He mentioned something very important, Corelli would be more famous if more people knew about him. He sang like an angel. I love Pavarotti, but Corelli was superior.
Non je crois pas qu'on puisse dire que Correli était supérieur à Pavarotti de même Del Monaco , Lanza , Di Stefano... Ils sont tous unique et on les aimes pour leur singularité
a vocal cord of steel! , it's great listening to a great man talking this way for another one with no envy but only admiration! thanks for sharing this!
Pav was known to give credit where it was due. He once contacted Richard Tucker after RT had given a memorable performance (I think Pav was referring to the role of Canio in I Pagliacci), congratulating RT as being the " Master of us all..."
i dont mean to be so offtopic but does someone know of a trick to log back into an instagram account?? I was stupid lost the login password. I love any tricks you can give me
Yeah I agree , my two favorite tenors and one of them is talking about another one . I've always admired Luciano on his smooth and lyrical voice and Franco on his powerfull voice .
I commemorate Pavarotti in his honesty and admiration for a fellow tennor, and how humbling he was to say that he was superior amongst the tennors. I know all want to say Pavarotti is the King of the High C (and rightfully deserving as his voice and own passion and soul singing moves me to tears), but I would say that Corelli is Emporer of the Tennors, for he had the passion, the drive, the soul, and the power of absolute vocal control and can bring forth tears in one note as you feel his sorrow, his desires, his hopes, and his fears in his performances. His performance as Calaf in Turandot (1958) blew me away! RIP Corelli & Pavarotti! May you both rest in peace amongst the angels and singing with them eternally.
How remarkably generous Pavarorrati is in his unstinting praise of Franco Corelli. He describes a Corelli performance as having been '...colossal." This expression of total admiration of a great singer by another great singer, and a tenor at that is something very rare indeed, and it speaks extremely well for Pavorotti's character as a man and as an artist.
About 10 years ago, I took my 15 year old son on a 6 hour drive. I was working at an interstate club and as I drove, I sang both opera and pop. By the time we had reached our destination, those 6 hours had changed my son's life dramatically. He is now an avid fan of Corelli and opera. What tells here is that we must give our children a chance to experience these wonderful voices. As for Corelli, he was not from this earth and we are so fortunate to have his incredible and special voice live on with us.
Sometimes Corelli sings too loud. There are many lyricalpassages that he blurs with a big tone. Compare his 'I Love Thee' by Grieg with my rendition. Philip Tropea tenor www.youtube.com
I had the privilige to study with his wife and he was present many times. I also traveled to Italy with them and not only had these wonderful memories of them both but he was one of the kindest men I have met even with his fame.
Oh, you were very lucky! 😊 And that the comment about his kindness doesn’t surprise me, I could tell he was very a good man with a big and loving heart. Sadly I was born too late to have a chance to meet him as an adult. I’m happy for you that you had a priviledge to know him. Even though I’m a bit jealous at the same time.
Franco Corelli era el más completo....a la exelencia en su voz su perfección...hay que agregar su belleza su porte. .su enorme talento interpretativo.....fue el mejor en un tiempo que no estaba la tv ni el mundo mundializado....
Corelli had not only an amazing voice, but he looked better than most Hollywood stars. When I fist saw his pictures, my jaw dropped. I am still looking to put it back. Like somebody else said about Gould, but I fell in love with a dead man (sono enamorata de un morto). Of course, I will always regret I could not hear Franco Corelli live. I will always love him. A tenor like no other.
Se fosse vivo con i mezzi di oggi le persone lmpazzirebbero dalla gioia nell' ascoltarlo in questo caso il grande Pavarotti è stato una persona onesta e da ammirare profondamente !!!!!!
I loved Franco...he was my favourite of all time ....but what a nice tribute from Pavarotti...who without doubt was the most perfect Tenor that ever lived......I don't think that a high note was ever a struggle for him....he never had to strain for anything..
He was so correct!!! Maestro Pavarotti was really a rare intelligent tenor!!!, he percibed a lot of exact things that normally others won't!!! Corelli, Del Monaco and him, form a triunvirat of wonderful modern italina tenors. Bravo!!!!
