most inróteresting one. I can't believe how long phrases he sang with one breath! Very interesting the melancholical chracter of the aria. His victory makes This Calaf very considered.
@TurandotFanatic No! This is from Scala 1964! This is the very best Nessun dorma of Franco. I think, I've heard him more than 6 live versions, but thi is the best. Very long phrases in one breath, fantastic colouring. If you listen it, can understand, that "vincero" has also havea sad side.
In the 60s-70s, Pav was untouchable in the bel canto roles by a mile. I agree that he was the best Duke, Tonio (La fille), Nemorino, etc, not to mention a simply riveting Rodolfo in La Boheme. Those live recordings I have of him in those roles are priceless to me. HOWEVER, the greatest renditions of verismo roles, Calaf, Manrico, Radames, Andrea Chenier, Don Jose, and many more, were undoubtedly sung by Corelli, he was unsurpassed in those and may never be.
I have sung opera and studied voice for the better part of the past 50 years. My friend and mentor who was a superb spinto tenor who I sang with for years sung at the Met during the 60s for three years. He had the privilege to be on stage for 24 of Franco's performances and said hands down the greatest tenor of the past century. His dynamic voice has never been matched. He had his occasional off nights, but generally was superb. He's missed as he's been gone now for about 8 years.
This is the best on youtube,although the recording quality or is it the transfer quality of the video is not so good.Still my personal favourite is the 1966 Met broadcast with Corelli,brings back so many memories.
@TurandotFanatic - the nilsson/corelli turandot(s) are the the stuff of legend. clearly hearing even this small taste gives one the bridge of a realization. they had to be a thrilling and incomparable duet. i heard her but never him.
@TurandotFanatic Wrong, this one is not 1961. It's the Opening Night Turandot at La Scala, from December 7, 1964, under Gianandrea Gavazzeni. I found another upload of it at /watch?v=MQUrH9QL7Ro , where the clip is given full identification, and when I listened to it, it was absolutely identical, with one exception -- your transfer is better!! So I am deeply grateful yours is still up. It's the best "Nessun dorma" I've yet heard from the best Calaf I've yet heard.
To give you an idea of how important Franco Corelli and Birgit Nilsson were to the opera world. I know this performance was NOT at the Met. However, the Met staged Turandot for the first time after a lengthy absence in 1961 for they finally had the two principals to do it justice, Birgit Nillson and Franco Corelli.
I will said something.Franco Corelli was the personal teacher of Andrea Bocelli.It is he first saw his amasing voice.From this period Bocelli leave lawyer career and start to train his vocal.The results as everyone knows are amasing.Franco Corelli not only powerfull singer but also very good teacher.
Guys, it was absolutely perfect... Maybe you are suited to listen other interpretations, as Pavarotti, that fasten the passage you are mentioning... but it's a point of interpretation, the time and notes are perfect... and moreover, with a voice like that, he can even sing in controtempo :)
I've listened all afternoon to them all, even the lady sopranos, found a beautiful voice: Rosa Ponsella. Anyway, this voice is THE VOICE when i think of Italian tenors, it is so convincing i'm thinking of the Godfather the movie. Why were there so many tenors from Italy?
I just ascertained which one this is from: this is from December 7th, 1964, Opening Night at La Scala, under Gianandrea Gavazzeni. It is also uploaded with full identification of date and colleagues at watch?v=MQUrH9QL7Ro. That transfer has somewhat more treble emphasis in its sonics, but there's also a slight metallic rattle audible there that this transfer does not have. I'd say this transfer sounds slightly cleaner and more natural, if more "bassy", so I'm grateful this is still up.
You are all talking about Celeste Aida correct?Corelli did diminuendo the final Bb but he took it at forte more frequently but if you were in audience when he actually diminuendo the note,you would be astounded that such a voice(I don't have to tell you all about it's attributes)could accomplish such a feat.
acdcfan..."only" a high b?? Obviously you never heard Corelli live at the Met. His high Cs ringing off the back walls at the old Met were legendary. HIs voice was magnificent and the carry was off the wall literally and figuratively. One of my late tenor friends I sung with for years sang at the Met for a time and was on stage with Corelli for 24 of his performances. He did have occasional "off" nights, but this was not one of them. Vocally the best tenor of the past century.
