Bonjour un super Mr corelli unique toujours un régal quand a mme Caballé elle est a découvrir dans ce beau duo merci a vous pour ce rare partage qui nous permet d entendre les grands de l Opéra a jamais au firmament des Étoiles de l Opéra merci vraiment et bravo aux immortels
CABALLE AND CORELLI are two of the greatest opera singers that ever lived. We will probably never hear magnificent excellence as this in opera again. This is about as perfect a performance as one will ever hear. Outstanding. Absolutely great.
dlagrua my favorite Tenor & soprano who could ask for anything more absolutely exquisite. Does anyone know if they recorded the complete Opera? If they did please post thank you very much
Basta sentire il pubblico: nemmeno il tempo di finire l’ultima frase e scatta un applauso incredibile au nostri giorni. Corelli e Caballe sono straordinari ❤
Otro grandioso dueto para la inmortalidad y la eternidad: FRANCO CORELLI se une con MONTSERRAT CABALLÉ para cantar el Dueto de Amor, con el cual culmina la Ópera ANDREA CHENIER, del compositor italiano Umberto Giordano. Este dueto es la última ofrenda de dos amantes en el contexto de la Revolución Francesa, que entregan sus vidas a cambio de una madre inocente. La soberbia imponencia de las voces, la exuberancia de la orquesta y la fuerza expresiva de los timbales y redoblantes hacen de este cuadro de cierre un final de carácter absolutamente grandioso para un drama basado en hechos reales, aunque de hecho los dos nombres hayan sido ficticios. Este es el segundo dueto de este cuadro que descubro en video con el tenor FRANCO CORELLI, pues ya en una oportunidad anterior lo había oído junto a su compatriota RENATA TEBALDI cantando este mismo dueto. Y aquí también, por la primerísima vez, escuché la voz de la soprano española MONTSERRAT CABALLÉ y me atrevo a decir, dada la inmensa fidelidad de esta grabación, que ella también tenía una grandiosa y magnífica voz.
Quando il Maestro Santi mi disse che Franco aveva voce larghissima, aveva proprio ragione Ho sentito Montserrat in varie occasioni ed aveva anche fra le mille doti un grosso volume teatrale di voce Ma qui sembra che si fondino benissimo
This, I believe, is an excerpt from a Live concert performed by not only Corelli & Caballe but with added participation from the fine bass, Bonaldo Giaotti which may still be available on CD. Great singing from all 3 artists but I do wish they had performed that memorable trio from Verdi‘s IL LOMBARDI.
@emf1918 Actually, this is from a gala concert featuring Franco Corelli, Montserrat Caballe, and Bonaldo Giaiotti in New York on Sunday, 7 April 1968 - the Sunday after the assassination of Dr. Martin Luther King, Jr. The whole concert is available on CD (try Premiere Opera, Ltd.). The concert includes arias and duets from MACBETH, LUCREZIA BORGIA, MEFISTOFELE, LA DONNA DEL LAGO, LE CID, L'AFRICAINE, AROLDO, MANON LESCAUT, IL BARBIERE DI SIVIGLIA, SIMON BOCCANEGRA - and this duet.
Great and superb performance from both ! I never saw Tucker in live but his squilo is really great ! Caballé was a superstar and she is still with us for ever !
Richard Tucker had a big voice and with big ringing top notes in his long prime years, but I think you mean "Corelli" here as this is Corelli not Tucker.
@@RBP1963 well it all depends on the role, nobody is best at everything but some come close, some singers also record better then others did, Corelli had no equal in his time as Calaf, Tucker in some other roles I liked over Corelli. my choice , saw both in same house often, so it depended on roles. Bjoerling was a better artist then most any of them in the 1940's and 50's, but in Lyric roles he was great and some few spinto roles not the warmest, but he did record very well, better then dramatic MDM did or Spinto Tucker. Corelli sounded as good in recordings as in house, I saw both Tucker and Jussi Bjoerling in house and also Corelli, but all three where different , Bjoerling more a lyric voice. Tucker spinto and Corelli spinto with dramatic color. MDM was a dramatic tenor.