+Patti Page - People of prodigious talent often are magnanimous, Patti. It's the B-listers & 2nd rank artists who can sometimes reveal a jealous mean streak. The very best usually count their blessings & respect & admire the gifts of colleagues. When tenor John McCormack greeted Caruso one morning in the hotel lobby in which both were staying, John said; "Good morning Maestro! & how is the world's greatest tenor this morning?" - To which Enrico replied without missing a beat; "And since WHEN, John, have you become a baritone?"
YEAH BUT CAN HE SING LYRICAL SONGS THAT NEED FINESSE AND SOMETIMES MEZZAVOCE. FOR INSTANCE, 'I LOVE THEE', BY GRIEG. HE IS TERRIBLE TO SAY THE LEAST! COMPARE HIS RENDITION TO MINE. PHILIP TROPEA TENOR WWW.RU-vid.COM
Very touched to see a famous Italian tenor praise another famous Italian tenor. That's a first! Italian tenors have that reputation of seeing even their predecessors as rivals!!! Grazie Signor PAVAROTTI. CORELLI was great in TOSCA. Top Cavardossi (Vittoria! Vittoooooooooooooooooooooooooooooooooriaaaaah!).
Depends on the tenor. Corelli spoke so well of Gigli. He said his voice was so much more beautiful than any record could show. Gigli spoke well of Bjorling, and Bjorling spoke well of Gigli. I am sure they all want to be the best, but they as well are moved by voices. No one voice can be the best.
angelic tenor Good points! Thank you for enlightening me. Forgive me for believing too much in the stereotype of the vainglorious tenor! Each one seemed to have mastered one part for which they will always be remembered. ANDREA CHENIER, to me IS Gigli. CAVARADOSSI is Corelli (extremely adaptable to so many roles!). OTELLO is Del Monaco. Prince Calaf is...of course, PAVAROTTI. Your points are well taken. Thank you.
angelic tenor Corelli also spoke very highly of Lauri Volpi (you can find a video of it here). And most tenors speak highly of some great tenor or the past that inspired them, like Caruso or someone.
Guys, you cannot single out the one "the greatest" tenor because each of great tenors has a beautiful and UNIQUE sound sometimes beautifully suited to a particular role. None is better as Nemorino than Pavarotti. None! None is better than Correli as Manrico. None is better than Del Monaco as Pollione. And that is in my highly subjective opinion :)
I agree, these matters are highly subjective. Even if we don‘t like to admit it, stating „this one is better than that one“ is always a matter of personal taste. It depends always on the way we perceive a certain role and the voice or interpretative personality we like to experience in a certain opera. It is never an objective judgement, but always a matter of personal preference.
Corelli is better as Pollione, it is a bel canto role, better suited to his skills then Del Monaco. Callas insisted that she would only record Norma with Corelli. Del Monaco was by far the best in Otello.
+bodiloto, Pavarotti aveva la voce di un tenore lirico. La sua voce aveva più volume e lui non ha avuto problemi con esso. se la sua voce fosse stata più leggera, non sarebbe stato meno grande.
+Alan Rodrigues cosa racconti ragazzo? hai sentito la voce di Pava dal vivo e senza l'aiuto del microfono ? non. allora di cosa stai parlando ? anch'io anzi vecchio davanti un microfono ho la voce di Bastianini ! ahahahahahahahah ! spiega mi amico, chi è il tenore chi è capace di cantare Tonio / della Figlia di Regimento/e di avere la voce del tenore lirico pieno? soltanto Pavarotti ! ahahahahahahahah ! senza l'aiuto del microfono Pavarotti dal vivo aveva una voce piccolina. come Enzo,Nemorino,Tonio etc.... era bravissimo . quando Pavarotti interpretava il repertorio lirico spinto quelli che conoscevano la vera lirica italiana ridevano . e avevano ragione di ridere. Pava dal vivo aveva la voce del tenore lirico leggero. era un grande uomo,aveva un nome grande e cantava con una voce piccolina. dal vivo era così. vedi amico mio,più di 30 tecnici del suono erano responsabili per l'immagine di Pavarotti ! più di 30 ! no comment.
bodiloto Pavarotti ha avuto un suono sottile all'inizio della sua carriera, ma ha ottenuto più scura nel corso del tempo. secondo la maggior parte delle persone che lo hanno ascoltato dal vivo, la sua voce non era piccola come hai detto tu. Björling aveva una voce più piccola di Pavarotti. si dovrebbe smettere di negare il fatto che era un tenore lirico che ha avuto la capacità di cantare Tosca. un esempio di un tenore lirico leggero è Alfredo Kraus.
