Both singers where great!!!!. He resembles the perfect heroic tenor; Corelli was the best of the best and Cossotto a "master class" on scene, bravisima. Thanks for sharing this divine materila with all us.BRAVIIII
people can pretend asll they want. These days of vocal glory are really gone. yes, Zajick is a great Amneris, but Cossotto also had te full middle sound. On this night her highs were GREAT! Dolora has INCREDIBLE low and high (like a trumpet), but Cossotto has a complete voice. Corelli... Well, there is no tenor even close today! LORD! What a voice!
Nunca jamás volveremos a escuchar cantar tan espectacularmente éste dúo! Dos voces maravillosas , dos prodigios del canto lírico ! Cossotto y Corelli quedan en la gran historia de la ópera ! Bravo ! Geniales !
Bonjour merci a vous pour ce superbe passage qji nous permet d entendre ces superbes voix du passe qui manquent beaucouo de nos jours et un mr corelli un regal a voir comme a entendremerci vraiment
Those campy gestures looks pretty normal when you are in the back row or second balcony :) They are playing for a live audience, not the cameras. Easy to forget in today's film-dominate culture.
It suits the flow of the music. The music does not flow in real time it’s slower so it would be heckling absurd to do some broadway acting wouldn’t it?
What a great looking Radames with the voice and passion that the role requires. Fiorenza Cossotto a great Amneris portraying the love and desperation in a last ditch attempt to win him yet all her royal powers cannot win his affections as he prepares to die for Aida
I don't know if anyone has answered your question, but this was a tribute to Corelli, not a complete opera. The first part was 'La boheme' with Mirella Freni; plus Act IV of 'Aida' with Cossotto and Ligabue.
Remember - these are "singers" who are acting - and they are filling up a house of usually 3,000+ people. They play to the balconies. It is not fair to judge them by a video being played on your computer. Just sit and enjoy these gifts from the gods!
Fiorenza Cossotto WAS Amneris. I do not think another comes even close to the power and conviction of her portrayal of Pharaoh’s daughter, and the remorse that she feels!
corelli is a fucking sculpture... absolutely amazing... manly sexy tenor with amazing high notes... hell yes! ... (jose cura,give it up, you'll never be as artist and macho as corelli))
@manliofini Where did you get such a great copy? Mine has good audio, but the video is just fair. This Corelli Gala from Hamburg (1971) with Freni, Cossotto, and Ligabue is fabulous from beginning to end. I wish VAI would remaster it and make it available. These gems should be preserved.... FOREVER!
I am watching this again, and again, I find Cossotto's hand gestures a bit uncomfortable to watch... these two make an excellent pair, but those hand gestures ...oh well.
I love her campy operatic gestures; it's like watching an actress from the silent-film era. What makes it enjoyable is the surpassing quality of her magnificent instrument. Amneris fits her like a glove. She wrings every drop of melodrama from it. To my mind,her only contemporary rival in Verdi was Verrrett and maybe Bumbry. Bumbry's presence as Amneris was even more regal, but Bumbry doesn't have the voice of a Cossotto.
In before people enjoyed the opera in the opera house but not video screen at home. So to make the audience who sit afar, the singers or actors had to make thick facial cosmetics and big body gesture, so as to make them visible and understandable for every audience.
And Grace Bumbry had a wider repertoire in addition to being a professional colleague. Cossotto engaged in childish stage antics when colleagues were singing. A b**ch.
I first heard Cossotto on records as Cherubino. Still the best I've ever heard. I heard her live doing this role years later. One of the handfull of overwhelming performances in fifty years of listening to opera. What more can you say about Corelli? Voted Number #1 (Caruso third). It's just not fair - looks and voice. BTW Corelli learned music probably faster that Domingo. No dummy he.
