Fasi di studio del Guglielmo Tell da mettere in scena negli anni sessanta al Teatro Alla Scala:non più rappresentato in quanto sostituito con gli "Ugonotti" 1-Ah Matilde..... 2-O muto asil del pianto 3-Corriam corriam....
chi dice che forse x franco era troppa alta ....nn ha capito niente e nn l'ha mai ascoltato mai veramente ...Corelli poteva cantare tutto quello che voleva...
Devilishly difficult! Inhumane! And most probably Corelli would not have approved of his studies being exposed to the public. Yes, it does sound like a very high tessitura, but Corelli was probably one of the very few who would have been able to handle it after he had perfected his studies of the work.
Exactly! It is amazing 1947Rollo got a hold of these recordings. These were Maestro Corelli's personal recordings of his first 'rehearsal' at the role. He was not happy with the way it sounded, especially since he had not given much time to it. I knew of them, and didn't want to hear them out of respect to his wish. This totally caught me by surprise when I clicked on it. Though I appreciate the recording immensely, I can see why Corelli did not want them exposed. Nevertheless, I for one am extremely appreciative to 1947Rollo for posting it. Even so, the ease with which he hits the high notes is obvious, and those who do not care to notice it, well, a reflection on them. A prime example is about the 7:00" mark, they are repeating the couple of notes.
1947Rollo I am extremely impressed you have access to these recordings! How you did it, well, is beyond me! :o) Thank you (somewhat) for posting it! Somewhat because people like me do appreciate it very, very much, and because I don't like reading people being so quick to negatively judge his amazing effort. His Gli Ugonotti was questioned initially for it was "too high" for his voice, yet, the result speaks for itself. I wish we had record of the night he took the high Db option. Anyhow, thank you and I will subscribe to your channel just in case you are able to access more of his stuff!
Steinwaygrande Thank you! When I have done it, I first have the video or sound clip saved in my computer. Then, I open my account in RU-vid and upload it by choosing the particular one I want to upload. Hope this makes sense. :o)
Very wise decision. Yes please stop listen to other tenors ,yourself included . If all people claiming on utube they are singers would be real singers you would be all unemployed ,there aren't enough opera houses in the world to accommodate all of you not even in the chorus .
@ZENOBIAmusic's comment written three months ago and showing up right under this comment of mine caught my eye when I sorted the comments in chronological order, newest first. It is almost word for word a comment she wrote in reply to me. I find amusing she calls other people disingenuous when her behaviour is rather underhand. If she saw it fit to write her comment again as standalone comment I don't see why I shouldn't do the same with my reply. A few requests to Zenobia's: 1. Provide proof Nourrit used to sing his high notes in falsetto instead of voix mixte, backed up by citations from the period. Provide proof their understanding of falsetto is the same as yours, whatever yours might be. Giving you fair warning I have read Quicherat's book 2. Proof with citations that orchestra pitch was much lower in Paris at the time Guillaume Tell premiered. Again giving you fair warning I know orchestra pitches were inconsistent all over Europe at the time. Also giving you fair warning that 432 Hz (one example of many) is by no means much lower than orchestra pitch today, it's less than half a semitone. 3. Not interested in modern Fach labels for tenors (like spinto) who sing Guillaume tell, they are wrong 4. I agree Guillaume Tell was not meant for Corelli's voice, or rather, Corelli's poor technique & style wasn't meant for Guillaume Tell. If so, why does your comment read like an apology? It isn't the first time you do this. We actually agree about this point, so why does it rankle you Corelli was totally wrong about his ability to sing Guillaume Tell, and we have audio proof of how wrong he was? He was wrong, he put the brakes on it when he realized he was wrong, or other people took him aside and told him he was wrong, or other people with more common sense than he put the brakes on the project irrespective of what he thought. Why does this matter so much to you to the extend you are prepared to wad through all these comments and write replies? This must be the third or fourth reply to me alone (though I wouldn't swear they were all on this video), I'm not going to waste my time scanning other comments, there are almost 200, to see whether you replied to other people as well. So, WHY? Why these never ending apologies? Why this "Yes he wasn't a good fit for Arnold BUT" But what? her wasn't a good fit, period. In addition to what I wrote above, I let Zenobia know following: 5. All tenors in the 1820s were expected to have agility, period. There were no coloratura tenors, as there were no coloratura sopranos. Zenobia's problem stems from the fact that she thinks in modern Fach labels. Having a low pitched voice was no excuse for lacking agility in the time of Rossini. 