Thats debatable, Wunderlich had he lived past his 36yrs may have gone on to be the Greatest Lyric tenor of all time but that honor go's to Nicolai Gedda, then Bjorling, then Pav, then Wunderlich.
A lot of them did then. The men looked masculine and the women were feminine. It was before hormone interference through adding altrazine, other chemicals in food, processing soy the wrong way, even adding hormone changers to toiletries, detergents and fabric softeners. Todays young men and women are not what they are supposed to be unless they are fortunate enough to have been raised on natural food as much as possible. Then the pity of that is that they have difficulty finding those of the opposite gender who are what they are meant to be, and matched in personality etc. Such a shame humanity has been ruined in so few decades, but at least those of us old enough to appreciate can see and hear these videos and even if only for awhile we can live again a past that had true wonder. Thanks to uploaders who have such good taste and culture.
The point P makes here is extremely valid: Modern technologies benefit contemporary singers immensely. Back then, it was TV; today, it's HD recording. Take Jonas Kaufmann: He's splendid, of course; but his voice is trained to cater to modern recording standards. We always have to keep this in mind when comparing today's singers with the classics.
and of course Corelli's matinee idol looks didn't hurt either! He was sought to do Italian cinema, but he always declined. He made women crazy just by his looks.
Pavarotti was 100 per cent correct when he said that Corelli would have been much more famous had he been in his prime in the 70’s or 80’s. His matinee idol looks combined with his incomparable spinto tenor voice would have garnered him far more fame than he got during his era.
Corelli é un tenore insuperato per vocalità, tecnica e potenza oltre ad una duttilità miracolosa per la sua colonna di suono colossale. Bravo in tutto ma in alcune opere non c'é storia nessuno lo ha eguagliato !!! E soprattutto era una vero signore, serio, rispettoso e corretto... e nell'agone lirico sappiamo che sono doti poco diffuse, lo stesso Pavarotti lo ha riconosciuto. Come Pavarotti dice bene se Corelli fossi vissuto in questa epoca avrebbe polverizzato tutti i tenori, tenorini e tenorucoli che affollano immeritatamente i nostri teatri e si danno arie da grandi interpreti. .. non serve fare nomi vero???
Cara Marisa, si vede che tu la lirica non l' hai mai studiata. Pavarotti ha un grande volume e una tecnica elegante e raffinata. È un tenore lirico e non drammatico come Corelli. Ogni suono è studiato e controllato. Non fare commenti senza conoscere i mezzi vocali. Pavarotti ha cominciato a cantare nel 1966 circa e già c'erano tutti i grandi. Lui era tra i grandi!
@@biolaloucosmeceuticibioeve4846 Pavarotti un grande volume? tecnica elegante e raffinata? E allora la tecnica di Kraus cos'è? Corelli non era un tenore Drammatico, era un tenore che è rimasto insuperabile perché, nonostante fosse un tenore lirico spinto, poteva vantare colore e volumi da tenore drammatico. Pavarotti aveva un timbro bellissimo, ma è stato un grande tenore (di sicuro NON il più grande) fino alla fine degli anni '70, poi è iniziato un declino fino a diventare la macchietta degli anni '90. Quindi, per favore, che magari chi conosce solo il Pavarotti and friends e "le gag" de "i tre tenori" poi ci crede pure.
@@vittoriopulpo caro Vittorio, io non sto facendo paragoni, ho solo parlato di Pavarotti, se ascoltassi l' ingemisco cantato quando era giovane, forse capiresti quando parlo di eleganza e stile. A presto
Every time I listen to this fine tribute and hear the interviewer say "he wasn't so well known, was he..." I drop my jaw. Not so well known? Does he (the interviewer) have any idea of chronology or opera performance history from the mid 50s to the mid 70s? Corelli RULED. He still does at this address.