True,very true.Bjoerling actually sings a good commercial(Pavarotti type)Nessun Dorma but if you want the real thing THIS is how it's suppose to sound like!
Dear TurandotFanatic. Do you have any suggestion, where and when was this aria recorded? This is my most beloved Nessum dorma from my most beloved singer.
How Domingo has survived the barrage he has given his own voice is beyond me. He must have the 'vocal cords of steel' like people say. It really is a blessing isn't it?
I was almost forgetting to say: Domingo interpretation of the music is totally perfect. I'm talking about the music andamento, forte/piano, declamation, chiaro/scuro. And he sings respecting a rule I've also learned: he doesn't leave a single note "calante", all notes are important for him, as they must be. Who understand music can see that. You should search his masterclass at UA-cam. To finish: 144+ operas, 10+ languages. You are blowing your wind against a house of stone. We just love him.
Is it 1966? True, there's a remarkably sweet one in Dec. '64 (La Scala), but the long phrasing here (very rare for Corelli to link "e di speranza" to "tremano d'amore" on one breath) suggests '66, as do very open vowels like the "do" in "quando". There's a '66 Turandot w/Nilsson/Freni, and this is more likely from that one. Come on, "TurandotFanatic", take us out of our misery:-). Is this '66? (BTW, I happen to agree: this is the finest "Nessun dorma" I've yet heard from my favorite Calaf.)
I haven't heard the '66 MET broadcast. We should collect all the Calafs of Corelli! They are so sofisticated different!To poivriere: melancholy is too simple expression, think. Not any other singer shows the ambivalent feeling of Calaf. Does anybodí has an idea how I can have the book about Corelli (M. Boango: A man, a voice?
For me, this is the tenor that performs this song the best. Better, at least for me, than every other tenor. He has the most powerful voice and I think his technique is better than Pavarotti, Placido Domingo, Jose Carreras, Jussi Björling, Mario Lanza, Andrea Bocelli. I think the only tenor that can challenge him on this one is Francisco Araiza
He sang his first Calaf in the Scala in 1960 with Nilsson and A. Votto. I don't know if it was recorded. Calaf was was his last appearence in the Scala also with Nilsson. After '65 Corelli didn't sing at la Scala...
The "Nessun dorma" of Domingo, with Karajan (record with Katia Ricciarelli as Turandot) is to me one of the best renditions of this aria (even with the natural B not supported for much time). That record is perfect in all aspects to me.
There is a little verismo singing involved in Boheme, especially in the 3rd Act, not the 'heavy' verismo like in Aida or Forza, Manon Lescaut, etc. But is it possible he was referring to Rodolfo in Luisa Miller, not Boheme? Did Pavarotti even sing that role...? Sorry, not too familiar with Pavarotti's later rep.
There's no high C on "Di quella pira" (Il Trovatore - Verdi, end of 3rd act). There's no high D-bemol at the end of first act (same opera). There's no high B at "E la solita storia" (L'Arlesiana - Cilèa)... But every tenor MUST sing those high notes, because more important then the score (at opera) is the tradition.
macciboma, I am not sure but I think this one was recorded at the same year as the other one. Kallistono, Stokowski stoped the other record I posted. This one he keeps (tries to) the orchestra playing...
An excellent rendition of this beautiful aria. I suppose Corelli had to sacrifice some dictation there in order to call on the full power of his voice. It really is needed when you go down to the A, the full orchestra comes in and the audience as well.
Sorry, but Corelli's diminuendos were live as well! Listen to the 1961 Met version of Turandot. Or even better his 'e lucevan le stelle' in the Parma performance of Tosca, 1967, a perfect diminuendo on the first A4. Domingo is like Maria Callas. The voice was great but not amazing, but he is a drama king/queen like Callas. He knows how to 'strut his stuff'. His technique is definitely faulty, Villazon learned from him and look what happened.
I do think you forget that, to be an opera singer is not just having a beautiful voice (like Pav) or a big voice (like Corelli). But must be a good actor/singer, must respect the music characteristics, and mainly must express (with voice, face, and body) the personage feelings. Nobody did that like Domingo.