6. Arnold was one of Tamagno's bread-and-butter roles. Tamagno was the first Verdi Otello. Perhaps Tamagno's voice sounds lyric in Zenobia's ear? There's no accounting for perceptions but this would be the first time I hear Tamagno described as lyric tenor. And no, he didn't sing in the 1920-1930 when, according to Zenobia, steel strings were introduced in orchestras, requiring heavier voices, also according to Zenobia. Lauri Volpi however used to sing in the 1930s and he was a lyric tenor according to Zenobia, so I wonder how he managed? According to Zenobia he should have failed, he being a lyric tenor singing against larger orchestras with steels and raised pitch. All those critics who wrote he was great must have been mistaken. Filippeschi sang the role in the 1950s and he too was a lyric according to Zenobia, and had to fight those pesky steel strings as well. He should have failed too but, there are those critics again of a different opinion than Zenobia. 7. If Zenobia doesn't like someone's opinion, it doesn't follow that that opinion is a disingenuous assessment, nor does it follow that that person is a purist. It is very possible that that person actually knows more than Zenobia. The funny thing is that Zenobia herself agrees that Corelli was no good whatever in Guillaume Tell, but apparently only Zenobia herself is allowed to say this, everyone else who is of the same opinion but brings in far more arguments than Zenobia could ever think of, is called a purist 😁
PERO... ESTE MATERIAL ES RARÍSIMO!!! MIL GRACIAS POR COMPARTIRLO!!! Tenía idea de que Corelli había sido tentado para cantar Arnold, pero desconocía que existiera algo registrado... Y encima de su proceso de estudio!!!
The greatest. Nothing else to say. Grazie Franco for each aria and note you sang! Beautiful memories, to treasure forever...especially in these hard times for the world of opera. Grazie Maestro Corelli!
Thanks for sharing! What a thrill it would have been had Corelli actually made a full studio recording of this opera. Fortunately this brief clip gives us a pretty good impression of his interpretation of the arias.
Having read Rene Seghers book, I definitely do not think Corelli intended we enthusiasts to hear these studies. As Seghers points out this is Franco learning the part.It was a different Corelli on stage. Henry Webb
Don't hear anything bad in this recording. Same amazing Franco, just in practice. And it's great to hear a legend practice and learn. Showing that we're all human and all need hard work to develop any skill.
THis is a perl of a recording, if only because it showcases the only recorded high D flat by the grand master Corelli. The second high D attempt on "Ogni fatal" at 8:02 is pretty decent - it is always more difficult to pay attention for vocal placement when learning the phrasing. No doubt it could have been a powerful note on stage!
Hey everybody! Remember that Corelli practiced with a keyboard that was tuned upwards a half step. So he is singing o muto asil a half step higher than he would have been onstage. Just keep that in mind :)
Piano tuned one half step high? That`s a myth. The whole recording is one half step high from going fast. Singing with a piano tuned half step high won`t help, it will miss plcaed the voice even if you can sing it
Umm he's singing high Cs in Corriam ... so he's in standard key.... However, him being able to sing such high repertoire is indeed amazing, seeing as he was a lirico-spinto and that Tell is usually more Leggero repertoire as far as I know :)
Total b-- .Singers don't practice higher in rehearsals ,they practice EXACTLY as they are going to sing it in performance .On a bad evening they might decide to transpose a semitone lower in performance ,but this is the exception .Whatever exercises they might be doing in their spare time trying to raise their tessitura have nothing to do with how they study a role . And what we hear here is STUDYING ,not rehearsals .If a singer were this bad in rehearsals the management would have shown him the door . In this case it didn't go past studying ,there was no performance to speak of ,and we should be grateful for small mercies.
