Watch the full opera here: ua-cam.com/video/ts64ctoRUuk/v-deo.html 💖 Please consider supporting my work, even with just the price of a ☕ coffee: ko-fi.com/francocorelliinfo 💛Regular monthly supporters receive special thank-you rewards (public recognition, rare Corelli recordings, video requests, etc.) Your help benefits all fans, as my aim is to preserve Corelli's memory, to make his artistic legacy and all information about his career freely available to all to enjoy and learn from, so that he can inspire new generations of artists and opera lovers. 🇮🇹 💖 Per favore, considera di sostenere il mio lavoro, anche solo con il prezzo di un ☕ caffè: ko-fi.com/francocorelliinfo 💛 I sostenitori mensili regolari ricevono premi speciali di ringraziamento (riconoscimenti pubblici, registrazioni rare di Corelli, richieste di video, ecc.) Il tuo aiuto va a beneficio di tutti gli appassionati, poiché il mio obiettivo è quello di preservare la memoria di Corelli, di rendere la sua eredità artistica e tutte le informazioni sulla sua carriera liberamente disponibili a tutti per godere e imparare, in modo che possa ispirare nuove generazioni di artisti e amanti dell'opera. 00:00 Quale d'armi fragor poc'anzi intesi? 01:52 Ah sì, ben mio, coll'essere io tuo, tu mia consorte... 05:17 L'onda de' suoni mistici pura discende al cor! 07:09 Di quella pira l'orrendo fuoco tutte le fibre m'arse, avvampò!
Words fail me,tears in my eyes LA Scala the holy Grail of opera houses and Franco Corelli ,Italy what you have given to the world is immeasurable thank you
A delight to the ears. Corelli has so many nuances in tone, beautifully bringing out interpretation of words sung. He does not just sing, he IS the character! A true artist and such a phenomenally brilliant voice. One never tires hearing him, and following each note’s passionate rendition, waiting to hear what is next. Thank you for this beautiful recording.
Although as a Franco Corelli fan of 50 odd years, for me, the inclusion of the photo's from the opera give the aria's a new light, thank you enormously the Franco Corelli Info Center.
I'm glad you like it. If you haven't already, be sure to check out the complete opera (illustrated with photos throughout): ua-cam.com/video/ts64ctoRUuk/v-deo.html
@@sugarbist I meant - you don't hear singing like this today. btw I heard him in Aida, Romeo et Juliette and others. I had a Met subscriptiion. No longer.
@@ikmarchini That's wonderful. I also heard Corelli in his debut at the Met in 1961 as Manrico. It was a terrific performance and the audience did applaud enthusiastically. He had a terrific voice but unfortunately suffered from terrible terms on stage. You may be interested in listening to his interviews on You Tube with Stefan Zucker which I have found very interesting. Enjoy
@@radames5855 Sì lo so, ma perché lo facevano? Era forse il direttore d'orchestra che decideva? Io l'ho scritto perchè comunque a me sembra immenso ugualmente.
UNICO MANRICO PERFETTO BELLISSIMO VERO CONTE DNA. VOCE DIVINA. PURTOPPO NON HO DVD MA ALTE OPERE E CD MANRICO. MIO PRIMO.AMORE A 11 ANNI.FINO.ULTIMO PIU GRANDE MAI MANRICO OVVIO . OVVIO.ERA F. CORELLI MAI NESSUN. MARTA BEATRIX DARDAY
Bellissima davvero l'esecuzione dell' " Ah sì ben mio ", ma la cabaletta in tonalità di SI maggiore, non si può sentire da nessun tenore, figuriamoci dall' immenso Corelli che, tra l' altro, disponeva di sovracuti fantastici !!!
@@stefanoferrari8781 si può sentire...si può sentire...visto e sentito le schifezze che poi abbiamo ascoltato e ancora ascoltiamo...Corelli era comunque credibile....
@@ritapapiri Io dicevo che MUSICALMENTE non si può sentire !!! E' un peccato che molti direttori avallino o abbiano avallato le richieste dei tenori... Penno, Domingo e Cura la volevano cantare solo abbassata di un tono... Il povero Verdi che, obtorto collo, aveva accettato anche le puntature sul DO di Boucardé, si rigirerà spesso nella tomba !!!
