I witnessed Corelli’s whole career at the Old and New Mets. He sang many, many performances. Occasionally, but rarely, did one sense that he would rather be at home chilling out. Remember, like Caruso, every time he performed, he had to be Corelli. It was constant pressure for him. But generally, he delivered 110 percent. The New York public had a love affair with him, and he returned it in spades. I’m not sure there was any theater that he devoted more time than to the Met. We were blessed with his great voice, his artistry and passion, and his genuinely sweet smile as he accepted the thunderous ovations after performances. I met him a few times offstage and he was so “real,” down to earth, with no divo airs. Remember, any of his colleagues loved performing with him because he was such a supportive partner. By the way, Benaldo Giaiotti was very beloved by the NY fans.
@@BaroneVitellioScarpia1 Preferisco di gran lunga una grande voce che canti quest'aria mezzo tono sotto che una voce di zanzara nasale e ristretta che la canta nella tonalità originale, ogni riferimento è puramente casuale. 😅
@@esterbruno8604 C'è un ottimo tenore che si chiama Fernando de Lucia, ha sempre trasposto in basso una seconda maggiore, anche se la tessiura di quell'aria non è alta.
Bonjour superbe Mr corelli cette voix unique incomparable un joyau de l Opéra qui brille a jamais au firmament des Étoiles de l Opéra merci a vous vraiment un régal
His voice itself sounded in good shape here at age 50 here, even though it wasn't a really ideal role for him, and he didn't finish the next performance, so I wonder also why he quit singing only a few years later. At times here he rushes some words and phrases, but at age 50 his voice sounds youthful and fresh, yet just a few years later he quit, perhaps he was tired of his constant battle with nerves, a friend of mine who was close to my age but now deceased, told me long ago Corelli kept a wet sponge in his pocket to keep his throat moist during the performances, he had his nerves about him but had this terrific Spinto voice with dramatic color, I did see him in house but not in this role, he would have been a great Otello IMO.
Corelli had an unavoidable tendency to drive his public crazy, audiences must have been very passionate about him and his performances must have been really something to behold.
Actually Corelli was a little bit nervous at the beginning of this performance (the duet with the soprano), but he turned the sextet into a tenor aria with chorus! Not to mention this final scene, it rivals Di Stefano's 1955 recording.
@@BaroneVitellioScarpia1 Corelli was apparently a very nervous performer. In spite of being described as a bit of a Diva by some people who worked close to him in the sixties truth is he was always very stressed before showing himself to the audience, a perfectly understandable feeling as opera, when done right, is exhausting and demanding; in the end he almost always delivered!
I find that listening to Corelli with my eyes closed focuses the aural intensity of the beauty of his voice. Wouldn't have done that if I'd been in the house 😉
Non avevo mai sentito questo live di Corelli, grazie Barone per averlo condiviso ! io non ho mai sopportato Edgardo cantato dai "tenorini" ... e ne ho sentiti tanti in teatro ! Anche Kraus e Pavarotti, pur nei loro periodi migliori, non mi hanno mai soddisfatto completamente ... Invidiavo mio padre che aveva sentito in teatro Gigli, Pertile e, mi pare, anche Masini ! D'altronde bisogna ricordare che il primo Edgardo è stato Duprez, il tenore eroico che affrancò il cosiddetto DO di petto... quindi l'aderenza al personaggio che qui mette in evidenza Corelli, ad onta di qualche imprecisione, è senz'altro notevole ! Oggi gli Edgardo più richiesti sono tenori che anni fa avrebbero fatto, a fatica, lo sposino di Lucia !!!
The Corelli Association just posted a conversation with Franco and G.G.Guelfi. Corelli is very forthcoming about his famous nervousness. He said he was in a terrible state the day before, of, and after a performance, and as he got older it became too much, leading in large part to his retirement. And yes, as you can hear in old tapes, we produced major demonstrations for the greats in the ‘60’s. Walls of yelling and stomping of feet, endless curtain calls, flowers thrown at the stage. Often the company would have to bring down the fire curtain and turn up the lights to get people out of the theater.