Veramente un prezioso documento sia per il valore storico, sia per la dimostrazione di canto. I neofiti possono comprendere bene il canto di Corelli, se prima ascoltano la "lezione di canto" di Giacomo Lauri Volpi, famosa incisione di pochi minuti molto sintetica e comunque esauriente per quanto riguarda la "voce di testa" (registro acuto). I ciarlatani e i parolai che pontificano a sproposito di canto senza alcuna conoscenza, invece, potranno dalla stessa lezione intravedere uno spiraglio di luce nella loro oscurità, in particolare prima di concionare su Franco Corelli, straordinario cantante ed artista.
.... Bravissimo Sig. Barreca I miei più sentiti complimenti per avere espresso esattamente ciò che io penso e che purtroppo non sono in grado di formulare parole giuste sulla grandezza e sul talento del mio amato Corelli. A volte gente meschina ed irriverente fa solo rabbia, ha solo il piacere di denigrare chi è salito così in alto....e dire il nostro Corelli è un vanto nel mondo... ma prima d'ogni cosa è un Italiano di pura razza di cui si sono perse le tracce e gli stampi. Saluti Elsa Asta.
@Barreca ...and after they listen to the "lezione di canto" they should listen to FC singing "O paradiso" and "Dillo ancor" (They can't listen to FC's "Parmi veder" because he didn't dare to record it) And after listening to him singing those two arias they should ask themselves what they hear of the "lezione di canto" in FC's singing? Answer: Nothing.
@@Nangis123 Amico mio, sei tu che di quella lezione di canto non hai capito niente. Forse, meglio ancora, non solo non hai capito, ma non hai nemmeno sentito niente. Però a boria non ti batte nessuno, boria e presunzione. E che cosa ha mai detto Giacomo Lauri Volpi di Franco Corelli? Lo ha mai letto da qualche parte? Un giornale d'epoca lo riportò in un titolo a caratteri di scatola, vada a controllare e poi ne riparleremo.
@@Nangis123 Mi è venuto un sospetto: ma lei non sarà per caso uno di quegli americani che invece di parlare miagola? Sicuramente il fatto che parli inglese non depone a suo favore comunque, in fatto di conoscenza della voce, ma se poi è anche americano e, mi sembra di capire, nemmeno giovane.....bhé allora tutto si fa più chiaro e, in questo caso, parlare con lei di canto è assolutamente inutile. Facciamo così: quando avrà perlomeno imparato a scandire in modo chiaro e netto, vale a dire all'italiana, le vocali "a; e; i; o; u;", potremo iniziare ad esaminare cosa sia il suono di una voce.
@@riccardobarreca8066 I'm not going to continue to reply in two threads ,too much time consuming .I will reply only in the other one . LOL no, I'm not American and I will know what you mean when you talk of Italian vocals .Tsk tsk that jibe at my writing in English was uncalled for ,if you continue with this sort of thing I will stop replying .There's nothing wrong with writing in English ,it's the Lingua Franca of the 21st century ,and be grateful it's not Chinese or Russian ;)
i'D LIKE TO KNOW WHEN THIS WAS RECORDED. POLIUTO IS EVERY BIT AS HIGH AS W. TELL, AND FRANCO SANG THIS MAGNIFICENTLY - AS ANYONE CAN HEAR IN THE 1960 LIVE SCALA PERFORMANCE W. CALLAS AND BASTIANINI - AVAILABLE ON CD. . RECORDING
This is a study of Maestro Corelli. At the very beginning of his career in the biggest theatres was preparing both Poliuto and Tell with the help of Lauri Volpi. This one suggested him to avoid the second to work exclusively on Poliuto. Maestro Corelli followed his Maestro's suggestion :) But he would have been great in this part as well. Franco Corelli is and remain the last person to have sang this operas as they are supposed to be sung. Maestro Corelli...God knows how we miss him...