Excuse me for my naivety...I'm a neophyte...but was the last note of this version of ND a high C, it seemed more like a B to me. Thanks in advance for clarifying
@brunobrandy I said that not as a statement of Paul Potts being comparable to an Icon like Franco Corelli in any way, but to tell that taste or lack of taste is very personal.
I've seen him live also, as well as Carreras, Caballé and Millo. It seemed to me the inverse: his voice is more sweet and velvet live than recorded. There are two kinds of voices: the one that is best live and worst recorded (like Corelli, Domingo, Casolla, Callas, and many others) and others that is the inverse, generally small voices, like Gedda, Florez, Matteuzzi. You didn't comment about acting. Isn't it important to you?
Rodolfo isn't the usual spinto verismo role. While he has a few moments of real intensity, it's a matter of degree, and neither the frequency of such moments nor the textures of the orchestration while Rodolfo sings can match the density and intensity of the Puccini Des Grieux, or Dick Johnson, or Calaf, or Cavaradossi, or Luigi, or Canio, or Maurizio, or Marat, or Chenier, or Loris, or any of the other more typical verismo tenor roles that are clearly Corelli/Del Monaco territory.
The score of "Nessun dorma" asks for a natural B ("vin-ceeeeeeeeeee-rooooo") at the syllable "ceeeeee", not a high C. The problem is: many records has a poor quality, and sometimes the pitch goes up, distorting the natural tonality of the music. But the correct top note of "Nessun dorma" aria is a high B (natural).
Sorry, I used the wrong word. Where I said knowledge, I would say wisdom. Wisdom for music, the genius born with that. The genius born playing, singing, just few years of study and is made a genius. Who didn't born with that, probably will study the entire life, and won't reach the point, as well as the genius.
You should understand that knowledge is within the soul of people, and despite the fact that ignorant people don't know how to express, their intelligence, perception (musical, everything), are independent of their knowledge. I do not disregard any comment because they are a different way of seeing the world, outside of my own eyes.
Whatever...he was the "Calaf" from most accounts of those who knew. I don't know what your definition of "ptichy" is as well as out of time. Each tenor seems to do their own thing on this aria.
Did you consider yourself stupid and ignorant when you were 14, 16? The music has no age. Mozart was a genius at 8 years old. Concerning "soul", that is eternal, we started learning music many centuries ago. To be 14 means he is just few breaths behind you and me, but he can had have many musical lifes ahead. Listening to music, everybody can feel the difference between the good and the no-good, because the music resides inside the soul.
GKFC..."feels" like a bad performance? It's a live performance in his role as Calaf and at the end of the aria the crowd is going wild...what exactly are you trying to say? Corelli did have his off nights but not many.
Noone is the best tenor ever it´s a matter of taste. We all have it and for the role of Calaf I can´t see anyone beating Franco Corelli but that´s an opinion, someone might say Paul Potts! But then it wouldn´t be opera anymore because they would have to use microphones.
Inquisitive, Phantom (& all) have their own opinion. As you say many times that freedom is important (so you are free, criticizing many singers), you should understand that when you respond at the way above, you're engaging in the same non-freedom policy of commenting that you abominate. If for any reviews posted here you search by the age and nationality of those who did, to humiliate them, vomiting your truths and "wise" comments, better you change your nick from Inquisitive to Inquisitor.
To be ignorant (that means: without knowledge) is not a fault of anyone, because the ignorants are the people that didn't have the opportunities you had to learn 4 languages, to attend the great theaters, to have access to great recordings... But becoming arrogant to have all that and think that the knowledge gained is enough to ride roughshod over others is a serious misconduct.
That diminuendo Corelli just did at studio record. I've his live record on that aria, is totally different. And... I love Corelli, but let's be fair to say the truth. You always forget to say that Domingo is the best singer/actor at opera. Nobody interprets like him. His voice to me is ok, there's nothing wrong with his timbre, and range. He sang that natural B until 60+, his problem was just the high C, exactly as Caruso, Crimi, Zenatello, and many others. Opera is not a high C.