I think the last year of his prime was 1968. Something must happened in 1969. There are no recordings from that year and from 1970 on he sounded different. Listen to the concert in Tokio for example.
Totally agree. And I saw his performances regularly from 1965 on. There was an incredible ease and a tenderness to his performances through 1968 that was more intermittent after that. There were still some great moments after that, but they were isolated sequences, rarely complete performances. I write as a dedicated fan, since the good nights featured some of the finest tenor singing I've ever heard. When confident in his part, he combined the most natural acting, extraordinary charisma, a sonorous middle register, a brilliant and heroic top that could still retain a bit of that tenderness even at full sail, astonishingly broad phrasing and an abundance of colors and dynamics throughout a wide range. It was on nights when he pulled all this together that he was among the completest opera performers I've seen. When he fell off this standard, he could fall a long way: too many truncated phrases, too much choppy phrasing, monotonous dynamics, etc. The years after 1968 were a roll of the dice. Most of the voice was still magnificent, but there seemed to be a lot of hit and miss in many a performance: some of the effects might come off well, but many misfired or petered out. He seemed to lose easy connection to his low register for much of those years, and a querulous quality came into some of his singing. But the connection to the low was largely regained in 1972 and '73, and there was even one outdoor concert in '73 when the second verse of the Massenet "O souverain" came off as beautifully as in 1968 (the Rhode Island 1967 reading of this still remains his best). Then in 1974, things started fracturing again, and he retired soon after that. For a parallel to such a comprehensive package of fine acting, stage charisma, vivid vocal "face", easy heroic top including a high C sharp from the chest, broad repertoire from Handel to Prokofiev, abundance of colors and dynamics, the combination of a sonorous middle with that resplendent and extensive top, a tender romantic quality retained even at full volume with a sweep and long breath that could rouse an audience to a frenzy, one has to go back 65 years earlier, to Ivan Yershov. But the inconsistencies on some nights could be dismaying sometimes. In a way, he seems like the most astonishing sports car but with a few too many bells and whistles, and, because of that, is often in the shop getting this or that tuned instead of always in trim in all weathers, as is clearly the case with disciplined always collected artists like Tauber, or Franz, or Caruso, or Bjoerling, or Bergonzi, or Urlus, or Melchior, or Vickers, or Pavarotti, etc. Artists like these were more beautiful in some ways, they were often more musical, certainly far more dependable in myriad ways. But Corelli's sheer range of multiple gifts, when he could corral them together, were dazzling in such a special way that I'd never regret a day watching him, fascinated, on the stage for real.
Wow! Thank you so much for this! I'm excited every time I hear Corelli singing, especially live! I also want to found him singing Lamento di Federico. Do you know, sang he that or not? I've found only a mastercalss 1992.
I have to say for 71, which was some three years past his vocal crisis, or whatever it was, that befell in late 68/early 69, and largely deprived him of his breath control and his diminuendi, this is amazingly good. Yes, there are spots where you can tell that it's post-68, but I'd say 80% is very good. I'm surprised he got such a bad review. Of course, this is one scene. I've heard rumors that the whole thing is available, but I haven't heard all of it, just this. ADDENDUM: Have to say I just found the first act duet, and it is less happy for Corelli. Rushed, without much subtlety or lyricism, definitely nervous. The Veranno starts to show some finesse and security, however.
There where two performances 10 days apart but at the second performance tenor Alexander sang it after Corelli did not sing after Act one was finished. Corelli sang at the Met. until 1975, his last opera for the Met. opera Company was Boheme, but not in the City.
Конечно , спору нет , Корелли , фантастически талантливый певец,: - но в этой опере я всё- же больше люблю Ди . Стефано . Тут тебе и драматизм и лирика , которая не поддаётся ни каким об' яснениям и , конечно , когда поют Каллас и Ди. Стефано это просто -Космос❗️Особенно в последней сцене, где он взял самую высокую ноту такой громкости, держа несколько секунд и на этом дыхании опустил на самый тихий, притом удерживая ту- же ноту, если я не ошибаюсь Фа- бемоль . После этого , зал взорвался и не отпускал его до тех пор , пока Ди. Стефано не повторил на бис( Мехико 57 г.) Как бы там ни было, Корелли , как певец,- это святое. Он действительно, Принц теноров!!!👏👏👏👏🌿🌷🌷🌷🌿❤️❤️❤️🎉🎉🎉
Corelli sounds fine to me, but he did not receive good reviews from this performance. After the first act in the second performance on January 21, 1971, he withdrew, and never sang Lucia again.