Very nice guy! And I love the last line. "Always improving. And that is what we should all do." Also, I swear those eyebrows have their own personality. They seem to be leading their own life...
Why oh why must contributors to this or any other video bash one another? We can appreciate the merits of each voice, etc; they would not have arrived at the status they did if they did not have the training and talent. Of course, each of us may have our favorites for one reason or another, but we don't need to discredit all or any of the others! Or each other.
Love Pavarotti... still famous still famous... He IS still famous and loved... It's EXTRAORDINARY that he started at 33 y.o. Corelli rules the tenor world!
Pavarotti is another Peacemaker when speak about Franco Corelli this is to be a great musician and not like others who try to dismiss other for envious
first time I've seen this thanks too bad there isn't more, would love to hear some technique talk The interviewer doesn't realize how huge Corelli was-but as Pav says it was a different world-Corelli's world and fame was in opera
Comparto la opinión de Luciano Pavarotti un tenor, formidable Corelli muy serio y técnico,que creo ha servido inspirador otros muchos tenores posteriores. Muy linda su voz.
Pavarotti ammette onestamente che Corelli se fosse vissuto oggi con i mezzi mediatici che abbiamo avrebbe oscurato tutti !!!! Esattamente come fece preoccuare seriamente MDM... Aveva una potenza incontenibile ma anche una capacità di modulare il suono rara. I suoi diminuendo sono proverbiale e solo lui riusciva a realizzarli con quel volume vocale.... Un altro che fece diminuendo stellari fu Di Stefano ma siamo su un tipo diverso di voce, e di un timbro benedetto dal cielo...
Corelli read. I studied with him. He would correct you with solfege. Not a great pianist, but he would doodle on his Bechstein. I agree with Pavarotti that he improved throughout his career. Just another example of his great humility. He was a great student of the art of singing, along with its singers and their art. He spoke graciously of their strengths and weaknesses realizing that no person or approach is perfect and even those accomplished in the method they espouse will have deficits, particularly tenors.
+John, he played a Bechstein. Not well, but he played. A Bechstein is a wonderful German piano. I think he had one in his apartment. Solfege is do, re, mi, fa, etc..... A method of sight singing.
+Dr. Sam Savage Thank You . You were so lucky to have studied with the great Corelli One of my biggest regrets in life is that I never got the opportunity to hear Him live albeit live recordings which I treasure.I know also as You do that He was very humble.
+Dr. Sam Savage Reading Your comments again You said He would doodle on that German piano then You also say You Think He had a Bechstein in His apartment. Just wondering.
Corelli es la gran voz de Tenor de todos los tiempos. Tanto Pavarotti como Caruso y Gigli, cada uno en su época, son los que le dieron popularidad a la Opera muy buen canto y simpatía. Pero yo encuentro la perfección en una voz como la de Bjorling, mas pequeña tal vez compsrando con otros grandes Tenores pero siempre con las notas justas, respetando la partitura, sin amaneramientos, ni aullidos, ni golpes de efectos. Los reyes de los Tenores por orden cronologicos fueron Caruso Gigli Bjorling Corelli Bergonzi Kraus Pavarotti ¿y hoy? En una carrera de 20 años sabremos. Pintan lindos entre lo que hay; Florez y Camarena, pero no son ni ahi la misma calidad de antaño.
Pavarotti's favourite tenor and idol was Giuseppe Di Stefano and he was also deeply influenced by Mario Lanza, saying: "In my teens I used to go to Mario Lanza movies and then come home and imitate him in the mirror". (WIKI)
+Leo Zanatta Luciano Pavarotti -grande nome poca voce. Franco Corelli- un Artista lirico immenso,sublime,divino. mi ricordo il loro Cavaradossi ... nessun confronto possibile. vince Franco Corelli.Corelli dal vivo era semplicemente divino. Pavarotti dal vivo e senza microfono era un bravissimo Nemorino,niente di più.