Not accurate, Domingo's high notes have been an adventure throughout his career. He is a medium sized spinto voice, rarely using mezza voce and never using a diminuendo, squeezing in the passaggio and higher and notorious for transposing entire opera's
I really think that this is a problem of TASTE. You definitively don't like Domingo's voice, but I do, I don't feel his voice as you say. Probably because you don't like, you didn't listen to his records enough to understand. Try to listen to his Radamès, Don José, and his voice at songs. Those are his best.
Mille volte ti ascolto e mai mi stanco, troppo bravo e bello eri, io ti porto nel cuore
Thanks be to God or just to nature for giving us this beautiful voice that we all have the great joy of hearing today.
Yes, this version is the best ever performance of Nessun Dorma. Corelli nailed it here.
Magnificent
Thrilling voice - amazing tenor. Thanks for posting this.
Who sings like this anymore? So many greats all gone.
Corelli was in a league of his own. Great passion that
comes though every time.
I love this version. It's patient and tender. The high b at the end is one of the most beautiful B's I have ever heard.
"That diminuendo Corelli just did at studio". I was there a few times when Corelli did the same thing on the same note in other contexts on the stage, not in the studio. Also, a somewhat distantly recorded "live" Aida has surfaced from a year later than his studio pianissimo. The studio one is '65 to '67 (sources differ); this newly discovered "live" one is early '68. And in the latter, he does the same diminuendo/pianissimo on the final "vicino al sol". His pianissimo here was quite real.
Incredible! This is the best Nessun dorma amongst the many brilliant Nessun dormas I've heard with Corelli. And the most inróteresting one. I can't believe how long phrases he sang with one breath! Very interesting the melancholical chracter of the aria. His victory makes This Calaf very considered.
One of my all time favourites. Stunning
The best Nessun Dorma ...
@TurandotFanatic
No!
This is from Scala 1964! This is the very best Nessun dorma of Franco. I think, I've heard him more than 6 live versions, but thi is the best. Very long phrases in one breath, fantastic colouring. If you listen it, can understand, that "vincero" has also havea sad side.
In the 60s-70s, Pav was untouchable in the bel canto roles by a mile. I agree that he was the best Duke, Tonio (La fille), Nemorino, etc, not to mention a simply riveting Rodolfo in La Boheme. Those live recordings I have of him in those roles are priceless to me.
HOWEVER, the greatest renditions of verismo roles, Calaf, Manrico, Radames, Andrea Chenier, Don Jose, and many more, were undoubtedly sung by Corelli, he was unsurpassed in those and may never be.
Franco Corelli had that incredible technique, the lowered larynx which allowed such power to come through.
I have sung opera and studied voice for the better part of the past 50 years.
My friend and mentor who was a superb spinto tenor who I sang with for years
sung at the Met during the 60s for three years. He had the privilege to be on
stage for 24 of Franco's performances and said hands down the greatest
tenor of the past century. His dynamic voice has never been matched. He
had his occasional off nights, but generally was superb. He's missed as
he's been gone now for about 8 years.
This is the best on youtube,although the recording quality or is it the transfer quality of the video is not so good.Still my personal favourite is the 1966 Met broadcast with Corelli,brings back so many memories.
@TurandotFanatic - the nilsson/corelli turandot(s) are the the stuff of legend. clearly hearing even this small taste gives one the bridge of a realization. they had to be a thrilling and incomparable duet. i heard her but never him.
por siempre Franco
i don't care what anyone thinks, He had more talent in one high c than any of you jealous critics will ever have period.
There is a live Aida recording from 1966 (with Price and Zubin Mehta) with the diminuendo on the end of 'vicino al sol" as well.
@TurandotFanatic Wrong, this one is not 1961. It's the Opening Night Turandot at La Scala, from December 7, 1964, under Gianandrea Gavazzeni. I found another upload of it at /watch?v=MQUrH9QL7Ro , where the clip is given full identification, and when I listened to it, it was absolutely identical, with one exception -- your transfer is better!! So I am deeply grateful yours is still up. It's the best "Nessun dorma" I've yet heard from the best Calaf I've yet heard.
Thank you! )) Great!
As a tenor he was the head of the class.
Case closed.
Very well said!