@@BaroneVitellioScarpia1 Does he not sound very tired around 12:28-12:33 to you? And this is a semitone lower than donizetti wrote the passage. Occasionally lyric and light lyric tenors deserve some credit for their set of skills, as much as I like corelli.
@@sugarbist Not one review of this can I find in the Met. archives, what paper did this nameless critic write the review you mentioned? His voice sounded fine but not a really a great role for him, MDM was smart and never bothered with it, I listened once during a radio interview with Tucker, when in 1970 at age 57 he was singing Edgardo in Chicago with the Dutch soprano Deutekom, and he said , it's a Lyric Bel Canto role , like in act one and the ending duet with Lucia, but also role that has it's more dramatic moments, like after the sextet, when Edgardo is angry at Lucia and confronts her, throwing the ring down . I saw him sing it in 1961 with Sutherland and again in 1970 as I mentioned , others I saw and liked doing it where Kraus, Bergonzi, Pavarotti, also singing it with Joan S., then Shicoff singing it with Gruberova in Chicago in 1986, and last Beczala singing it there, more then a few years back! I personally prefer Corelli in more verismo roles, but that is just IMO. We all hear things differently, no right or wrong, it's just my choice.
@@poppables7140 True, they do deserve a lot of credit, both Kraus and Tagliavini sang this role and well, saw them both do it, not so much that FC sounded tired, but the role does not show him at his best, towards the end he was rushing a bit, and really it's is not a really good role for him, but he sang it anyhow, however after Act one in the next performance 10 days later he stopped singing, so his cover John Alexander took over and finished the opera for Corelli, it was with coloratura soprano Peters in both performances, only two where scheduled it seems, and why he agreed to sing it I don't know, he probably didn't care much for the role of Edgardo.
Sorry saw Kraus do it, but not Tagliavini singing Edgardo, I do have his excellent recording of it in 1959 with Callas, I bought it back then, it was originally when I bought it on the "Mercury" LP label back then, I quickly bought it, and a few years later saw Tagliavini in the house, yes in a concert recital at orchestra hall, Chicago, very lyric and a beautiful voice, he was a rather short man with a fine lyric voice, he sang very beautifully when I saw him in the 1960's. .
Corelli is amazing. However on a complete side note: Are there any good/decent modern opera singers? It seems not but maybe you know some...Or perhaps some that at least have potential I guess.
I like Saioa Hernández. She has a very good chest voice. The cordination in the middle is not perfect but far better than today "opera stars". I love her Gioconda!
Edgardo role was not written for a lyric tenor, but for a spinto-dramatic tenor that was Gilbert-Louis Duprez, who won famous with his High C that every tenor try to reach from then, but it does not fit well for all tenor voices. I consider that the most expressive and beautiful voice in this role was di Stefano, nor Gigli, Tagliavini, Tucker, Bergonzi, Kraus, Domingo, Pavarotti, Carreras or Beczala. For example, in the 1953 recording with Callas and Gobbi, di Stefano shows in Tombe degli avi mie the most heroic, expansive, bright, expressive and beautiful performance with his voice that sounds like an angel. Try to hear it.
A spinto dramatic tenor in those days were certainly not the same as in the 60's and 70's, it was most likely just an ordinary lyric tenor voice. Voices became bigger and heavier. Tamagno could sang Guillaume Tell, but he only Edgardo when he was young, his voice became to heavy for the role later in life. But a lyric spinto such as Filippeschi was good in the role. This is not a role for a singer with a real dramatic voice as Corelli. According to bel canto tradition Corelli was classified as a baritenor at the start of his career. Earlier voices were lighter, orchestras became bigger over time and steel strings appeared. Voices had to became bigger.