Oggi ho tanti anni, al tempo di questo Trovatore solo 14 anni ma che fortuna averlo sentito dal vivo con tre fantastici interpreti Corelli Stella Bastianini mi pare Ferrando fosse Ivo Vinco... bravo anche lui !!!
Bonjour le grand maestro une voix et un physique unique un grand plaisir de l écouter grâce à vous il brille a jamais au firmament des grands de l opéra le temps nous l a enlevé mais sa voix inoubliable est encore là heureusement pour longtemps bravo et merci
Ho sentito altri tenori tra i più bravi ma mai nessuno con la voce di Corelli, con la sua interpretazione e il suo carisma. Tutto un altro pianeta. Questa aria del Trovatore è solo sua. È un crescendo fino ad arrivare al finale dove è lui che fa da traino all'orchestra. Spettacolare è dir poco. ❤❤❤❤❤❤❤❤❤
Bonjour sublime et immortel grand Mr Corelli une voix unique de timbre et puissance un physique superbei pour moi le plus grand merci a vous vraiment un grand plaisir
A falta de video, estupendo y minucioso trabajo de imágenes fijas que dan una idea real de lo que fue el gran Franco Corelli: presencia, figura y un arrojo vocal virtuoso y deslumbrante. Después de él hubieron buenos Manricos (Bergonzi, Bonisolli...); antes, también (Merli, Pertile, Lauri Volpi). Pero Corelli los superó a todos. Todos los documentos de Franco Corelli Info Center son magníficos! Gracias! Saludos desde Buenos Aires. (Lástima que a Franco nunca le interesó cantar en nuestro Teatro Colón...)
I am always looking for DVD video material of opera performances with rgeat singers of the past, and find it sad how few there are. Something like this is the next best thing - preferable to current singers and often even current staging... Thanks for putting in this work!
I know of no Live TROVATORE with Corelli where Di Quella Pira was not transposed down a half tone. HIs notorious nerves would only risk the high C in a studio where he felt a bit more relaxed & could play with mixing certain sections around sometimes rather than recording this aria straight through. As far as I know this aria in particular (or perhaps the high B flat diminuendo in CELESTE AIDA) were the only arias to get this nervous treatment. Nevertheless, his sound was so phenomenal here & elsewhere (is there a more thrilling NESSUN DORMA?) that indulging his nerves in this way does not alter the effect his timbre makes on the listener, at least for me, anyway. There are other tenors with virtues that stand apart from Corelli: Bjorling, very young Di Stefano, Fritz Wunderlich, & the incomparable Leopold Simoneau come to mind. Each of these singers were unique in their own way & should not really be compared with Corelli. There are many other superb tenors of course, & all my opinions are strictly personal & may justifiably be argued with.
According to René Segers once he sang Manrico in Pisa, nearby his hometown, Ancona. And he relearned this aria in the origilnal key, in C major, and sang it with high Cs. A know a lot of live Trovatore with him. He always sings great high D flat at the end of trio in the 1st Act, but never try high Cs is "Pira".
So many tenors sing it down the half step-mostly because it's so well known and anticipated, not just his nerves-but in some cases they do because they didn't have a C or a reliable one-we know Franco had one-I think you're right Franco never sang it live. But it's not just the note, it's often the particular approach to it. Certainly he sang a C live in Turandot, routinely-Boheme-often in Romeo which was immense-the D flat/C sharp in Don Carlo etc. Don't you think the Salzburg Trovatore is better?
In the past, composers oftentimes allowed the singer to transpose their piece up or down if it was a better vocal fit. It serves no one for a singer to strangle out an aria or to be so worried about one note that the entire opera suffers for their anxiety.
So many performers suffer terribly from nerves before going on, but once on stage the "stage frights" disappears. Corelli could not have sung with such total composure as he did ( yes I heard him in the house on several occasions.) had his unfortunate nervousness continued while performing. But most tenors, including Tucker and Bergonzi, among many others transposed their arias down a half step. What is important is the quality of the sound, not the key. Corelli's high B's conveyed so much more vocal impact and excitement that a very few tenors did with their high C's. I can assure you that when Corelli sang one of his startlingly big, bright high B's the audience was not about to complain about the transposition.
