Cara Anna , Franco era una artista di altri tempi e un Dio in terra... Se lo avessi sentito anche solo parlare como ho avuto io la fortuna di ascoltarlo come mio maestro di canto, ti saresti resa conto che quest'uomo era eccezionale in tutto. Brava Anna che anche tu rendi onore a un vero interprete della vita.
Superb video. I just discovered you. This was the best discussion of Corelli and his singing of Vesti la giubba I have ever heard, not to mention all the insightful comments about the opera itself. Not enough people are aware of the tremendous artistry he had, maybe because he was such a unique physical specimen and gifted with an amazing vocal instrument. He was an incredibly good on-stage actor in person. I was fortunate to see him live in Romeo et Juliette, Tosca and Adriana and nothing since has compared to those performances. I would love to hear more of your interpretations of his work.
@@operaanna Yes, it was truly unforgettable and for me, unmatched. It would be nice to feature some examples of him doing love duets if you can find them because his acting skills along with his stunning vocal abilities can be better appreciated. There are some videos available on-line of his La Scala period prior to becoming a MET regular. You might want to check out the Franco Corelli Information Center. Here is a good Cavalleria rusticana FULL 1963 LIVE (audio + PHOTOS) Corelli Simionato Guelfi Gavazzeni + SUBTITLESru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x981WU3QRYk.html. The audio quality is superb but unfortunately, there is no video. Nevertheless, Corelli's superb vocal gifts are on full display here.
@@operaanna Here is a good example of Corelli's acting with tremendous athleticism on display as well: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-zIOJXCZxjPg.html
Pavarotti made a lot of recordings during his long career in the spotlight which he loved. His voice was a beautiful slender thread of silver. Corelli brought forth a flood of golden tone. Corelli did not enjoy the spotlight and his career and prime was shorter. Shocking how few of Corelli's roles were recorded. His 1962 EMI recording of Canio is truly incomparable.
What a voice - what an aria! You did better than me: I lost it after just a couple of bars! Thank you (again) for such an inciteful and entertaining explanation. It is something I always look forward to.
I'm in my 30s but my case is the most unusual. When I first heard opera 20 years ago, two of the Three Tenors and Roberto Alagna left me cold. (I have changed my mind about them somewhat. The problem with them is you have to be careful which roles to listen to them in). However it so happened that shortly later, I happened to buy 2 CDs sold at a bargain price which converted me for good. One was Giuseppe Di Stefano's CD and the other is Franco Corelli's. For Corelli, any Italian role he can be heard singing complete (except Rodolfo and Edgardo) is a safe bet. When you've heard Canio, move on to his Manrico.
I sympathize. When I was 10 or so, I was sorting my parents' collection of 78s (50+ years ago, so old tech) and played a few. Gigli's "Celeste Aida" made me fall in love with the Italian tenor voice. I later thought that it wasn't his best recording, but the work had been done and I totally failed to have a "normal" teenage. No regrets. As I've said elsewhere: there are many tenors people claim are "the best": Gigli, Björling, di Stefano, Pavarotti, Caruso, del Monaco, Corelli - the list is endless. Many are the best at something: none is the best at everything.
Thank you for presenting this, Anna, and for your insightful commentary. I heard Corelli live on ten occasions and will never forget the 'effect' of his voice and his declamation of the text!
When I attended his Turandot with Nilsson and Moffo in 1967, the reviewer aptly described the experience by commenting that, after a few minutes, he stopped listening and just received it all directly on his spinal chord. The recordings simply can't do Corelli justice, the sound is too confined. The top resembled an atom bomb exploding, this lean pillar of sound that then opened out once he 'hooked' into the very top note. And his extraordinary diminuendo was just as impressive. Yes, once in a lifetime!
Is voice is so much different from everyone his low notes are in low larynx and as his notes get higher his larynx stays low but the notes become brighter and brighter with increasing volume all the way to the top and he has the amazing ability of mezodevoce I know I spelled that wrong when I first heard a recording of him a few years ago I said how does he carry all of that weight in his voice all the way to the top with twice the power of a normal voice!! And add diminuendo balancing acts without cracking. Truly something special going on there.