Mister Certified: You are so wrong. A tenor like Pavarotti or Schipa, ¿are able to sing Siegfried, Tristan or Otello? And a tenor like Jon Vickers, ¿could have sung Nemorino or AlmavivaI?. I have, among a lot of books on opera and singing, one on them written by J.M. Mayan (1895), "Il canto e la voce, studio completo dell´arte lirica", who distinguishes the types of sopranos, mezzos, contralto, baritones, bassos ante tenors as lyrics, spinto (mezo character tenors) and dramatic, with their roles according each type of voice. J.M. Mayan enlisted some of the graetest singers from 18ht. and 19th. centuries with their own roles, among them Giamabattista Rubini, Juiián Gayarre, Enrico Tamberlick, Gilbert-Louis Duprez, Roberto Stagno, Angelo Masini and so forh. In short, a tenor is not a tenor for any role. Greetings,
I don't think this was quite the role for Corelli. Edgardo isn't Manrico or Cavaradossi and requires more bel canto finesse than he had in him. Perhaps the pirate recorder here agreed with me, uttering an expletive after hearing the cavatina. But it's always a joy to hear Bonaldo Giaiotti who maintained his beautiful bass timbre throughout his long career. I also notice that in the later years of the Sir Rudolph Bing directorship at the Met, singers were given a lot of freedom to rush the notes and weren't always in time with the conductor and orchestra. That changed when James Levine joined the company in 1973, and the Met owes him a debt of gratitude for raising the level of musicianship on both the stage and pit. It's sad that his long and honored career ended so humiliatingly with the company. He deserved better. I miss him very much.
This was the performance in which Matteo Manuguerra made his Met debut. Sadly, the Wolf's Crag scene was not performed at the Met in those years, and the two men would have been superb in that scene. Though Corelli would seem to be an ideal Edgardo - another anguished Byronic hero - he's singing this like Turridu, with verismo slides and minimal attention to note values. He loses the orchestra at several points and in general is very unmusical - slipping and sliding in and out, making false entrances, singing ahead of the beat, behind the beat.... Perhaps he sensed that it wasn't the right fit for him and he couldn't wait to get it over with... he only did one Act of a second performance, and then withdrew, never singing it again. As to his prime, I hear a 'rattle' in the voice beginning to start, which he couldn't control. He drove that voice very hard throughout his career, with the low larynx technique that worked for about 15 years. When the voice couldn't take the pressure any more, then he was competing against memories of his exciting, virile prime. It must have been agony for him. His public was loyal, but . . . .
I witnessed Corelli’s whole career at the Old and New Mets. He sang many, many performances. Occasionally, but rarely, did one sense that he would rather be at home chilling out. Remember, like Caruso, every time he performed, he had to be Corelli. It was constant pressure for him. But generally, he delivered 110 percent. The New York public had a love affair with him, and he returned it in spades. I’m not sure there was any theater that he devoted more time than to the Met. We were blessed with his great voice, his artistry and passion, and his genuinely sweet smile as he accepted the thunderous ovations after performances. I met him a few times offstage and he was so “real,” down to earth, with no divo airs. Remember, any of his colleagues loved performing with him because he was such a supportive partner.
By the way, Benaldo Giaiotti was very beloved by the NY fans.
This is what the spinto tenor should sound like, Corelli had it all, the stage presence, the voice and the audience. Bravo Maestro!
Questo è un vero Edgardo, questo è Belcanto, questa è Opera!! Gaiotti è il miglior Raimondo di sempre, e Corelli è sempre stupendo! 💞💗💖💘😻💘🤩🤩🤩
Come Del Monaco, anche Corelli ha trasposto quest'aria di mezzo tono più in basso.
@@BaroneVitellioScarpia1 È vero in effetti 👍 Ma anche se è mezzo tono più bassa, questa performance è una leggenda! 😍😍😍
@@esterbruno8604 È molto meglio dei soprani moderni sottosviluppati che cantano quest'aria nella tonalità originale.