His voice is already completely on decline here, lack of squillo is very strong. His voice clearly didn't age well, unlike Del Monaco and Lauri-Volpi, they both were great in their 60's
Corelli is 41 here and had a great stint at the Met from 1961 up to the time he officially retired in 1976 at age 50. He claims his best years were 1966 to 1968. The great Volpi did develop a wobble in his 60s or perhaps earlier. Del Monaco had an almost fatal car accident in Dec. 1963 at age 48 and as a consequence remained on kidney dialysis until he passed in 1982 at age 67. Del Monaco officially retired in 1975 at age 60. I saw Corelli in his debut in Trovatore at the Met in 1961 and there was no lack of squillo. During the 1960s, Corelli had some great performances at the Met as well as around the world. His voice started to show some stress around 1970-71 but still capable of thrilling his listeners. I remember a matinee performance of Don Carlo from the Met in 1973 where the announcer stated that Mr. Corelli is indisposed but will still go on with the performance. He was truly remarkable on that occasion and during his time at the Met was known as Prince of tenors and Mr. Soldout. His many reviews from the Met did reach some criticism, but never for his great voice. Enjoy
I am fully aware that Corelli is considered ,by most people, the best tenor ever but his singing does not touch me at all. Also, I don't like his heavy use of scooping/portamento and not-so-clear diction. JUST MY PERSONAL OPINION, not bashing the great artist
You gave your opinion with a lot of grace and respect. I can understand that you don't like portamento. It comes from an earlier age, other tenors such as Pertile also used it a lot, and even Caruso. It adds dynamics and emotional expression. Interestingly it is sometimes used in blues or rock singing to add more soul to the voice, and even guitarist use it. But it seems to have fallen out of fashion in opera, Corelli learned a lot of his singing singing along to older vocalist. Corelli style especially live is all about raw passion. This was obviously quite popular at the time, if you look at contemporaries such as Di Stefano and Del Monaco. But all singers do have their positive and negative sides. Corelli sang with a lot of dynamics and expression, he used a lot of different colours in the voice, to covey emotion. I do think people sometimes forget that he had a dramatic voice, he did not have a lyric voice. Whatever voice category he is placed in, he fundamentally had a dramatic voice. Dramatic voices do have certain characteristics., it is always a less flexile, very big and heavy voice. But I would say he had some of the most refinement you can find in a dramatic voice. He had very good legato for having such a big voice, and of course the diminuendo. And something that is almost never discussed was his phrasing. he had incredible phrasing. That is how he was able (along with secure high notes), to sing some of those most difficult bel canto roles such as Les Huguenots. Bianca Al Par ua-cam.com/video/rjwQULuB5XU/v-deo.html On papier he should not have been able to sing a role such as this. Corelli did suffer from an accident in his teenage years where he broke his jaw and some teeth, and this always influenced his dictation. But I don't think his dictation was always bad, it was inconsistent., sometimes it was fine and at other times it wasn't good. But overall for having a dramatic voice, he achieved the maxim level of skill you can expect from this type of voice. His phrasing should receive far more critical appreciation. But of course his voice is just never going to be quite the same as a tenor with a lyrical voice. Tenors will lyrical voices will naturally have better dictation and smoothness of line. The opposite is also true a tenor with a lyrical voice will never have as much power in the voice. People do like and appreciate different aspects of singing, we don't all have to enjoy the same singers, and we don't all connect with singers in the same way, and that is a good thing.
Corelli used less portamento in his studio recordings and when asked by Stefan Zucker here on YT, why he often used portamento in live performances, his response was ''to be sure'' Scooping is a little different and I don't believed it was often used by Corelli unless it was during an interpolation of an upper high note which for example he does in the Poliuto aria, riding up to the note before the High C and then attacking the C. None the less the result is astounding. He also said that he preferred his voice in the studio rather than in live performances, because there is too much moving around when singing live. His high intensity for being nervous on stage throughout his career did not not help. Still a great tenor, but in my opinion in stating any tenor was the best ever will always be contested, as no one has ever told me what criteria they use to arrive to that conclusion. Enjoy
Watch the full opera here: ua-cam.com/video/ts64ctoRUuk/v-deo.html
💖 Please consider supporting my work, even with just the price of a ☕ coffee: ko-fi.com/francocorelliinfo
💛Regular monthly supporters receive special thank-you rewards (public recognition, rare Corelli recordings, video requests, etc.)
Your help benefits all fans, as my aim is to preserve Corelli's memory, to make his artistic legacy and all information about his career freely available to all to enjoy and learn from, so that he can inspire new generations of artists and opera lovers.