@@operaanna Он вообще не учился в консерватории. Брал частные уроки. К тому же его старший брат пел как баритон, мог показать и подсказать. И неоценимый вклад в развитие Корелли внесла его жена. Все говорили о её скверном характере, но она была великим учителем для Франко.
@@user-vt5qn2tl3o I've found accounts of his education to be confusing, both asserting that he studied at the Pesaro Conservatory as well as the Spoleto 'Centro Lirico Sperimentale', specialized in opera. No doubt he taught himself with the help of his friend studying under Arturo Melocchi. I've never read anything about his brother, so I can't speak on that.
This epochal aria enables us to see that this man, wretched, but somehow ennobled in his suffering has reached a point where he can no longer be held entirely responsible for his actions.
Apart from impresive voice perfomance FC though young here is a good actor which is rare with opera singers. Check also his Carmen filmed performance...
It's nice to see the younger generation gushing over Corelli. I gush over Corelli too, but in my case it is from a very non technical point of view and in a book. I've been a Corelli fan for over sixty years and have seen him in over 200 performances mostly at the Met. In my book "Reflections from the Audience" I write a lot about Corelli, even devoting an entire chapter to him. For those Corelli fans who were around when he was active you might recall he was not universally admired, especially by the critics. I think things have been turning around as this, and many other videos I've seen on You Tube, show that current opera lovers are coming to appreciate just how great Corelli was. It is my hope that my book and videos like this will get even more people to listen to and come to love that voice that has given me so much joy over the past six decades. If he was around a few decades later, with the advent televised and streamed operas proliferating, his voice and looks have made him a world-wide phenomenon, making the over-hyped Pavarotti pale in comparison. Yes, I know Corelli and Pavarotti are different voice categories, but I'll take Gigli or Bjorling over Pav any day.
Hello! I just found this channel, Im a professional golfer and a big Opera fan for a few years now and I am getting introduced into singing (had 4 lessons only but apparently from before my first lesson I was told from Paolo Coni (Baritone) that I should start singing since my voice was pretty good and a dramatic tenor voice). I am so happy I came across this channel, this is my first video but im sure all of them are as good, cant wait so see them all. Thank you or your job, its exactly what I was looking for, Im sure hard work will pay off and you will get many subscribers, keep it up!
That's amazing to hear!! I'm so glad you're here, and I hope I can help and inspire you along your opera journey 🤸 if you have any requests let me know!
Oh wow! That's a ride! I honestly thought this was going to be an aria that I've never heard before, but I was wrong. Thank you for explaining this! I loved the "she had it coming" bit added!
i was 3 when i said play the man for me mommy it was Pav i wanted to hear. been listening to OPERA 52 years & i LOVE this shit!!! i sing this almost ever day in my house it is just me so no one hears me.
Cinceramente ahora se puede ver y escuchar los comentarios y apreciar la belleza de la voz de Franco Corelli en los años 70 la revista Selecciones hace un reportaje sobre Corelli con el título el campeón de los tenores defiende su título interesante ahí cuentan un poco de su historia era un tenor con una voz especial llena de matices bien a esta señorita le impresiona su interpretación en la ópera ipagliaci porque Corelli realizo otras grabaciones donde podemos apreciar su nivel interpretativo
Efectivamente, esa fue la síntesis de un reportaje muy amplio aparecido en The New York Times nos meses antes, debido a William Honan, que se puede encontrar en Internet en el original en inglés con las páginas escaneadas, que llevan varias fotos poco conocidas de Franco. Una rareza es que en el texto de NYT cuando se menciona a Plácido Domingo, quien reemplazó a Corelli en varias funciones de los años 1969, cuando su impasse por la salud del padre en Italia, mencionan que Plácido es un "tenor mexicano", mientras que en la reducción difundida por Selecciones aparece como "español". El texto original ofrece muchos más detalles respecto la presencia en el Met de Franco Corelli, sus detractores en la crítica, por ejemplo. Saludo.
Just imagine the pain,knowing that your beloved one is cheating you when you are getting ready to act and she denied every thing,A Heartbreaking Opera!!!!