Landolfo, It is your privilege to like the spinto Corelli over the dramatic MDM, But to say that Del Monaco's voice was throaty is not even close to being accurate. His voice was out front and very focused with impeccable diction and arguably the best B flats of any tenor. Buon Divertimento.
Landolfo Graziella,ma lei sa il significato di "ingolato"????????Sappia che Corelli è stato probabilmente il più grande ammiratore di Del Monaco(glielo scrivo perchè ho parlato a lungo con Corelli).
Pavarottis right about his strength and vocal range but corelli never sought that kind of fame he also retired early cause he could do the opera houses anymore mostly because he couldn't deal with it anymore ( im not putting him down by saying that ) its well known hed break out in hives dew to the fear of walking onto a stage which is sad cause he was one of the great ones
Corelli's di quella pira is the most thrilling, death defying, committed, astonishing recording by any Tenor, EVER. Those final C's are sung like he would never sing another note again in his life. Amazing singer.
delmonaco21 I have heard rumors that he died of a brain tumor. Those can cause erratic behavior in people for some time, and if that is the case I really feel bad for him. He probably had a very colorful personality, a little eccentric, but the tumor probably just made things a little worse.
delmonaco21 I agree that he lived in Corelli's shadow-maybe he should have changed his first name (as Corelli did) because Bonisolli was always known as the "other" Franco. Yes, he sabotaged his own career, but part of having one is managing one's emotions, and charting a career course. I think he should have had an even bigger career, but Corelli had the better, more interesting voice. Bonisolli began with a much lighter voice (wasn't his Met debut Barber), and first built his early career with many light roles, that never were appropriate for FC. I won't engage the name dropper directly-but I know of no story involving FB and the NYC critic. The only story I know of is the famous Michele Molese (his stage name) stopping a performance at the NYCO, and saying something like- this squeezed high C is for Mr. Schonberg. It was unprofessional, and something Bonisolli-who really had the high C on a platter could have gotten away with-Molese was fired.
***** A bit puzzled by the comment-which was often true-but then you accurately go on to say that the legendary tenors could produce those notes, and often better in live performances, and we have ample evidence of it. I generally prefer live performance tapes, especially as live recording quality got bettter, but there are, of course, many great studio recordings.(also simple economics has largely killed off studio operas) I guess this began as a pejorative activity when Schwartzkopf sang a C for Flagstad later in the great ladies' career-which I suppose can be viewed as deception. But the other idea of recording high notes or difficult passages, first, or well rested, or the use of splicing can be justified in that the concept of the studio recording was a perfect document, not supposed to be like a live experience, and would be subject to scrutiny, and standards that no live event would ever be. This would be part of the case that Glen Gould made, and practiced, in that he was creating a permanent audio event, not playing a concert. An on going debate that I can take either side of. My other reaction is including Lanza-who was not a real operatic tenor in the same breath as Pav. Lanza's entire career was a studio creation-which is not to say that he didn't have a real voice, but we essentially have no evidence of it. I know that he inspired many great tenors and many young singers (if you can take the plots and the rest of the acting of those goofy but lovable films) which is fine, but I get terminally tired of the so-called testimonials, and hearsay of how great a tenor he really was-more of could have, should have-but didn't. If the voice was that great, then he should be suffering in a special hell, for squandering something so precious, especially when we think of the hell that singers like FC, Bonisolli, Bjorling, Ponselle, and many others went through to sing in public and honor the art form and their talent.
It doesn't matter about popularity. Pavaroti so "popular", and what? He cracked his voice, only squeaking, he never was an operatic singer, only squeaker. But what guys in past? They are not popular and what? But they were much better than anyone freak "popular" singer! Mass media making a freak popularity.