🇮🇹
💖 Per favore, considera di sostenere il mio lavoro, anche solo con il prezzo di un ☕ caffè: ko-fi.com/francocorelliinfo
💛 I sostenitori mensili regolari ricevono premi speciali di ringraziamento (riconoscimenti pubblici, registrazioni rare di Corelli, richieste di video, ecc.)
Il tuo aiuto va a beneficio di tutti gli appassionati, poiché il mio obiettivo è quello di preservare la memoria di Corelli, di rendere la sua eredità artistica e tutte le informazioni sulla sua carriera liberamente disponibili a tutti per godere e imparare, in modo che possa ispirare nuove generazioni di artisti e amanti dell'opera.
00:00 Quale d'armi fragor poc'anzi intesi?
01:52 Ah sì, ben mio, coll'essere io tuo, tu mia consorte...
05:17 L'onda de' suoni mistici pura discende al cor!
07:09 Di quella pira l'orrendo fuoco tutte le fibre m'arse, avvampò!
Words fail me,tears in my eyes LA Scala the holy Grail of opera houses and Franco Corelli ,Italy what you have given to the world is immeasurable thank you
A delight to the ears. Corelli has so many nuances in tone, beautifully bringing out interpretation of words sung. He does not just sing, he IS the character!
A true artist and such a phenomenally brilliant voice. One never tires hearing him, and following each note’s passionate rendition, waiting to hear what is next.
Thank you for this beautiful recording.
Voce,interpretare exceptionale.Artist absolut.Patrimoniu muzical universal. Slava lui vesnica!
Franco Corelli, all'apice vocale.
INARRIVABILE!!!!!👏👏👏
Although as a Franco Corelli fan of 50 odd years, for me, the inclusion of the photo's from the opera give the aria's a new light, thank you enormously the Franco Corelli Info Center.
I'm glad you like it. If you haven't already, be sure to check out the complete opera (illustrated with photos throughout): ua-cam.com/video/ts64ctoRUuk/v-deo.html
Did you ever get to see him on stage?
On est pas fan, on est admiratif
Fantastico Corelli inarrivabile interpretazione e voce sublime.
If I heard opera like this today I might go to the theater.
You might? Corelli was known as Prince of tenors and Mr. Soldout at the Met.
@@sugarbist I meant - you don't hear singing like this today. btw I heard him in Aida, Romeo et Juliette and others. I had a Met subscriptiion. No longer.
@@ikmarchini That's wonderful. I also heard Corelli in his debut at the Met in 1961 as Manrico. It was a terrific performance and the audience did applaud enthusiastically. He had a terrific voice but unfortunately suffered from terrible terms on stage. You may be interested in listening to his interviews on You Tube with Stefan Zucker which I have found very interesting. Enjoy
Incredibili i suoi pianissimi, per non parlare degli acuti!!! Acuto finale immenso, come sempre! 👏👏👏🎼🤩
SI naturale...vale a dire mezzo tono più basso!!! Ma non è una novità...molti suoi colleghi abbassavano la "PIRA"...
@@radames5855 Sì lo so, ma perché lo facevano? Era forse il direttore d'orchestra che decideva?
Io l'ho scritto perchè comunque a me sembra immenso ugualmente.
Perfection...
Sublime...divino
UNICO MANRICO PERFETTO BELLISSIMO VERO CONTE DNA. VOCE DIVINA. PURTOPPO NON HO DVD MA ALTE OPERE E CD MANRICO. MIO PRIMO.AMORE A 11 ANNI.FINO.ULTIMO PIU GRANDE MAI MANRICO OVVIO . OVVIO.ERA F. CORELLI MAI NESSUN. MARTA BEATRIX DARDAY
Esalta ed emoziona, è rara tanta perfezione,
unico ed indimenticabile.Quanta
grandezza.
El más Grande Tenor del Mundo Franco Cirelli!!! BRAVISIMI!!!!!
Sempre grande Corelli. Voce unica impossibile!
Grazie mille Franco Corelli Info Center per questo gioiello
Talmente bravo e bello da sembrare irreale ....mai più come lui !!!
Mirella Freni said "He was the star of stars" I absolutely agree it.
On est pas au music-hall, ce n'est pas une star, mais un immense artiste
Люблю.