I dont recall poliuto being high at all? I have looked at the score and cannot find anything beyond an A natural for the tenor. Is there an aria or an Interpolated note that makes it high for the Tenor?
Poliuto isn't high. And Arnoldo isn't about the odd high note, it's about the tessitura. Corelli couldn't have sustained this. We are talking about more than half a dozen high C's, and tens of A's and B's *in the first half of Act 1 alone* Guess how many there are in four acts? And Corelli was NOT preparing this at the very beginning of his career, he already had 8-10 years experience.
I am following this fascinating study tape of Corelli's Arnold with a pitch pipe and the Ricordi piano vocal score and either the tape has been transcribed incorrectly or Corelli sang with a piano that was tuned nearly a half tone sharp because all the high C's in the score are heard as high C sharps, or nearly D flats (yes, there's a difference). Too bad he didn't get to give it a try. It could have been as thrilling as his Manrico or Raoul.
I have listened to the tape and read this entire discussion, except for the posts in Italian. I do not have the language. I certainly have a great deal to learn about opera, opera performers, and terminology associated with this art. Thank you for these posts. I'll continue my education.
I think FC decided it wasn't worth risking serious damage to his voice. But he would probably have mastered the role eventually. Perhaps Loretta put her foot down. Henry Webb
He would have mastered the role eventually? It took Gigli ten years to extend his reliable range by two semitones provided he didn't have to sing his top note more than once in a performance and only Sundays . How long do you believe it would have taken Corelli to extend his reliable range by two semitones AND sing a half dozen of those newly gained high notes in performance plus more than a dozen high C's? Not to mention this is Rossini .Agility ,anyone? Would have he mastered the agility too eventually?
It would be really dangerous game for Corelli to sing Arnoldo on the stage!! This extremely high tessitura could kill forever his tipically baritonal by nature tenor! Corelli's brilliant powerful voice sometimes sounds too forced even in verist tenor parts...
@Paul Mentesanti. You are very wise with Your comment. It puts to rest suggestion that Corelli could not handle this.Franco the greatest tenor ever had the most secure upper register and most secure diminuendi of any tenor ever His high c's were and are legendary .He had the most gorgeous powerful voice sang from the heart with feeling and passion of any tenor ever.
John Oregan He is clearly having trouble with the tessitura here. And this comes in much later in the opera. Franco could probably have sung this, but not for very long.
Of course it's too high for him. I mean, isn't it obvious? No matter how great he was, he wasn't a tenore leggero. And he certainly didn't have the most secure upper register of any tenor ever, what a load of horse manure.
What have Corelli's diminuendi and his feelings and singing from the heart to do with this? You don't sing with your feelings and your heart, you sing with your vocal tract and your technique. Of course Corelli couldn't have handled the role, this is pure wishful thinking. Arnoldo has to sing more than half a dozen high C's, and inumerable A's and B's *in the first half of Act 1 alone* , and after that it gets worse, this is a four acts opera with the real tour de force coming in act 4. Even with massive cuts there's still plenty of C-D's and tens of A's and B's left. How was Corelli supposed to sustain this? We are talking about the guy who would skip that one lone high C in Meco all'altar because it came in Act 1, and who couldn't sing Duke in Rigoletto... but all of a sudden should be able to handle a never ending stream of notes above the passaggio, and Rossini coloratura? Lets get real. This is grand opera, not verismo where you can get away with your feelings and your passion and a few sobs from the heart. And it's not for tenore leggero either.