@@johng3347 Casual indeed. He was literally called The prince of tenors by other tenors. Pavarotti , Bernstein and Sarah Caldwell, whom I worked for all had the same agent. They were household names in the 70's. I got hooked on Pavarotti by the King of the High C's. But once I got into conservatory and serious study, Corelli and Pavarotti were apples and oranges. If you can find the original recording of this ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cQA3lQb5SP4.html I literally wore my CD of this out! What and Likewise, this is my fav Pavarotti clip. So vocally secure here. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_-Gk7uKRdbU.html
@@Monnarchmonnarchy Pavarotti gave great performances, really great performances, until the 80s. It is actually silly to say that he was never an operatic singer; his early performances as Elvino, Arturo, Edgardo, Nemorino and Tonio are legendary
What a beautiful interview so sad that he had to disguise his own aging with makeup he didn’t need it I say this with the greatest respect ✊ Luciano Pavarotti was a true patriot of the ART Love you my dear friend and we are friends as we love ART
Well last time I checker, Pavarotti spoke about Corelli and his abilities in this video. But for some reasons, the thread bellow is mostly related to ravings of Tucker's and Bjorling's fans and Corelli bashing. Some people have strange hearing/reading comprehension apparently.
Actually, Pavarotti and Corelli are in agreement. Here is the interview from Franco Corelli www.belcantosociety.org/pages/corellipage3.html "FC: When I began to record, I was horrified and stopped right away, because I heard that my voice trembled. I was pushing too much because of lack of adequate breath control. [He caricatures himself.] Although I didn’t study so much before my debut, I certainly did afterward, little by little refining the sound, learning to control my breath and to push less. My legato improved, and my vibrato subsided."
no he's correct That fast vibrato was already out of fashion by the 50's, but Lauri-Volpi from an earlier era, and I think de Lucia, and some others had it. I think it had a sort of excitement to it, but it was no longer acceptable. However, even in some of the early Corelli recordings-maybe not the earliest-it was quickly modified-so the voice you hear is not far away from the later one. Of course, those who do not like him, always repeat it as a negative, as they do with the so-called lisp-which no contemporary reviewer, or later writers on the voice ever mention (even those who were critical of him for other reasons)
It is obvious that LP is in awe of Corelli and looks back with amazement at his ability. What an honest interview without a sign of jealousy but just a complete acceptance of the recognition of his master. ❤
He is lesser known to American and British audiences, at least, because, as Pavarotti says, Corelli didn't do recitals and did not have the benefit of tv exposure that we had even in the 70's and 80's, let alone now. (Thank you PBS! Thank you Peter Gelb for the hi-def simulcasts! You have helped bring classical music to the masses!) Honestly, Americans are a boorish bunch, and a lot of us don't understand how amazing opera is, how it is the very definition of passion. So even with t.v., it would have been hard for Corelli to gain audience. He was brilliant, but started his career very late and ended early. His voice declined long before it should have - don't know why - and he had horrible stage fright. All of these elements conspired to thwart his renown. His voice was a once in a lifetime instrument. Corelli had incredible mezza voce, smooth diminuendo, incredible air and sheer muscle. Gorgeous top range and capacity to really blow your hair back in his fortissimi. On top of that matinee idol handsome. He was the whole package.
Do you mean that the handsome Corelli would have to balloon up to over 300 pounds and hold a handkerchief in his hand while singing, to gain an audience? Corelli still sang for 25 years and was the leading tenor at the Met for about 15 years. People knew who he was and his stage fright was definitely an enticing attraction for the public. I would bet that a 3 tenor concert with Corelli Di Stefano & Del Monaco, providing they all would tip the scales at 300 pounds, would be more exciting and attractive than Pav PD and JC.
too be honest.... my opinion of Pavarotti - before this interview - was that he was hugely talented.... but lazy. This interview show's Pavarotti to be the true legend that he is. He worked hard, he studied his craft. I had the pleasure to here him sing at least three times in NY. No one, No one has ever had his perfect diction, beautiful voice and such POWER for a "bel canto" tenor.... I disagree with him regarding Del Monaco. There was one Otello and it was Del Monaco Corelli, I love hime in most roles, especially Turandot and Il Trovatore - but make no mistake there are 3 at the top - Pavarotti (except Otello) and all the rest and Del Monaco and Corelli. I love that Domingo conducts as well as sings in ALL languages - but these three above are imperfect, and cut from a different cloth. We Opera lovers have to be honest - but also realistic in others (I will coin the term Frascati Syndrome) best - al Grazie Pavarotti, Corellli e Del Monaco (l'unico Otello)
Complimenti al caro Luciano per la sua umiltà! Comunque sono ambedue due grandissimi tenori credo i migliori di tutti i tempi includo anche il grande Domingo.