To have these two such exquisite voices blend in this music is truly heavenly. I can listen to 20 sopranos with almost anything she sings, and she continues to rank first. Everything, maybe, but Violetta.
maestrojimbo, vi ringrazio molto, la prestazione bella e commovente, molto prezioso perché vivono, condividiamo l'entusiasmo dei presenti e la loro applausi e acclamazioni, corrispondono pienamente. FRANCO CORELLI Il Grande Maestro, E BEST IN TUTTO E PER SEMPRE! LUNGO LA STRAORDINARIA Monserrat Caballe!, CHE HANNO stato meraviglioso in quella rappresentazione, che privilegio. Di nuovo, grazie per la condivisione.
mariapia rosati molto probabilmente proviene dal metropolitan! Dopo un disastroso esperimento televisivo (ma nel 1951!) le telecamere al metropolitan arrivarono solo nel 1977
Giovanni Arioli vorrei senrla cantare... come cantava Corelli. che, se mi permette, non credo si possa insegnare una passionalita, interpretazioni reali tali da struggere il cuore.. anche gli adini sanno ragliare....
AND finally: there is also available (if you search a little) an in-house tape of the 22 March 1966 Met performance of ANDREA CHENIER which turned out to be Eileen Farrell's last performance at the Met. Also starring Franco Corelli, Robert Merrill, Nedda Casei, William Walker, Elfego Esparza, Andrea Velis, and Ruza Baldani, among others, and conducted by Francesco Molinari-Pradelli. VERY well worth the time (and money) spent!!!!!
... just listened to the March,22 1966 performance of same with Eileen Farrell. II is in the original key and benefits in excitement. Although in this performance the duet is transposed down a half step, (as is frequently the case,) the results are still thrilling.
maestrojimbo, muchas gracias, hermosa y emocionante interpretación, muy valiosa por ser en directo, compartimos la emoción de los presentes y sus aplausos y vitores, corresponden plenamente. ¡¡¡EL GRAN MAESTRO FRANCO CORELLI, E MEJOR EN TODO Y POR SIEMPRE!!! , JUNTO A LA ¡ EXTRAORDINARIA MONSERRAT CABALLÉ!, QUE MARAVILLOSO HABER ESTADO EN ÉSA REPRESENTACIÓN, QUE GRAN PRIVILEGIO. NUEVAMENTE, MUCHAS GRACIAS POR COMPARTIRLO.
The miraculous finale to Umberto Giordano's ANDREA CHENIER with Franco Corelli one of the greatest ever Chéniers; the sound is not the greatest in this 1968 live snipet with Caballé's voice not captured at its best a good deal of the time..... though it does improve somewhat. I've heard Caballé sing this role of Maddalena di Coigny elsewhere and she is much more robust with a fuller tone; it's simply this particular "rare" live recording.
Cinguata due anni fa TENORE E SOPRANO ALLA GRANTE ACUTI LEGATI E QUALITÀ E GRANTI APLAUSI OGGI FANNO SOLO RUMORI E LA VOCE NONNE CHIARA MI SPIEGO A MADRE NATURA
The 1966 performance to which you are referring (and which, coincidentally, I just finished RE-listening to yesterday) is the 5 February 1966 Met broadcast, conducted by Lamberto Gardelli, which stars Franco Corelli, Renata Tebaldi, Anselmo Colzani, Nedda Casei, William Walker, Raymond Michalski, Andrea Velis, and Mignon Dunn, among others.
Caballe's lower register is kinda weak here. She had very developed chest voice, but sometimes didn't use it. In this duet, for example, when the notes were low and the music was loud, she was inaudible.
Why do people feel the need to "correct" others? Caballe clearly held the notes longer than he did. This is not a matter of bias. This is simply listening to see which voice hangs on to a note longer. Corelli, and many other tenors, try to give their sopranos a run for their money and some sopranos, simply can hold the notes longer. That is all.
I have never been able to enjoy this famous ( infamous) finally because it has always struck me as a kind of torture test for singers with numerous brutally high passages not worth the effort.