Corelli very Great Tenor but he was no Caruso, Domingo well to be rude, Caruso could fart better than he could sing! I say that Corelli at his best was the best in the Thirty years after the War but he was not solid in his younger days and he certainly should have left singing to many Dramatic roles, he had beauty of tone and certainly was a Woman opera goers dream.I am now 104 and he still thrills me in Romeo and Fanciulla both of which I saw him in. Apart from Caruso Ruffo and Martinelli in the First years of the Century and up to 1940 I certainly would put Corelli close to them for different reasons, Caruso and Ruffo were Heads and Shoulders above the singers of their time and probably for all time, Martinelli was different he had a massive following in the US and in England, I did see him Live on stage in 1937 in London and it is my thoughts of that time that I reflect, he was 57 Years of age, I concur with my friend and Colleague John Steane on that, we talked many times about it. In the Theatre his voice was very Clear and Clarion notes that easily held to the Back of the auditorium, I talked to Lauri Volpi about him in the Sixties and about Corelli , he was a great mentor to Corelli and their voices certainly were similar young, Fast Vibrato, Corelli had to work very hard early to stunt its expansion in to the Higher register he did that. When I talked of Martinelli with Lauri Volpi he declared straight away he was nearly 15 Years older than me, he lied about his age, but he said for all his faults he was a great Tenor and was also a very great personal friend, he held no grudges and he always was welcome to my home and I to his. I have a reason to mention all these great Singers Love or Hate, technicalities aside they all earned and made Fantastic careers, Italy should be proud of them, they to me were great singers and undoubtedly 90% of the Singers who had careers were also Good and great singers. I was lucky to hear many voices that were incredibly beautiful, Schipa, Borgioli, Pavarotti Bjoerling and Gigli, many Great Heroic Voices Roswaenge , Melchior Lorenz Sclusnuss Janssen, Schorr Flagstad Nillsson Pertile Filipeschi and Dozens of others . My memory is as clear as Daylight, I can still see Koloman von Pataky in Die Zauberflote or Melchior as Tristan and Lorenz in Siegfried , Flagstad in Tristan and Leider also, later Grob Prandl and Nillsson later the very lovely voiced and with dramatic Intense singing of Amy Shuard, or Lawrence Tibbett with Martinelli in Otello making great Drama with the Music and perfection in their roles. same Eva Turner and Maria Muller ,Corelli I first heard in the early fifties in Italy this man had Film Star looks and was very statuesque , he was not a good actor but was adequate, it was his Voice that made the hairs on the back of the neck stand up. I liked him in Tosca and Romeo, he was perfection in those roles, I witnessed his Raoul at the Scala, it is such a difficult role, he succeeded magnificently! Great Tenor
Corelli was an eximius tenor,first of all his class until the arrive of Pavarotti.This duet confirm his qualitat,but the companion with Cossotto weight much.Respect the Fiorenza role as Amneris,I think than she it's the most.Nobody could reach his voice's register in the unmortal judge scene,act foutth.
No that is not correct, I saw him many times, I knew people who had witnessed Caruso and many other Great Tenors, including my father who was a Leading Tenor in the Chorus at Covent garden from 1909 till 1940, his voice was very lyrical and it is in those roles he is at his best Romeo especially, Caruso had a Voice as Large as any of the Great Bassos and Baritones of his time, that included Mardones and Journet, Ruffo and Battastini Stracciari etc, Caruso was a Miracle, how he recorded was a Miracle in itself, he did press settings in London in 1910 and 1911 which were never released, they could not get the Four men that Held him to coordinate with his movements, many singers sang directly in to the acoustic horn Caruso if he was producing High or Heavy notes would stand nearly 10 feet back, he had the Voice of the Great Heldentenors as well as the Best Lyrical Tenors and could sing anything, size of Voice is a little bit difficult in the Acoustic era, voices like Caruso were difficult and it is to his great mastery that nearly all his recordings are done on one take. Corelli was no Caruso neither would he think he would be, the Tenors like Lazaro and Later Gigli to some extent tried to imitate or copy certain Caruso effects with their Voice to much disdain sometimes , Martinelli later took many of the Caruso roles after his Death ,Notably Eleazar Samson Jean de Leyden and Vasco Da Gama all of which were for the Heavier more Dramatic style, Martinelli had to Change his style to accommodate this, he had a Large Voice with a Range to High D, but he used them notes in Lyrical roles, they are written in the Caruso roles as well, he changed his style to master this, it was a successful transition, but he used the Middle of his range to combat the difference in Technique , I heard him live in 1937 he was a Great tenor and Actor and a intelligent musician who knew what Dramatic affect meant and the use of this made him great in Roles like Radames and Otello, yet I heard his Tosca which was spellbinding in the way he approached and sung the role of Cavaradossi with his Trumpet High notes and style with Legato and a sense of Rhythm in the music itself it was an intense medium of singing that I never saw repeated anywhere until Ramon Vinay in Tristan. Corelli at his best was a truly great Tenor and I now see that you wrote your piece 9 Years ago, I hope you have listened and heard all the greats on recordings when you wrote your piece I was 95, I am now 104 years old. Tempus Fugit. Nos da oes gwelwch yn Dda!
I love this part of the opera and this interpretation is remarkable. Cossotto's voice is perfect for this role - highly dramatic, full of character, no wobble at all. A stunning Amneris. Even Corelli with his powerful and manly voice pales a bit next to her.
mannail888 Hello, Maybe you will like Grace Bumbry instead. She is a stylish Egyptian princess, has a very beautiful voice IMO and gives a more vulnerable interpretation in the 4th act. There is a 1973 performance from the Royal Opera House on youtube.
musically speaking you are not ignorant nor vulgar... by the way I think Corelli is so sexy. (thought I'd fix fabriou's comment for you ;) that youtuber doesn't know a physically appropriate tenor when they see it :)
OK, sorry, just for a moment it looked like the same costume from his later filmed performance, where they used an older soundtrack. I can now see how he was slightly apprehensive before starting (as a perfectionist he used to be nervous), so it must be a live performance.
I don't know, Cossotto's voice is beyond amazing but her hand gestures make me a bit uncomfortable... As for Correlli... Yeah, Corelli is Corelli. Need I say more?