To give you an idea of how important Franco Corelli and Birgit Nilsson were to the opera world. I know this performance was NOT at the Met. However, the Met staged Turandot for the first time after a lengthy absence in 1961 for they finally had the two principals to do it justice, Birgit Nillson and Franco Corelli.
Siempre en mi corazón amandolo
In a class with very few others!
I will said something.Franco Corelli was the personal teacher of Andrea Bocelli.It is he first saw his amasing voice.From this period Bocelli leave lawyer career and start to train his vocal.The results as everyone knows are amasing.Franco Corelli not only powerfull singer but also very good teacher.
Guys, it was absolutely perfect... Maybe you are suited to listen other interpretations, as Pavarotti, that fasten the passage you are mentioning... but it's a point of interpretation, the time and notes are perfect... and moreover, with a voice like that, he can even sing in controtempo :)
I switch off my computer. Who else could you listen after him, after this redition?
I've listened all afternoon to them all, even the lady sopranos, found a beautiful voice: Rosa Ponsella. Anyway, this voice is THE VOICE when i think of Italian tenors, it is so convincing i'm thinking of the Godfather the movie. Why were there so many tenors from Italy?
I just ascertained which one this is from: this is from December 7th, 1964, Opening Night at La Scala, under Gianandrea Gavazzeni. It is also uploaded with full identification of date and colleagues at watch?v=MQUrH9QL7Ro. That transfer has somewhat more treble emphasis in its sonics, but there's also a slight metallic rattle audible there that this transfer does not have. I'd say this transfer sounds slightly cleaner and more natural, if more "bassy", so I'm grateful this is still up.
You are all talking about Celeste Aida correct?Corelli did diminuendo the final Bb but he took it at forte more frequently but if you were in audience when he actually diminuendo the note,you would be astounded that such a voice(I don't have to tell you all about it's attributes)could accomplish such a feat.
acdcfan..."only" a high b?? Obviously
you never heard Corelli live at the Met.
His high Cs ringing off the back walls at
the old Met were legendary. HIs voice
was magnificent and the carry was off
the wall literally and figuratively. One of
my late tenor friends I sung with for
years sang at the Met for a time and was
on stage with Corelli for 24 of his performances. He did have occasional
"off" nights, but this was not one of them.
Vocally the best tenor of the past century.
me too...after this, is there life?
True,very true.Bjoerling actually sings a good commercial(Pavarotti type)Nessun Dorma but if you want the real thing THIS is how it's suppose to sound like!
Dear TurandotFanatic. Do you have any suggestion, where and when was this aria recorded? This is my most beloved Nessum dorma from my most beloved singer.
How Domingo has survived the barrage he has given his own voice is beyond me. He must have the 'vocal cords of steel' like people say. It really is a blessing isn't it?
I was almost forgetting to say: Domingo interpretation of the music is totally perfect. I'm talking about the music andamento, forte/piano, declamation, chiaro/scuro. And he sings respecting a rule I've also learned: he doesn't leave a single note "calante", all notes are important for him, as they must be. Who understand music can see that. You should search his masterclass at UA-cam. To finish: 144+ operas, 10+ languages. You are blowing your wind against a house of stone. We just love him.
Is it 1966? True, there's a remarkably sweet one in Dec. '64 (La Scala), but the long phrasing here (very rare for Corelli to link "e di speranza" to "tremano d'amore" on one breath) suggests '66, as do very open vowels like the "do" in "quando". There's a '66 Turandot w/Nilsson/Freni, and this is more likely from that one. Come on, "TurandotFanatic", take us out of our misery:-). Is this '66? (BTW, I happen to agree: this is the finest "Nessun dorma" I've yet heard from my favorite Calaf.)
Bravo Corelli! Pavarotti rests.
I haven't heard the '66 MET broadcast. We should collect all the Calafs of Corelli! They are so sofisticated different!To poivriere: melancholy is too simple expression, think. Not any other singer shows the ambivalent feeling of Calaf. Does anybodí has an idea how I can have the book about Corelli (M. Boango: A man, a voice?
You can find it on eBay.