Interesting to think about the psychology behind it too. If he didn't have to immediately shove all of his emotions out of the way AND put on a brave face AND act out basically the scene one more time, would he still have killed them? Not excusing it but interesting to think about 😅
I'm 80 years old, an opera buff since age 14, and back in the 1960-1961 season I became a standee at the old Met, (usually at least once per week) where standing went around the horseshoe shape of the auditorium in the orchestra level, not just in that back as happened when the Met moved to Lincoln Center. There was also a more balanced sound for standees at the Family Circle Level (top floor - known as the "nose bleed" section). I have seen Corelli many, many times, as well as others now considered part of that golden-age period and some past the 1960s, such as Tebaldi, Sutherland, Nilsson, Freni, Scotto, Leontyne Price, Tucker, Pavarotti, Carreras, Domingo, Vickers (the best Florestan of the era), Gobbi, Merrill, MacNeil, Milnes, Corena, Siepi, Tozzi, Morris, etc. I missed seeing my favorite tenor, Jussi Björling, who passed away 09/09/1960 at age 49. Di Stefano I only saw in, I think 1973, at Carnegie Hall with Callas as part of their final joint farewell tour. I just wanted to comment on what I remember of Corelli singing Canio at the old Met. For the Recitar!...Vesti la giubba, at the climatic phrase "Ah....Ridi, Pagliaccio, sul tuo amore infranto" if the tenor is seated, such as at a table, while putting on clown makup, at the beginning of the "Ah...." generally, he stands up as he sings it and remains standing to the end (although, alternatively, he could collapse back in the chair sobbing at the conclusion of the aria). What Franco did was, very different. He communicated directly or intimately with the audience. I was on the side, I guess between row 3 and 5 in the orchestra, and he did the following: He went to the extreme front of the stage, and on one or both knees with his arm or maybe both arms extended, I think, past the prompter's box, maybe even over the orchestra pit, as he sang it and for that phrase (or maybe before it) the stage went dark, or so it seemed, except of a small white intense spotlight on Corelli. It was quite a magnificent moment, and very unusual. The singing was, as always, powerful and full of emotion. Corelli's was the most powerful tenor voice that I heard in person, seconded by Tucker. I never heard Del Monaco in person, only on recordings, so I can't compare him to the others.
Wow, this is amazing to read, thank you so much! I am so bummed to have never seen all of these amazing singers that you name, and the performance of Corelli sounds fantastic. Did you prefer the old MET to the Lincoln Center? Either aesthetically or acoustically?
Thanks for your reply. Acoustically, I think both theaters were fine as I remember. Aesthetically, the "Old Met", to me had more charm, but the New Met, modern with its "starburst" chandeliers that rise up to the ceiling as the lights dim at the beginning of a performance (I assume that they still do that. I haven't been back there since I did not renew my 20+ years subscription seats since the 1997/1998 season - I became a subscriber rather than a standee after 1970, following my U.S. Army discharge - I was a draftee in the military during the Vietnam war). Oh, as an afterthought, I, and others had hoped that the Old Met would be declared a historic landmark or at least not demolished for an office building, and would be used for visiting opera companies. My theory, and that of others as well, is that Rudolf Bing (the Met's general manager during that time period) did not want the Old Met building to stand because if it hosted visiting opera companies, it would compete and take away potential ticket sales from the New Met. I hope that it is okay with you but I'm going to send an email to you (I followed some links and found your email address) with some attachments - can't be done here in RU-vid comments) that you might find interesting. One is a memorial to Licia Albanese that I wrote, which also details my first ever in-person Butterfly performance (it was with her). Another is an analysis of Puccini "oppure" score markings with various examples. Also, I'll include a write-up I did years ago which I also posted here on RU-vid, "DARE TO COMPARE Tosca repeated phrase E muoio disperato in E Lucevan le Stelle" which had very short samples by various tenors but was taken down due to a copyright issue. I was surprised because I thought that a small sample for educational purposes was okay, but i did not challenge it. If you are not interested, its okay, you can just ignore the email. I';m sure you're busy and I don't want to intrude, but I thought that you might be interested, so there is no loss either way. Just so you know, I'll use an email address starting ABJB..... rather than the DLHAPPY2 address that I use for RU-vid.