@@Saavedra99 This role was obviously too high for Corelli. The high C in Meco all’altar Di Venere was written to be sung in falsetto. Corelli had a heavier voice then singers such as Lauri Volpi, Filippeschi or Bonisolli, who have sung this role, especially on his lower register. His voice was closer to being dramatic then heroic. Despite this he still sang high C’s until he retired. He did have a very secure high register. Expression was obviously not relevant to the discussion of repertoire. But emotion is the prime purpose of music. Music is art. The whole purpose of art is to create emotion. The main job of a singer is to relay the message and emotion of the music. If you are only listening to music for technical high notes, then you are missing the point. Of course that being said people are different, some people are more interested in music as a sport competition, which is fine. It is obvious why contemporary music could easily outstrip opera, it is more personal and more about raw emotions which people could relate to.
@@ZENOBlAmusic Here we meet again. For some reason I missed your reply here as I missed the other one I replied to earlier. My point about the high C in "Meco" wasn't about how it should be sung. By the way, are you in touch with Bellini or Donzelli in afterlife? There's no proof whatever that the high C was meant to be sung in falsetto. It was meant to be sung as Donzelli could sing it, and there is no proof how Donzelli used to sing it. Beware of black-and-white thinking, between chest all the way up until your face turns beet red, and falsetto, there are a myriad of options, and singers of old were able to take a good deal of their pitches in various degrees of mixed voice. I am not aware of any singing manual of the 18th and 19th century that extols the virtues of pure falsetto in male voices. If you are, please post quotes with citations and I will post mine. My point about the C in "Meco" was that it comes in the first act and Corelli wouldn't sing it because it came in the first act. The next point was that there are at least half a dozen high C in the first act of Tell alone. I find it very poor taste, not to say downright impertinent of you to claim I listen to music just for high notes. You don't know me. My argument was about high notes in Tell because it is a role that requires lots and lots of high notes, these notes are an important part of the role. It is disingenuous of you to agree that Tell was obviously too high for Corelli, but to criticize me for pointing out the many high notes belonging to the role. As to your platitudes about emotion in music, excuse me for being blunt but I can do without them. You are not to decide what makes people experience emotion when attending to live opera or listening to a recording at home. If you get emotional about singers who can't do justice to the music, that's your business, it doesn't have to be anyone else's business as well. Each its own. If I am allowed to ask, what is the purpose of your reply? What are you doing here? You agree the role was obviously to high for Corelli yet your reply reads very much like an apology. Lastly, I am amazed you read threads that are so old. The other thread was 4 years old, this one is 8 years old. Shouldn't you listen to music? Does reading old stuff on RU-vid give you emotions?
It's a good thing Corelli did not sing this opera. It's too high for him. He has to push the whole time. It's more like a superhuman effort from him. This role was good for Lauri Volpi and Mario Fillippeschi.
He was actually learning the piece it certainly helped as a vocalize for his top Cs and d flats which he sang in Trovatore.. It is obvious his voice to to heavy for this role, it must have been great fun though.
To my ears he sounds more often than not like he's singing with cotton balls in his mouth, or like he is swallowing his tongue, pretty unclear diction. I don't believe it's speech impediment, he didn't have it all the time in singing, only most of the time. Must have been technique-related. This defect combined with the rough-raspy voice texture always makes me wonder why the voice is described by fans as being beautiful, it goes totally against the rules of what a centuries old tradition considers to be a beautiful voice - smooth texture, rounded tone, good diction. I wonder even more at them bemoaning him not having essayed Otello. With this diction??? Not to mention the overt plaintiveness... Goes totally against Verdi, who requires fine declamation in recitatives, and intense yet dignified, not plaintive, delivery in everything. All belcanto requires this, not only Verdi. What we hear here is not belcanto.
You must be deaf if you think he had a bad diction. In all of his performances he has an amazing diction. This is a rehearsal AND he sings in a really high tessitura AND semitone higher from original. This is an enormous challenge in itself to sing these notes with his really heavy voice.