@@BaroneVitellioScarpia1 Preferisco di gran lunga una grande voce che canti quest'aria mezzo tono sotto che una voce di zanzara nasale e ristretta che la canta nella tonalità originale, ogni riferimento è puramente casuale. 😅
@@esterbruno8604 C'è un ottimo tenore che si chiama Fernando de Lucia, ha sempre trasposto in basso una seconda maggiore, anche se la tessiura di quell'aria non è alta.
Bonjour superbe Mr corelli cette voix unique incomparable un joyau de l Opéra qui brille a jamais au firmament des Étoiles de l Opéra merci a vous vraiment un régal
The only time I cried at an opera was hearing this lament.
His voice itself sounded in good shape here at age 50 here, even though it wasn't a really ideal role for him, and he didn't finish the next performance, so I wonder also why he quit singing only a few years later. At times here he rushes some words and phrases, but at age 50 his voice sounds youthful and fresh, yet just a few years later he quit, perhaps he was tired of his constant battle with nerves, a friend of mine who was close to my age but now deceased, told me long ago Corelli kept a wet sponge in his pocket to keep his throat moist during the performances, he had his nerves about him but had this terrific Spinto voice with dramatic color, I did see him in house but not in this role, he would have been a great Otello IMO.
Corelli had an unavoidable tendency to drive his public crazy, audiences must have been very passionate about him and his performances must have been really something to behold.
Actually Corelli was a little bit nervous at the beginning of this performance (the duet with the soprano), but he turned the sextet into a tenor aria with chorus! Not to mention this final scene, it rivals Di Stefano's 1955 recording.
@@BaroneVitellioScarpia1 Corelli was apparently a very nervous performer. In spite of being described as a bit of a Diva by some people who worked close to him in the sixties truth is he was always very stressed before showing himself to the audience, a perfectly understandable feeling as opera, when done right, is exhausting and demanding; in the end he almost always delivered!
@@juliovicsilvaaray I feel like he tried to communicate with the audience.
I find that listening to Corelli with my eyes closed focuses the aural intensity of the beauty of his voice. Wouldn't have done that if I'd been in the house 😉
@@juliovicsilvaaray if that's not theost relatable aspect to Corelli, I don't know what is
Wonderful. Metropolitan Opera House. January 11, 1971
Capolavoro! Corelli infinito!
Corelli e Del Monaco sono i migliori due tenori della seconda metà del XX secolo
@@BaroneVitellioScarpia1 Assolutamente d'accordo!
@@alessandromoccia471 Per fortuna abbiamo il Maestro Moccia, sei la speranza della lirica!
@@BaroneVitellioScarpia1 Grazie carissimo. Il tuo augurio da coraggio. Grazie per la stima.
Non avevo mai sentito questo live di Corelli, grazie Barone per averlo condiviso ! io non ho mai sopportato Edgardo cantato dai "tenorini" ... e ne ho sentiti tanti in teatro ! Anche Kraus e Pavarotti, pur nei loro periodi migliori, non mi hanno mai soddisfatto completamente ... Invidiavo mio padre che aveva sentito in teatro Gigli, Pertile e, mi pare, anche Masini ! D'altronde bisogna ricordare che il primo Edgardo è stato Duprez, il tenore eroico che affrancò il cosiddetto DO di petto... quindi l'aderenza al personaggio che qui mette in evidenza Corelli, ad onta di qualche imprecisione, è senz'altro notevole ! Oggi gli Edgardo più richiesti sono tenori che anni fa avrebbero fatto, a fatica, lo sposino di Lucia !!!
Spero che Miguel Fleta possa registrare quest'aria.
non dimentichiamo Pippo
The Corelli Association just posted a conversation with Franco and G.G.Guelfi. Corelli is very forthcoming about his famous nervousness. He said he was in a terrible state the day before, of, and after a performance, and as he got older it became too much, leading in large part to his retirement. And yes, as you can hear in old tapes, we produced major demonstrations for the greats in the ‘60’s. Walls of yelling and stomping of feet, endless curtain calls, flowers thrown at the stage. Often the company would have to bring down the fire curtain and turn up the lights to get people out of the theater.
Genio unico!!!
The last year of his prime. Still sounds great here.