For me, this is the tenor that performs this song the best. Better, at least for me, than every other tenor. He has the most powerful voice and I think his technique is better than Pavarotti, Placido Domingo, Jose Carreras, Jussi Björling, Mario Lanza, Andrea Bocelli. I think the only tenor that can challenge him on this one is Francisco Araiza
He sang his first Calaf in the Scala in 1960 with Nilsson and A. Votto. I don't know if it was recorded. Calaf was was his last appearence in the Scala also with Nilsson. After '65 Corelli didn't sing at la Scala...
The "Nessun dorma" of Domingo, with Karajan (record with Katia Ricciarelli as Turandot) is to me one of the best renditions of this aria (even with the natural B not supported for much time). That record is perfect in all aspects to me.
you go
You can order it from Amazon via internet.
There is a little verismo singing involved in Boheme, especially in the 3rd Act, not the 'heavy' verismo like in Aida or Forza, Manon Lescaut, etc. But is it possible he was referring to Rodolfo in Luisa Miller, not Boheme? Did Pavarotti even sing that role...? Sorry, not too familiar with Pavarotti's later rep.
There's no high C on "Di quella pira" (Il Trovatore - Verdi, end of 3rd act). There's no high D-bemol at the end of first act (same opera). There's no high B at "E la solita storia" (L'Arlesiana - Cilèa)... But every tenor MUST sing those high notes, because more important then the score (at opera) is the tradition.
macciboma,
I am not sure but I think this one was recorded at the same year as the other one.
Kallistono,
Stokowski stoped the other record I posted. This one he keeps (tries to) the orchestra playing...
An excellent rendition of this beautiful aria. I suppose Corelli had to sacrifice some dictation there in order to call on the full power of his voice. It really is needed when you go down to the A, the full orchestra comes in and the audience as well.
Sorry, but Corelli's diminuendos were live as well! Listen to the 1961 Met version of Turandot. Or even better his 'e lucevan le stelle' in the Parma performance of Tosca, 1967, a perfect diminuendo on the first A4. Domingo is like Maria Callas. The voice was great but not amazing, but he is a drama king/queen like Callas. He knows how to 'strut his stuff'. His technique is definitely faulty, Villazon learned from him and look what happened.
The 1966 one is the best on record,of course I wished there are bootleg recordings because Corelli performed many better Nessun Dorma renditions.
I believe this from 1965.
Ed ogni notte muore, ed ogni giorno nasce.
I do think you forget that, to be an opera singer is not just having a beautiful voice (like Pav) or a big voice (like Corelli). But must be a good actor/singer, must respect the music characteristics, and mainly must express (with voice, face, and body) the personage feelings. Nobody did that like Domingo.
@Aetion Metropolitan Opera House, 1961.
Excuse me for my naivety...I'm a neophyte...but was the last note of this version of ND a high C, it seemed more like a B to me.
Thanks in advance for clarifying
For me Nessun Dorma is for Corelli and For Pavarotti
@brunobrandy I said that not as a statement of Paul Potts being comparable to an Icon like Franco Corelli in any way, but to tell that taste or lack of taste is very personal.
@Bjoerrelli Paul Potts?? OMG!
@tehen162 Exactly. Others singing this is a total disservice to the aria.
I've seen him live also, as well as Carreras, Caballé and Millo. It seemed to me the inverse: his voice is more sweet and velvet live than recorded.
There are two kinds of voices: the one that is best live and worst recorded (like Corelli, Domingo, Casolla, Callas, and many others) and others that is the inverse, generally small voices, like Gedda, Florez, Matteuzzi.
You didn't comment about acting. Isn't it important to you?
you've got a good ear
Rodolfo isn't the usual spinto verismo role. While he has a few moments of real intensity, it's a matter of degree, and neither the frequency of such moments nor the textures of the orchestration while Rodolfo sings can match the density and intensity of the Puccini Des Grieux, or Dick Johnson, or Calaf, or Cavaradossi, or Luigi, or Canio, or Maurizio, or Marat, or Chenier, or Loris, or any of the other more typical verismo tenor roles that are clearly Corelli/Del Monaco territory.
No, La Scala 7 diciembre 1964.
I know that Corelli and Bjorling far surpassed Pavarotti on many occasions.
The score of "Nessun dorma" asks for a natural B ("vin-ceeeeeeeeeee-rooooo") at the syllable "ceeeeee", not a high C. The problem is: many records has a poor quality, and sometimes the pitch goes up, distorting the natural tonality of the music. But the correct top note of "Nessun dorma" aria is a high B (natural).