...Solamente...che bello e che meraviglia in tutti i sensi era il mio grandissimo Franco Corelli!!!! Vanto stellare della Lirica!!
cosa aggiungere ad un artista cosi' grande questa una belle perle interpretate da franco ma tuut perle una piu' bella delle altre
"Ah sì ben mio " è uno dei più bei cantabili scritti da Verdi, e Corelli è davvero ispirato...sublime...La "pira" è eroica e gloriosa...W Corelli!
Bellissima davvero l'esecuzione dell' " Ah sì ben mio ", ma la cabaletta in tonalità di SI maggiore, non si può sentire da nessun tenore, figuriamoci dall' immenso Corelli che, tra l' altro, disponeva di sovracuti fantastici !!!
@@stefanoferrari8781 si può sentire...si può sentire...visto e sentito le schifezze che poi abbiamo ascoltato e ancora ascoltiamo...Corelli era comunque credibile....
@@ritapapiri Io dicevo che MUSICALMENTE non si può sentire !!! E' un peccato che molti direttori avallino o abbiano avallato le richieste dei tenori... Penno, Domingo e Cura la volevano cantare solo abbassata di un tono... Il povero Verdi che, obtorto collo, aveva accettato anche le puntature sul DO di Boucardé, si rigirerà spesso nella tomba !!!
@@stefanoferrari8781 concordo....
@@stefanoferrari8781 Ascolta la versione in do maggiore di Lauri Volpi o Rosvaenge.
Oggi ho tanti anni, al tempo di questo Trovatore solo 14 anni ma che fortuna averlo sentito dal vivo con tre fantastici interpreti Corelli Stella Bastianini mi pare Ferrando fosse Ivo Vinco... bravo anche lui !!!
E la Cossotto?
Che fortuna. Penso che sia stata davvero emozionante....unica
Divino Corelli💖💐
La giornata era comincita male ma ascoltate corlli tutto si è aggiustato grande corelli❤🎉❤
Tenores, hubo y hay miles; buenos tenores, cientos; maravillosos tenores, un puñado. Dioses, sólo uno: él
FANTASTISCH
Это чудо!
The One and Only❤
Never, ever , you can bring back such an unique artist!! Just Emotion and ??? 🥰🥰
Bonjour le grand maestro une voix et un physique unique un grand plaisir de l écouter grâce à vous il brille a jamais au firmament des grands de l opéra le temps nous l a enlevé mais sa voix inoubliable est encore là heureusement pour longtemps bravo et merci
Franco Corelli, the King of tenors.
Les rois ont leur coupe la tête
la vraie.. voix du role!... et le vrai physique.. incomparable... beaucoup de tenors ne sont pas credibles dans ce role...
Très juste bravo pour votre analyse 😊
Sublime, as ever! Thank you for posting.
Andare a tempo non è il suo forte. Bellissima interpretazione comunque. Voce enorme.
Bro...
Ma che cacchio dici?
Ho sentito altri tenori tra i più bravi ma mai nessuno con la voce di Corelli, con la sua interpretazione e il suo carisma. Tutto un altro pianeta. Questa aria del Trovatore è solo sua. È un crescendo fino ad arrivare al finale dove è lui che fa da traino all'orchestra. Spettacolare è dir poco.
❤❤❤❤❤❤❤❤❤
Спасибо каналу за записи
A gem. Thank you so much for sharing it.
I congratulate and thank you for this perfect presentation, with lyrics both in Italian and English and abundant information. A great job!
Thank you so much ❤
Impresionante
Non ci stanno parole. Non era di questa Terra.
This. Yes.
Corelli da brividi, il tenore drammatico nr. 1
Bravissimo, Корелли! Стретта прекрасна
Bonjour sublime et immortel grand Mr Corelli une voix unique de timbre et puissance un physique superbei pour moi le plus grand merci a vous vraiment un grand plaisir
Bellissimo,Bravissimo
Di quella Pira potrebbe diventate la nostra Haka neozelandese in salsa italiana negli eventi sportivi❤❤
Удовольствие слушать прекрасное исполнение❤️
Oh, come incanterai gli angeli! 😍❤️❤️❤️
A falta de video, estupendo y minucioso trabajo de imágenes fijas que dan una idea real de lo que fue el gran Franco Corelli: presencia, figura y un arrojo vocal virtuoso y deslumbrante. Después de él hubieron buenos Manricos (Bergonzi, Bonisolli...); antes, también (Merli, Pertile, Lauri Volpi). Pero Corelli los superó a todos. Todos los documentos de Franco Corelli Info Center son magníficos! Gracias! Saludos desde Buenos Aires. (Lástima que a Franco nunca le interesó cantar en nuestro Teatro Colón...)