@@dlhappy2 what a shame about the old house, and while I understand the decision from Bings side (should it indeed be the reason), it's an amazing piece of history that could have been preserved ... I would love to see the things you send over! By all means. And what a shame that they don't allow short clips! The rules are usually that it's under fifteen seconds or you run the risk of getting blocked indeed... If they were under fifteen seconds you might consider putting them up again and disputing it. (Just a thought) Thank you so much for your comments! Looking forward to your emajl
I sent the email to you about 3 1/2 hours ago, but, I forgot to ask you, in the email, just to confirm receipt of it, so that I know that you got it and that it didn't go into your spam folder. BTW just to add to my previous commentary re: Corelli, I mention an incident where applause was really booing and caused a letter to be passed out to standees a week or two later, at the old Met. Back then, standing room was not sold in advance. Standees had to line-up outside the Met, and tickets were sold one hour before curtain time. The letter was handed out to those in line waiting for the standing-room ticket sales. The letter, from Rudolf Bing (General Manager), stated something like "if the decorum of the Metropolitan Opera is not maintained, then standing room will be eliminated". These are my words basically as I remember the contents of the letter. The reason for it was due to what I call "applause as booing". I was at the performance in question (unless there were other incidents as well at other performances that I don't know about). What happened was that in Act I of Andrea Chenier with Tebaldi and Corelli, when Corelli finished the big aria, Un di all'azzurro spazio (aka the improvviso), wonderfully sung, applause erupted, but from a very loud anti-Corelli claque, there were shouts (obviously as loud as that anti-Corelli claque could manage) of "Brava Tebaldi...Brava Renata" repeatedly, over and over again. Tebaldi who was sitting demurely as Maddalena di Coigny on the couch just looked down ignoring the obviously slight to Franco. If anything, she was probably embarrassed that she was being used by the claque as a tool for their rudeness. One other time I witnessed another such rudeness. At the New Met, Franco finished the Werther O nature, pleine de grâce aria and during the applause from the Family Circle came loud shouts from one person, amid the general applause, of "Gedda, Gedda". I think that I know who that was, because later, upon exiting, I saw a standee that I remember from when I used to be a standee, and he was telling another person how Gedda was wonderful in French opera but not Corelli. My opinion is that Corelli may have brought Italian passion in his French roles, but so, what. I saw his Werther and Romeo performances and thought that they were great even if not idiomatic French. I never saw his Carmen on stage but he did it once in a Met free park(s) concert and it too was wonderful (surprisingly, at that concert, he used the score).
Wow, did you see Corelli with Nilsson in Turandot? In that case, what was it like hearing them sing together? What was Nilsson's voice like in the house? Thank you for the accounts you give.
Fantastic analysis! Great choice on using the great Franco Corelli! Of course he had that amazing ring and huge amounts of squillo, which pierces directly into the heart with tears in the voice. You should have shown parts of the finale as well, Corelli is really absolutely amazing at the end of this opera. Of course when Corelli is performing the role, the question is, who in their right mind would choose Silvio over Franco Corelli.
@@muchogusto491 Mario Del Monaco is also good, he is my second favourite in this aria and role, but I prefer Corelli, he had a vulnerability that Del Monaco did not have. Richard Tucker is also good in this role.
I'm enjoying your channel a lot! I really like your "takes" on the different arias that you have presented, and I'm hoping you can feature Jussi Bjoerling in his performance of Vesti la Giubba in La Boheme at some time. I recently acquired a CD set of La Boheme of the classic Bjoerling and De Los Angeles performance. I had an original 33 rpm boxed set of the opera which was lost due to a divorce over 40 years ago. Keep up your great work!!!
The 2nd "Ridi" (laugh) in the big moment is my favorite note of this aria. In the line "Laugh from the pain that poisons of your heart". He's singing the word "laugh" but expressing pain. AND it comes after the big high notes. I love it when the lower, softer note is able to pack the most emotional punch. Wonderful performance - thank you for introducing me to Corelli. These older recordings are so primitive there's no telling how much better it sounded live. I definitely want to see this opera live.