I think the last year of his prime is 1973.
I think the last year of his prime was 1968. Something must happened in 1969. There are no recordings from that year and from 1970 on he sounded different. Listen to the concert in Tokio for example.
Totally agree. And I saw his performances regularly from 1965 on. There was an incredible ease and a tenderness to his performances through 1968 that was more intermittent after that. There were still some great moments after that, but they were isolated sequences, rarely complete performances.
I write as a dedicated fan, since the good nights featured some of the finest tenor singing I've ever heard. When confident in his part, he combined the most natural acting, extraordinary charisma, a sonorous middle register, a brilliant and heroic top that could still retain a bit of that tenderness even at full sail, astonishingly broad phrasing and an abundance of colors and dynamics throughout a wide range. It was on nights when he pulled all this together that he was among the completest opera performers I've seen.
When he fell off this standard, he could fall a long way: too many truncated phrases, too much choppy phrasing, monotonous dynamics, etc. The years after 1968 were a roll of the dice. Most of the voice was still magnificent, but there seemed to be a lot of hit and miss in many a performance: some of the effects might come off well, but many misfired or petered out. He seemed to lose easy connection to his low register for much of those years, and a querulous quality came into some of his singing. But the connection to the low was largely regained in 1972 and '73, and there was even one outdoor concert in '73 when the second verse of the Massenet "O souverain" came off as beautifully as in 1968 (the Rhode Island 1967 reading of this still remains his best). Then in 1974, things started fracturing again, and he retired soon after that.
For a parallel to such a comprehensive package of fine acting, stage charisma, vivid vocal "face", easy heroic top including a high C sharp from the chest, broad repertoire from Handel to Prokofiev, abundance of colors and dynamics, the combination of a sonorous middle with that resplendent and extensive top, a tender romantic quality retained even at full volume with a sweep and long breath that could rouse an audience to a frenzy, one has to go back 65 years earlier, to Ivan Yershov. But the inconsistencies on some nights could be dismaying sometimes.
In a way, he seems like the most astonishing sports car but with a few too many bells and whistles, and, because of that, is often in the shop getting this or that tuned instead of always in trim in all weathers, as is clearly the case with disciplined always collected artists like Tauber, or Franz, or Caruso, or Bjoerling, or Bergonzi, or Urlus, or Melchior, or Vickers, or Pavarotti, etc. Artists like these were more beautiful in some ways, they were often more musical, certainly far more dependable in myriad ways. But Corelli's sheer range of multiple gifts, when he could corral them together, were dazzling in such a special way that I'd never regret a day watching him, fascinated, on the stage for real.
@@andreassengeleitner6743 There is an Adriana from 1969 with Tebaldi
An inextinguishable fire.
Tu che a dio spieglasti l'ali x
Niun mi tema √
@@BaroneVitellioScarpia1 l'universo intero e un deserto per me senza Lucia
@@fredericchopin632 l'universo intero è un deserto per me senza le TUE composizioni!
Für mich Perfekt.
Wow! Thank you so much for this! I'm excited every time I hear Corelli singing, especially live!
I also want to found him singing Lamento di Federico. Do you know, sang he that or not? I've found only a mastercalss 1992.
Awesome!
*Corelli is incredible as always, but can we also give some love to Giaiotti?*
Here some love to signore Giaiotti.
I have to say for 71, which was some three years past his vocal crisis, or whatever it was, that befell in late 68/early 69, and largely deprived him of his breath control and his diminuendi, this is amazingly good. Yes, there are spots where you can tell that it's post-68, but I'd say 80% is very good. I'm surprised he got such a bad review. Of course, this is one scene. I've heard rumors that the whole thing is available, but I haven't heard all of it, just this.
ADDENDUM: Have to say I just found the first act duet, and it is less happy for Corelli. Rushed, without much subtlety or lyricism, definitely nervous. The Veranno starts to show some finesse and security, however.
As I recall there were odd circumstances surrounding his sudden decision to sing this part, and there was only one performance.
There where two performances 10 days apart but at the second performance tenor Alexander sang it after Corelli did not sing after Act one was finished. Corelli sang at the Met. until 1975, his last opera for the Met. opera Company was Boheme, but not in the City.