One of the greatest tenors of all time with a voice that filled the opera house like no other tenor I have heard except for possibly Tucker.
La voce di Dio ,❤️❤️❤️❤️
Dieu n'existe pas
I am always looking for DVD video material of opera performances with rgeat singers of the past, and find it sad how few there are. Something like this is the next best thing - preferable to current singers and often even current staging...
Thanks for putting in this work!
Grazie mille !!!
Le plus grand des ténor au monde ♥️ 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖 💖
Il y en a d'autres grands ténors aussi
When gods walk on earth
Correli绝对是戏剧偏抒情男高音的天花板，而帕瓦罗蒂则是抒情男高音偏戏剧男高音的天花板。目前二大师仍未见后来者。
Best of the best!!!
Люблю.
❤❤❤❤
bravo 6:42
Wonderful video, mille grazie for that! Why they transposed the Stretta's C major to B major that night?🧡
In live performances he usually (always?) sang it transposed. As most tenors did of the time.
3:03
I know of no Live TROVATORE with Corelli where Di Quella Pira was not transposed down a half tone. HIs notorious nerves would only risk the high C in a studio where he felt a bit more relaxed & could play with mixing certain sections around sometimes rather than recording this aria straight through. As far as I know this aria in particular (or perhaps the high B flat diminuendo in CELESTE AIDA) were the only arias to get this nervous treatment. Nevertheless, his sound was so phenomenal here & elsewhere (is there a more thrilling NESSUN DORMA?) that indulging his nerves in this way does not alter the effect his timbre makes on the listener, at least for me, anyway. There are other tenors with virtues that stand apart from Corelli: Bjorling, very young Di Stefano, Fritz Wunderlich, & the incomparable Leopold Simoneau come to mind. Each of these singers were unique in their own way & should not really be compared with Corelli. There are many other superb tenors of course, & all my opinions are strictly personal & may justifiably be argued with.
According to René Segers once he sang Manrico in Pisa, nearby his hometown, Ancona. And he relearned this aria in the origilnal key, in C major, and sang it with high Cs. A know a lot of live Trovatore with him. He always sings great high D flat at the end of trio in the 1st Act, but never try high Cs is "Pira".
So many tenors sing it down the half step-mostly because it's so well known and anticipated, not just his nerves-but in some cases they do because they didn't have a C or a reliable one-we know Franco had one-I think you're right Franco never sang it live. But it's not just the note, it's often the particular approach to it. Certainly he sang a C live in Turandot, routinely-Boheme-often in Romeo which was immense-the D flat/C sharp in Don Carlo etc. Don't you think the Salzburg Trovatore is better?
In the past, composers oftentimes allowed the singer to transpose their piece up or down if it was a better vocal fit. It serves no one for a singer to strangle out an aria or to be so worried about one note that the entire opera suffers for their anxiety.
So many performers suffer terribly from nerves before going on, but once on stage the "stage frights" disappears. Corelli could not have sung with such total composure as he did ( yes I heard him in the house on several occasions.) had his unfortunate nervousness continued while performing. But most tenors, including Tucker and Bergonzi, among many others transposed their arias down a half step. What is important is the quality of the sound, not the key. Corelli's high B's conveyed so much more vocal impact and excitement that a very few tenors did with their high C's. I can assure you that when Corelli sang one of his startlingly big, bright high B's the audience was not about to complain about the transposition.
Is it your hobby to write negative comments about Corelli? Shame I couldn't find any clips of you singing this aria, I would have liked to compare it.
UNERREICHBAR
His voice is already completely on decline here, lack of squillo is very strong. His voice clearly didn't age well, unlike Del Monaco and Lauri-Volpi, they both were great in their 60's
explain?