Bis of Che Gelida Manina in Tosca!Something's wrong :) Apart from this I wish I was born 100years ago so that I would have had the chance to listen to all these big voices...
Pavarotti doesn't mean that. He means that the length of the applause *5 minutes* is like the whole aria Che Gelida Manina in length. He is simply comparing the length of minutes, in the applause with the length of time in Che Gelida Manina to give some idea of the length of applause.
4:00-4:22 that's the substance of life. I read the anecdote when Pablo Casals was asked a simple question, why he still practice at his late 80', he said he just found that day he made some improvement...
Very well said by Pavarotti. Every major artist has fans of certain tastes that like and dislike certain voice for certain kinds of music. You don't have to dislike Corelli because you like Del Monaco. (grow - up)
I hate comparison's between artists. Hate it. These videos always invite one or another "fan" to say, "Oh, my man was the greatest," --- okay, so now I'm forced to join the ranks based on what I've read below. I heard Corelli at the Met, and I heard Pavorotti all over Europe and the Met. Pavarotti is the greatest tenor I've ever heard. My shelves are stacked with Correlli recordings too.
Pavarotti has the reputation of being a "visceral" personality, but he shows in this interview that he quite capable of speaking intelligently and in a language not native to him to boot.
Both tenors, Corelli and Pavarotti, was a BIG tenors. Perhaps Corelli was less technical but much more emotional, more theatrical. However, I insist to think that Pavarotti (great tenor of the 900 and Italian pride) compared to Corelli has had the fortune of a very mediatic society, so... many people who follow the lyric music in a hobbyist way, do not even know Corelli ... !!!! Both are great tenors, both very good, to say who is better is a bit difficult, because there are songs best sing from one, and others songs better sing from the other. there is always the subjective and personal aspect when we listen to the songs.
🤗 Corelli Was thaught by arturo melocchi. He was also the teacher of Mario del Monaco. Melocchi thaught them the old singing tecnique (lowering larynx, open vowels, Lifting up the head if you sing high notes, etc). And very important Thing: Corelli had this squillo in his voice. Thi Kind of thousand bells ringing when He singing (Especially the high) notes. I would say Corelli had a great tecnique. Pavorotti Was also a great singer.
@@erichmayr7299 He actually not-and was famously self-taught. He adopted some of Melochi's techniques but changed them-why his voice didn't end up like del Monaco.
Two very different voices. Against Corelli, Pavarotti actually had a small voice, Pavarotti did have a good size voice for a lyric tenor but it is not the same. Pavarotti had a lyrical voice which works very well for many roles. Corelli had a very big more dramatic voice, which works really well with heavy repertoire, but he had excellent technique. Even with his big dramatic voice he had skills such as pianissimo and diminuendo, which is rare in such a voice. Pavarotti did not even have diminuendo. Corelli was able to sing some bel canto roles such Polliuto and Les Huguenots, and he actually sang them extremely well despite having a very large and heavy voice. Corelli was the highest paid tenor during his era. It is extremely strange how some so called "opera fans" knows nothing of earlier opera singers, you can go back even further to other great tenors such Giacomo Lauri Volpi or Francesco Merli. A lot of so called opera fans have no respect or knowledge of what came before. Ponder this for moment, in a genre such as rock people have far more respect for early pioneers, singers and groups. Most rock fans know and highly respects figures such as Chuck Berry, Howlin' Wolf, Leadbelly or even Robert Johnson from the 1920's. Yet strangely is opera, which is build on a strong historical backbone people often have no idea of greats from just a generation before. There is something heavily wrong within opera. This is also part of the reason why opera is declining. You need to understand what happened before if you want to do something interesting in the future.
Just a few problems with the timeline given by Pavarotti. Corelli won the Florence competition at age 30, and he had been studying seriously for seven years before that .. in the Pesaro Conservatory and privately with Melocchi. So you can't say he "started late". Male singers at the time knew you had to study for a very long time to make the voice ready, and they typically had their debuts after age 30.