@@shicoff1398 Thanks.
n1
In what year was this?
Конечно , спору нет , Корелли , фантастически талантливый певец,: - но в этой опере я всё- же больше люблю Ди . Стефано . Тут тебе и драматизм и лирика , которая не поддаётся ни каким об' яснениям и , конечно , когда поют Каллас и Ди. Стефано это просто -Космос❗️Особенно в последней сцене, где он взял самую высокую ноту такой громкости, держа несколько секунд и на этом дыхании опустил на самый тихий, притом удерживая ту- же ноту, если я не ошибаюсь Фа- бемоль . После этого , зал взорвался и не отпускал его до тех пор , пока Ди. Стефано не повторил на бис( Мехико 57 г.) Как бы там ни было, Корелли , как певец,- это святое. Он действительно, Принц теноров!!!👏👏👏👏🌿🌷🌷🌷🌿❤️❤️❤️🎉🎉🎉
Corelli sounds fine to me, but he did not receive good reviews from this performance. After the first act in the second performance on January 21, 1971, he withdrew, and never sang Lucia again.
He sounds magnificent to me here.
@@BaroneVitellioScarpia1 Does he not sound very tired around 12:28-12:33 to you? And this is a semitone lower than donizetti wrote the passage. Occasionally lyric and light lyric tenors deserve some credit for their set of skills, as much as I like corelli.
@@sugarbist Not one review of this can I find in the Met. archives, what paper did this nameless critic write the review you mentioned? His voice sounded fine but not a really a great role for him, MDM was smart and never bothered with it, I listened once during a radio interview with Tucker, when in 1970 at age 57 he was singing Edgardo in Chicago with the Dutch soprano Deutekom, and he said , it's a Lyric Bel Canto role , like in act one and the ending duet with Lucia, but also role that has it's more dramatic moments, like after the sextet, when Edgardo is angry at Lucia and confronts her, throwing the ring down . I saw him sing it in 1961 with Sutherland and again in 1970 as I mentioned , others I saw and liked doing it where Kraus, Bergonzi, Pavarotti, also singing it with Joan S., then Shicoff singing it with Gruberova in Chicago in 1986, and last Beczala singing it there, more then a few years back! I personally prefer Corelli in more verismo roles, but that is just IMO. We all hear things differently, no right or wrong, it's just my choice.
@@poppables7140 True, they do deserve a lot of credit, both Kraus and Tagliavini sang this role and well, saw them both do it, not so much that FC sounded tired, but the role does not show him at his best, towards the end he was rushing a bit, and really it's is not a really good role for him, but he sang it anyhow, however after Act one in the next performance 10 days later he stopped singing, so his cover John Alexander took over and finished the opera for Corelli, it was with coloratura soprano Peters in both performances, only two where scheduled it seems, and why he agreed to sing it I don't know, he probably didn't care much for the role of Edgardo.
Sorry saw Kraus do it, but not Tagliavini singing Edgardo, I do have his excellent recording of it in 1959 with Callas, I bought it back then, it was originally when I bought it on the "Mercury" LP label back then, I quickly bought it, and a few years later saw Tagliavini in the house, yes in a concert recital at orchestra hall, Chicago, very lyric and a beautiful voice, he was a rather short man with a fine lyric voice, he sang very beautifully when I saw him in the 1960's. .
Corelli is amazing. However on a complete side note: Are there any good/decent modern opera singers? It seems not but maybe you know some...Or perhaps some that at least have potential I guess.
I like Saioa Hernández. She has a very good chest voice. The cordination in the middle is not perfect but far better than today "opera stars". I love her Gioconda!
Besides Hernandez, I also like Alessandro Moccia and Ernesto Petti.
@@diegovazquezreal1078 Thanks!
@@BaroneVitellioScarpia1 Thanks!
@@stevieg825 You're welcome. I also like Giorgia Tryfona. She's still very young but I love the voice
Lo ha cantato solo in America vero?
Credo di si. Questa è l'unica registrazione dell'Edgardo di Corelli.