Corelli is 41 here and had a great stint at the Met from 1961 up to the time he officially retired in 1976 at age 50. He claims his best years were 1966 to 1968. The great Volpi did develop a wobble in his 60s or perhaps earlier. Del Monaco had an almost fatal car accident in Dec. 1963 at age 48 and as a consequence remained on kidney dialysis until he passed in 1982 at age 67. Del Monaco officially retired in 1975 at age 60. I saw Corelli in his debut in Trovatore at the Met in 1961 and there was no lack of squillo. During the 1960s, Corelli had some great performances at the Met as well as around the world. His voice started to show some stress around 1970-71 but still capable of thrilling his listeners. I remember a matinee performance of Don Carlo from the Met in 1973 where the announcer stated that Mr. Corelli is indisposed but will still go on with the performance. He was truly remarkable on that occasion and during his time at the Met was known as Prince of tenors and Mr. Soldout. His many reviews from the Met did reach some criticism, but never for his great voice. Enjoy
I am fully aware that Corelli is considered ,by most people, the best tenor ever but his singing does not touch me at all. Also, I don't like his heavy use of scooping/portamento and not-so-clear diction. JUST MY PERSONAL OPINION, not bashing the great artist
You gave your opinion with a lot of grace and respect. I can understand that you don't like portamento. It comes from an earlier age, other tenors such as Pertile also used it a lot, and even Caruso. It adds dynamics and emotional expression. Interestingly it is sometimes used in blues or rock singing to add more soul to the voice, and even guitarist use it. But it seems to have fallen out of fashion in opera, Corelli learned a lot of his singing singing along to older vocalist. Corelli style especially live is all about raw passion. This was obviously quite popular at the time, if you look at contemporaries such as Di Stefano and Del Monaco. But all singers do have their positive and negative sides.
Corelli sang with a lot of dynamics and expression, he used a lot of different colours in the voice, to covey emotion. I do think people sometimes forget that he had a dramatic voice, he did not have a lyric voice. Whatever voice category he is placed in, he fundamentally had a dramatic voice. Dramatic voices do have certain characteristics., it is always a less flexile, very big and heavy voice. But I would say he had some of the most refinement you can find in a dramatic voice. He had very good legato for having such a big voice, and of course the diminuendo. And something that is almost never discussed was his phrasing. he had incredible phrasing. That is how he was able (along with secure high notes), to sing some of those most difficult bel canto roles such as Les Huguenots.
Bianca Al Par ua-cam.com/video/rjwQULuB5XU/v-deo.html
On papier he should not have been able to sing a role such as this. Corelli did suffer from an accident in his teenage years where he broke his jaw and some teeth, and this always influenced his dictation. But I don't think his dictation was always bad, it was inconsistent., sometimes it was fine and at other times it wasn't good. But overall for having a dramatic voice, he achieved the maxim level of skill you can expect from this type of voice. His phrasing should receive far more critical appreciation. But of course his voice is just never going to be quite the same as a tenor with a lyrical voice. Tenors will lyrical voices will naturally have better dictation and smoothness of line. The opposite is also true a tenor with a lyrical voice will never have as much power in the voice. People do like and appreciate different aspects of singing, we don't all have to enjoy the same singers, and we don't all connect with singers in the same way, and that is a good thing.
@@ZENOBlAmusicse facciamo le "pulci" a tutti nessuno sarà mai all'altezza....😂
Corelli used less portamento in his studio recordings and when asked by Stefan Zucker here on YT, why he often used portamento in live performances, his response was ''to be sure'' Scooping is a little different and I don't believed it was often used by Corelli unless it was during an interpolation of an upper high note which for example he does in the Poliuto aria, riding up to the note before the High C and then attacking the C. None the less the result is astounding. He also said that he preferred his voice in the studio rather than in live performances, because there is too much moving around when singing live. His high intensity for being nervous on stage throughout his career did not not help. Still a great tenor, but in my opinion in stating any tenor was the best ever will always be contested, as no one has ever told me what criteria they use to arrive to that conclusion. Enjoy
Il baritono. A disaster with screams
The audience doesn't agree with you - I don't agree with you and nor do thousands and thousands of others....
@@puppetoz I think he was talking about the actual baritone. I hope…
@@tenoremodernotecnicavecchi2151 Alas...
@@puppetoz a fanatics, a deaf blind audience, your words arenothing
@@Monnarchmonnarchy as are yours
Un tono sotto…
...mezzo tono...!! Una sventola che gli altri se la sognano anche se la abbassano di 2 toni!!! 🙂