I think the score in Nessun Dorma calls for a quarter note B-nATURAL
Pavarotti practically owned verismo. Have you listened to his Rodolfo. It's almost unrivalled.
... and if he holds it very very very long, the orchestra will wait him in the buffet.
IGEN: FOREVER!....Ő A LEGNAGYOBB,....
But this is not a "song", this is an opera aria from an opera supposed to sing by opera singers without amplification.
December 9th, 1964, la Scalla
Sorry, I used the wrong word. Where I said knowledge, I would say wisdom. Wisdom for music, the genius born with that. The genius born playing, singing, just few years of study and is made a genius. Who didn't born with that, probably will study the entire life, and won't reach the point, as well as the genius.
why are the audience booing him i can hear boos i cant believe it he was pretty good!
Like I said. Not doubting his talent.
Opera singers aren't robots, they have the odd bad performance. This feels like one of them.
You should understand that knowledge is within the soul of people, and despite the fact that ignorant people don't know how to express, their intelligence, perception (musical, everything), are independent of their knowledge.
I do not disregard any comment because they are a different way of seeing the world, outside of my own eyes.
The score states, however, that the tenor may hold the B for any amount of time the tenor wants; the orchestra will wait for him.
Whatever...he was the "Calaf" from most
accounts of those who knew. I don't know
what your definition of "ptichy" is as well
as out of time. Each tenor seems to do
their own thing on this aria.
Did you consider yourself stupid and ignorant when you were 14, 16?
The music has no age. Mozart was a genius at 8 years old. Concerning "soul", that is eternal, we started learning music many centuries ago. To be 14 means he is just few breaths behind you and me, but he can had have many musical lifes ahead.
Listening to music, everybody can feel the difference between the good and the no-good, because the music resides inside the soul.
GKFC..."feels" like a bad performance?
It's a live performance in his role as
Calaf and at the end of the aria the crowd
is going wild...what exactly are you trying
to say? Corelli did have his off nights
but not many.
Noone is the best tenor ever it´s a matter of taste. We all have it and for the role of Calaf I can´t see anyone beating Franco Corelli but that´s an opinion, someone might say Paul Potts! But then it wouldn´t be opera anymore because they would have to use microphones.
Yeah, well if you want to know what he was about listen to the audience at the end of the aria!!!!!!!!
Inquisitive,
Phantom (& all) have their own opinion. As you say many times that freedom is important (so you are free, criticizing many singers), you should understand that when you respond at the way above, you're engaging in the same non-freedom policy of commenting that you abominate. If for any reviews posted here you search by the age and nationality of those who did, to humiliate them, vomiting your truths and "wise" comments, better you change your nick from Inquisitive to Inquisitor.
jorge negrete lo haria bastante bien
haha
To be ignorant (that means: without knowledge) is not a fault of anyone, because the ignorants are the people that didn't have the opportunities you had to learn 4 languages, to
attend the great theaters, to have access to great recordings...
But becoming arrogant to have all that and think that the knowledge gained is enough to ride roughshod over others is a serious misconduct.
That diminuendo Corelli just did at studio record. I've his live record on that aria, is totally different. And... I love Corelli, but let's be fair to say the truth.
You always forget to say that Domingo is the best singer/actor at opera. Nobody interprets like him. His voice to me is ok, there's nothing wrong with his timbre, and range. He sang that natural B until 60+, his problem was just the high C, exactly as Caruso, Crimi, Zenatello, and many others. Opera is not a high C.
Not accurate, Domingo's high notes have been an adventure throughout his career. He is a medium sized spinto voice, rarely using mezza voce and never using a diminuendo, squeezing in the passaggio and higher and notorious for transposing entire opera's
I really think that this is a problem of TASTE. You definitively don't like Domingo's voice, but I do, I don't feel his voice as you say. Probably because you don't like, you didn't listen to his records enough to understand. Try to listen to his Radamès, Don José, and his voice at songs. Those are his best.
Really? Not doubting his talent, but he's quite pitchy in this version... and seems to be out of time in parts.
Might have been an off night?