@@andymanland I am not deaf. Either you are a fan of his or your standards for "amazing" are very low. Start, for a change, listening to other singers, not only to Corelli in all his performances, then you will hear the difference, IF you are willing to hear it. He did not sing this role live. Plenty of powerful voices in the past who did sing this live, check Affre, Tamagno, Gilion and O'Sullivan. They did not have much style, that's true, but they did sing the entire role live, time and time again. Corelli has even less style than they. Singing just a small part of the role off stage is nothing compared to singing the complete role live. This role was not written for a heavy voice lacking agility, so voices lacking agility should not be singing this. Just in case you miss the point, heavy voice does not necessarily mean dark or dramatic voice, and vice versa. Heavy voice means voice lacking agility.
@@arepo Well that's the whole point: he didn't sing this live and this was only a rehearsal and he could sing on 'A' the whole thing and not care about his diction. as to his style I don't know what you mean. But he had a hell of a voice and really beautiful AND really passionate!!
@@andymanland So now you agree with me his diction isn't good? You should decide which way before replying to someone. Style means the style appropriate to the period an opera was composed or do you believe Rossini is the same as Puccini?
@@arepo no, I don't agree with you because you generalized that his diction is bad as an overall singer in ALL his performances. And I don't agree with you because you judged his performance based on his rehearsal, which is nonsense. Specifically this opera must be sung in this manner, listen to Bryan Hymel, who is more appropriate for this role and he sings it in a manly manner. This is opera and not some theatrical show and if you can't appreciate the real singing by an amazing artist than you really must be deaf.
Nouritt considered himself a better artiste than Duprez, but audiences prefered Duprez's top c. This caused Nouritt to jump from a 3rd. storey window, so desperate was he. This is not one of Franco's better efforts IMO. Sounds like one of his private trials. Henry Webb. Yes definitely so HW
bonisolli sparava acuti senza neanche rendere l idea di ciò che cantava, la pira o o muto asil non c era l idea di come si raggiungevano gli acuti a secondo dell autore e dell' intenzione del brano. Corelli invece dava la giusta connotazione ad ogni parola cantata e in più con il doppio del volume e squillo
Probabile che lui stesso abbia ritenuto il ruolo di Arnoldo poco adatto per la sua vocalità. Qui siamo appena alle prime fasi di studio,probabile che da grande cantante qual'era,lo avesse risolto in qualche maniera,certamente meglio di tanti altri(sicuramente di quelli attuali),ma sappiamo che Corelli era un perfezionista quasi maniacale.molto critico con se stesso.Sarebbe stato senz'altro interessante sentirlo nel ruolo,anche se anch'io la penso come lei.
@Barone Vitellio Scarpia I wrote this comment months ago in other places in this comment section, but it bears repetition in the hope people would consider educating themselves before writing nonsense on yt. Corelli couldn't have handled the role, this is pure wishful thinking of fans living in a bubble. Sorry to puncture the cozy bubble. Arnoldo has to sing more than half a dozen high C's, and innumerable A's and B's *in the first half of Act 1 alone* , and after that it gets worse, this is a four acts opera with the real tour de force coming in act 4. Even with massive cuts there's still plenty of C-D's and tens of A's and B's left. To sing that many C's and D's you actually need a *ringing, sustained Eb* , only this gives you the confidence the voice won't quit on you on those many C's and D's during performance. How was Corelli supposed to sustain such a tessitura? We are talking about the guy who would skip that one lone high C in Meco all'altar in live performances because it came in at the beginning of Act 1, and who couldn't sing Duke in Rigoletto, which lies lower... but all of a sudden should be able to handle a never ending stream of notes above the passaggio, and Rossini coloratura? Lets get real. This is grand opera, not verismo, where you can get by with a sob when you don't have better imagination. Just because Martinelli sang the role it doesn't follow Corelli could. Martinelli had been singing a tiny little bit of Donizetti in his 20's. And just because Martinelli sang it it doesn't follow he sang it well. Some reviews mentioned he "impaled" his high notes "at the expense of a vocal equipment cruelly forced." Doesn't sound very reassuring. When the Met staged the opera again, a few years afterward, Martinelli was not cast in any performances. The role lay too high for him, you can hear this in his forced "O muto asil" cadenza, and it is a studio recording, meaning they did several takes and released the best. We hear Martinelli's best, and that best isn't good enough. Arnold in Guillaume Tell and Raoul in Les Huguenots are actually Arturo in Puritani on dramatic steroids, and I mean dramatic Ottocento, not verismo screaming. An even more accurate description would be they are like Arturo in Puritani, Fernando in La Favorita, and Rodolfo in Luisa Miller rolled into one, you need someone who sang these three roles, and sang them well. Corelli didn't, and neither did Martinelli, and no amount of fanish wishful thinking is going to change this. All that fans accomplish with their insistence not baked up by any facts, is to make a spectacle of themselves. Well, if they must.
