It is interesting how Corelli‘s career trajectory manifested itself. As his instrument matured he tried out some, for him, lighter roles more suited to a standard lyric tenor. These assumptions were impressive at times but nevertheless did not, IMO, represent his unique spinto timbre at its finest. I am thinking here of the role of Edgardo which I heard sometime ago but generally well sung as it is I would prefer a timbre of a Carreras, Pavarotti, or Bergonzi. This is a personal opinion, however, I wonder whether, even in the Corelli of the 1950s, roles like Edgardo might have suited other tenors better. Why Corelli made some changes like this in his later repertoire I never inquired about but I wish he had followed through in taking on OTELLO. Various reasons for that & his well known nervousness may have been one of them.
Impareggiabile... Ma perché non viene mai ricordato,riascoltato o riproposto in nessuna trasmissione televisiva?nessuno lo conosce..... è una vergogna nazionale😢
It doesn't matter who sings or plays Tosca. I personally dislike the character. Accuse your lover of lusting after another woman but risk your own life to save him. At least be consistent.
C'è uno spartiacque per la Lucia,prima e dopo Corelli : il grande Franco la cantò solo una volta e da allora Edgardo è alla Corelli.Tutto il mondo ci invidia Franco Corelli, la più grande voce di sempre.
even tho I'm not a opera singer myself, i always listen to Corelli, because for some reason, his voice gives me hope and motivation. Corelli started singing tenor at a pretty late age, and you can see him improving each year... i can hear the difference in every recording, every time he changes some part of the song, and makes it much better... i love Pavarotti, but even he knew Corelli was and still is the greatest opera singer in history.
You can either handle the sound of his voice, or you can't. The closest notes to shouts, I have ever heard, in the opera house, were from Corelli in an April '63 Met performance of Adrianna - hardly surprising, in light of the fact that he purposely eschews singing into his mask, thus producing excessively open sounds, on top. Last, but not least, is the sheer corniness & amateurishness of his mannerisms, including glottal catches (slight coughs introducing a note), which I can only describe as tasteless. Why he got away with such nonsense is probably summed up by a reminder to the effect, that opera lovers love loud.
No diminuendo? No trills? These arias are not meant to be sung like Neapolitan songs. Nonetheless, what a magnificent rendition. No one sang like Corelli… no one ever will.