Fece solo questa recita al MET. La successiva la interruppe dopo il primo atto per un'indisposizione e non canto mai più Edgardo
Edgardo role was not written for a lyric tenor, but for a spinto-dramatic tenor that was Gilbert-Louis Duprez, who won famous with his High C that every tenor try to reach from then, but it does not fit well for all tenor voices. I consider that the most expressive and beautiful voice in this role was di Stefano, nor Gigli, Tagliavini, Tucker, Bergonzi, Kraus, Domingo, Pavarotti, Carreras or Beczala. For example, in the 1953 recording with Callas and Gobbi, di Stefano shows in Tombe degli avi mie the most heroic, expansive, bright, expressive and beautiful performance with his voice that sounds like an angel. Try to hear it.
A spinto dramatic tenor in those days were certainly not the same as in the 60's and 70's, it was most likely just an ordinary lyric tenor voice. Voices became bigger and heavier. Tamagno could sang Guillaume Tell, but he only Edgardo when he was young, his voice became to heavy for the role later in life. But a lyric spinto such as Filippeschi was good in the role. This is not a role for a singer with a real dramatic voice as Corelli. According to bel canto tradition Corelli was classified as a baritenor at the start of his career. Earlier voices were lighter, orchestras became bigger over time and steel strings appeared. Voices had to became bigger.
Mister Certified: You are so wrong. A tenor like Pavarotti or Schipa, ¿are able to sing Siegfried, Tristan or Otello? And a tenor like Jon Vickers, ¿could have sung Nemorino or AlmavivaI?. I have, among a lot of books on opera and singing, one on them written by J.M. Mayan (1895), "Il canto e la voce, studio completo dell´arte lirica", who distinguishes the types of sopranos, mezzos, contralto, baritones, bassos ante tenors as lyrics, spinto (mezo character tenors) and dramatic, with their roles according each type of voice. J.M. Mayan enlisted some of the graetest singers from 18ht. and 19th. centuries with their own roles, among them Giamabattista Rubini, Juiián Gayarre, Enrico Tamberlick, Gilbert-Louis Duprez, Roberto Stagno, Angelo Masini and so forh. In short, a tenor is not a tenor for any role. Greetings,
Corelli got lost towards the end there.
I don't think this was quite the role for Corelli. Edgardo isn't Manrico or Cavaradossi and requires more bel canto finesse than he had in him. Perhaps the pirate recorder here agreed with me, uttering an expletive after hearing the cavatina. But it's always a joy to hear Bonaldo Giaiotti who maintained his beautiful bass timbre throughout his long career. I also notice that in the later years of the Sir Rudolph Bing directorship at the Met, singers were given a lot of freedom to rush the notes and weren't always in time with the conductor and orchestra. That changed when James Levine joined the company in 1973, and the Met owes him a debt of gratitude for raising the level of musicianship on both the stage and pit. It's sad that his long and honored career ended so humiliatingly with the company. He deserved better. I miss him very much.
This was the performance in which Matteo Manuguerra made his Met debut. Sadly, the
Wolf's Crag scene was not performed at the Met in those years, and the two men would have been superb in that scene. Though Corelli would seem to be an ideal Edgardo - another anguished Byronic hero - he's singing this like Turridu, with verismo slides and minimal attention to note values. He loses the orchestra at several points and in general is very unmusical - slipping and sliding in and out, making false entrances, singing ahead of the beat, behind the beat.... Perhaps he sensed that it wasn't the right fit for him and he couldn't wait to get it over with... he only did one Act of a second performance, and then withdrew, never singing it again. As to his prime, I hear a 'rattle' in the voice beginning to start, which he couldn't control. He drove that voice very hard throughout his career, with the low larynx technique that worked for about 15 years. When the voice couldn't take the pressure any more, then he was competing against memories of his exciting, virile prime. It must have been agony for him. His public was loyal, but . . . .
I adore Corelli.But quite frankly in this aria I prefer the interpretation of Alfredo Kraus.
Half tone down???
Why do you think so. This aria does not any have high C to justify any half tone, less for Corelli.
No way!