Remember the role of Arnold is a real literal 'killer'. The first Tell Nouritt. skipped the hard parts after the first performance. Then he went to Italy to adjust his technique. But he apparently failed because he committed suicide.
more erroneous statements from this guy who never cracks a book The rest of the world knows that Nouritt sang in the voix mixte style and when he sang the prima of Tell used falsetto or head voice in his upper register as was Rossini's expectation.-It was of course Duprez who sang the first Italian performance of the work and sang the high notes with a chest tone Nouritt did commit suicide (you got that right) later because of his failure-so the legend goes-to produce the upper register from the chest Mixed voice would not be accepted today-and when Arnold is sung it is sung out, such as Bryan Hymel just did in the recent Met performances, and as FC was attempting to do on this tape
Labienus Let me alert the readership to this person who calls himself Labienus. For some reason he has chosen to pursue me across the Web. If I make a comment anywhere he is likely to show up to make a personal attack on me. I've never met him and wouldn't recognize him if he walked into the room. Yet he seems to hate me. But I am consoled by the fact that he hates many others too. Mostly he hates Mario Lanza. He writes all sorts of nonsense about Lanza. He has all sorts of improbable theories. I like Lanza's recordings very much so I should be flattered to be on Labienus' hate list with him. It is true that I don't read as much as I used to. For most of my life I would read two books a week religiously. But in retirement I've slowed down a little. My profession was as a corporate officer (CTO) as the manager of the programmers. I also taught math and computer science for decades. I have no student debts because I went through grad school on a full academic scholarship. I read a lot of history. I've read just about every ancient historian of Rome. I read American history too of course and opera history. I've sung about thirty roles in opera. As a bass there is always a part for me in most operas. Toward the end when I was in my sixties I finally got to be pretty good. I changed my technique and I got much better. I always had some technical limitations and I was always a poor musician but I was good enough that I could get almost any role I auditioned for in any of the second tier opera companies in the Bay Area. So I've been around singers all my life. I attended the San Francisco Opera for about forty years. I also attended many, many performances by smaller companies. That has given me a perspective on singing that many others like this person who calls himself Labienus simply haven't had. So kind reader you can choose to listen to Labienus or you can listen to me. In my opinion Labienus is a crank - a very strange crank. You read stuff like his usually from someone who is ranting about the Illuminati, or how Michelle Obama is a transsexual man, or some other crackpot theory. With Labienus we have a full fledged wacko who is obsessed with opera.
Hymel who has a marvelous, easy upper extension to his voice really did a fine job with the role recently (though on opening night his voice was not quite at its best),and of course sang in French- but you understand why Corelli wisely decided not to take on the role. It's hard for me to believe that Rossini would have written it that way if he imagined any one would sing it in full chest voice-but obviously he could not have imagined it because no tenor had sung that way yet
@@Agorante Let's not get melodramatic. Nourrit didn't commit suicide because of this role, and didn't go to Italy right after the premier of this opera, but about 8 years later. The role is a 'killer' alright but it didn't kill Nourrit.