Soojee Pyo :: Her hand & arm gestures are even more pronounced in another version of this scene. It looks as if she's trying to take flight from the stage. A fan of her's said the reason she does this is to give her chest & lungs as much room & relaxation as possible w / some of the restricting costumes, it does make sense & maybe was a good way for her powerful voice not to explode the costume 😂 ! Whatever the reason, she sounds fantastic. Imagine the scene that follows when she has to confront the Priests ! The voices of these singers are sometimes beyond words of description.
Finita la lirica con loro senza offendere nessuno.Due Giganti.La Cossotto stellare.E dicono che i cantanti di una volta erano goffi e brutti...azz....ce ne fossero.
Гала-концерт в Гамбурге в 1971 году. Вместе с Корелли выступали Френи и Коссото, кто еще был из певиц, не помню. Показывали отрывки из опер, не полностью. Если вы обратили внимание, Корелли здесь без грима, только в сценическом костюме.
@@user-mf3td9iw6fвдогонку мое сообщение к предыдущему. Вы, наверное, видели ролик, где Франко Корелли, одетый как-то по-домашнему в красный пуловер, исполнил две неаполитанские песни под фортепьяно. Это было там-же, в Гамбурге в 1971 году. После гала-концерта, где он был главным героем, когда все исполнители разошлись и погасили огни на сцене и в зале, публика никак не хотела уходить и оставалась в зале и на балконах. По просьбе Франко Корелли выкатили рояль на сцену и концертмейстер (фамилию не помню) аккомпанировал ему очень красиво. После 2-часового концерта великий Корелли, конечно, устал, но его голос звучал хорошо и свежо. Меня потрясло уважение Франко Корелли к своим поклонникам и именно после этого я сама стала страстной поклонницей этого великого артиста. Хотя это не очень интересно, просто к слову пришлось.
Cossotto was a great Amneris, but sometimes I think she makes her a bit too shrewish, and it makes it hard to sympathize with her plight. The hand gestures are very uncomfortable to watch, but in a large theater, they might not come across as so overdone. One Amneris I have learned to love is Stefania Toczyska, who makes the character softer, more feminine, sexier, and more appealing; one can actually see how easily anyone could fall for her, and Radames would have were it not for Aida. Corelli is still the ultimate Radames, tall, handsome, great legs, with a lustrous, heroic voice fully capable of handling the heavy music without any sense of strain. Tenors such as Carreras or Pavarotti had no business singing this role, which was far too heavy for their lyric voices.
Simionato managed to portray Amneris with the most subtle but powerful gestures too. And although Simionato wasn't beautiful, there was a lure in her tones that made me believe this was a highly desirable woman. Cossotto thrived on melodrama lol. Her '85 performance was even more manic than this haha.
But Ameneris is a shrew! The hand gestures: yes in a theatre the hand gestures are most accecptable, she is standing there eother alone or with in the case Corelli; it's better than stand still like a mummy. Also, it helps if you understand what she is saying!!
@Vi Ma I agree with you. If Amneris is the foil to Aida, then overbearing and manic is the way to go. She's the entitled daughter of royalty, where's the room for subtlety in that? Besides, he didn't fall for Amneris, he fell for Aida, that's the point. That's the plot. That's it. LOL!
Toczyska's lower register lacks resonance in this role when compared to Cossotto. Simionata's technique and breath control does not compare to Cossotto which is evident in the approach to and sustaining of the high notes. It's Cossotto for the win here.
Corelli is thrilling as always, but sounds somewhat past his prime: that deep ring is lacking; there's a (beautiful) rustiness in his voice. Still, totally out of reach for today's standards.
Cossotto the smurf. She always tried to sing louder than anyone else. Corelli kept her in check. FC will never be forgiven for kicking Callas when she was down...never.
I certainly haven't seen any of those singers live but from what I've seen on videos, Cossotto does nothing for me. Certainly not better than Simionato or Bumbry. But that really comes down to personal taste.
If you like FRANCO CORELLI and FIORENZA COSOTTO check THE 30 TENORS in my playlist SUPER TENOR ARIAS ( including CLAUDIO SOTELO performing ARIA DEL CIRUJANO as a world première for YOU TUBE ) and tell me which one you prefer.
Hard as it might be, for a Corelli diehard fan, that is, to say, Corelli didn't age very well, considering when this video was made, he was only in his early fifties; haggard, gaunt and emaciated, you name it. Heart-breaking.
Great voices for both singers, Nevertheless I still prefer Dolora Zajick's Amneris and Placido Domingo's Radames. Zajick performing Amneris(I mean both, acting & singing) has not been unrivalled so far, has she?
She is MUCH BETTER singer...Here he sings in 4,20 "ma PARA e il mio" instead of Ma pura. And in 4,47... He CAN NOT sing the deep notes...sings higher..People say HE has one of the BIGGEST voice of tenors...HERE SHE is BIGGER VOICE ! In 6,05 he should sing vive not Vava...I in B flat can most tenors sing...I think HE is overrated as a tenor. IF he WAS one of the biggest tenor voice, we all can hear, "TENORS CAN NOT COMPETE WITH A GREAT MEZZO LIKE COSSOTTO." VIVA COSSOTTO !