Un opera non è fatta solo di altezze dei suoni. Ci sono le terzine, gli abbellimenti, le acciaccature e lo stile. Corelli non cantò mai in teatro il guglielmo tell.
Did you write your comment just to show us you have heard of Duprez? I wish you would have done a little more research than just hear his name mentioned somewhere, then maybe you could have avoided writing a ridiculous comment. Read descriptions of Duprez' voice and technique, read about his repertory, and then you'll understand. No similarities whatever to Corelli.
Non ha mai avuto una tecnica perfetta, eh?....Allora quali erano i suoi errori? Non si può dare un giudizio senza motivarlo, a meno di essere il parolaio in pantofole di turno.
Eh eh, immaginavo che sarei incappato nell'ennesimo grande esperto e conoscitore di canto. Bene, allora abbia il coraggio di spiegarci come sbagliava Franco Corelli e, visto che di canto non capisco niente, abbia il coraggio di dirmi come si canta. Poi alla fine dirà che io magari saprò anche come si canta ma non so ascoltare, vero? Chiacchiere, oppure parli e spieghi, grand'uomo.
Non sono un grand'uomo ma semplicemente un grande appassionato di lirica con un buon orecchio musicale e che ha frequentato i teatri per 50 anni. Corelli lo ho sentito in tutte le salse dal vivo, in concerto, in incisione,e non mi è mai piaciuto. Avere una grande voce non significa saper cantare. Corelli non ha mai avuto una buona impostazione vocale in quanto ha dovuto fermarsi e reimposrare la voce per due volte. Questo per quanto riguarda la tecnica, la musicalità e il buon gusto artistico non si studiano, o ci sono o non ci sono Corelli a mio parere non ha nè l'una ne l'altro, quindi una linea musicale precaria. Se come afferma è un grande intenditore, faccia i dovuti paragoni con Pertile, BJorling, Merli, Kraus, Caruso, che sono i veri grandi del 900. Se non sente la differenza, mi dia retta, lasci perdere la lirica, non fà per Lei.
E' impossibile cantare peggio!!! Il registro acuto è completamente fuori fase e per riuscire a controllarlo deve urlare in maniera indegna. Corelli ha avuto parecchi difetti di impostazione, per due volte è stato obbligato a sospendere la carriera per studiare e rimettere in sesto la voce.
Vedo che è sempre più convinto di quello che dice. Allora ci spieghi perché il registro acuto è fuori fase, cosa significa e perché per controllarlo deve urlare in maniera indegna. Andare a sentire le opere non serve a cantare e a sapere come si fa. Chi non sa deve tacere e limitarsi a un più modesto "mi piace/non mi piace" la modestia vedo che non è il suo forte.
In questo campo la modestia non c'entra niente. Io non mi accontento di un mi piace o non mi piace, io asserisco che Corelli non è il fenomeno che Lei dice, ci sono parecchi tenori migliori di lui, se lei non li ha mai sentiti non è colpa mia, non le spiego più niente, le ripeto lasci perdere la lirica non è pane per i suoi denti e risparmierà di fare brutte figure.
La differenza è una sola: lei non sa quello di cui va parlando, né di canto né di cantanti. Però pontifica dandosi arie di grande esperto. Prima di giudicare occorre saper fare e anche dimostrarlo oppure....silenzio.
@@riccardobarreca8066 Jesus Christ ,I thought we have outgrown this childish "argument" on utube. Apparently not . Knowing good or bad when you see/hear it isn't dependent upon the ability to do it better yourself . It's like saying everyone sampling a food or watching sports must be able to do it better themselves if they're allowed to have an opinion. Do you believe all great musical critics were former singers or conductors? The only question is whether or not you want to admit that you can hear the difference .Those who believe this is how you sing Rossini should go back to musical school ,if they have frequented one in the first place , which I doubt .