Before seeing the opera live you can watch the full opera, I remastered it with English subtitles, the finale is a must see: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-G6YjvuHINAQ.htmlsi=X4FirkkIqY5PtecJ
Omg yesss and that makes it so heartbreaking! Couldn't agree more about the lower, softer notes. Definitely shows that a singer has put in the time to really think about phrasing and emotional delivery. I hope you get to see it soon, unfortunately not with Corelli 😭 this whole version is on RU-vid though, if you're curious!
Ah Corelli..superb..I had the privilege of hearing him at the Met as a very young child..unforgettable and the best Calaf..many extoll Pavarotti who of course in excellent but for me Corelli..majorly mistreated by Rudolf Bing at the Met ....
I saw Corelli sing Romeo and he did a beautiful diminuendo at the end of his aria, "ah leve toi soleil." I was sitting close to the stage and I swear I saw a look of panic on his face in the middle of the aria and he ran over to the prompter's box. I suspect he went up on his lines, as we say in the theatre.
I love this aria more than Nessun Dorma, the emotion it evokes is heartbreaking and the one thing that makes me nervous is the potential to 'ham it up' with the acting part. Correlli was peerless and if born 30 years later, I'm convinced we'd be looking back at the 4 Tenors in concert - he deserved superstardom - albeit already a legend in the opera world. I think what saddens me most though is being spoilt by these videos - I love the Correlli, Pavarotti and Domingo versions of Vesti La Giubba (not so much Lanza) however if I saw a production of I Pagliacci, I wouldn't be able to stop the comparison, rather than judge it on its own merit. Anyway, grazie Anna e complimenti.
I agree on all accounts! Corelli is unbelievable, and the fact that we can see Caruso and Pavarotti doing it makes it really easy to have a favorite that you compare live versions to all the time 🙈 a luxury if there ever was one. I think Corelli finds a great vulnerability in his performance that doesn't seem affected even though it looks like it's been directed for a film, which get so bad so fast 😂 And thank you! Glad you enjoyed it
This was my mother's favorite aria. She would cry Everytime she heard it. She was the best. Sadly I lost her in 2011 to cancer. This one hits me pretty hard now.
great video! will you cover arias/operas that are written in languages that are not mainstream in opera? personally, i would suggest 'Mint a tenger' from Hunyadi László and 'Hazám, hazám' from Bánk bán, both of which are written in Hungarian
@@operaanna [1] by the way, here are some stuff that may help in this😀: Veronika Fekete singing the revised version of the aria 'Mint a tenger' (originally 'Gyógyszert nem ád szívedre'): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aQE8FI6Kuqk.html Klára Kolonits singing the revised version: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LtcjK3al_Vw.html Beatrix Fodor singing the original version (aria from 3:09): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oRnS5WBN7Bo.html The cabaletta that is usually considered a single excerpt together with the aria: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hr9rvPLwD48.html *The lyrics and translation for the 1935 revised version:* ERZSÉBET Mint a tenger, úgy viharzik, úgy ver szívem, e bús hazában búsabb nálam nincsen senki sem! Szörnyű vétek súlya nyomja hős fiam, Te légy oltalma, légy vezére, Istenem, Uram! Ha tévedett, ha elbotolt, ne sújts reá! Hisz Jézus minden bűnbánónak irgalmad elhozá. Nem készakarva vétett az én jó gyermekem! Ó, óvod őt, az életem csak néked rendelem, ah! Mint a tenger, úgy viharzik, úgy ver szívem, e bús hazában búsabb nálam nincsen senki sem! és minden éber éjszakán egy látomás gyötör: vad vészkiáltás tör felém az álmok mélyiből: Ó, jaj! Most újra hallom, én kárhozott! Jaj! Ki térdel ott a vérpadon? Bekötve homloka... Már sújt feléje villogón a hóhér pallosa...! Gyilkos, megállj! Ártatlan ő, a fiam meg ne öld! Jaj! A bárd! A véres fő lehull! KAR Nagy-irgalmú Isten, nézz le ránk! Térj magadhoz, Asszonyunk, nyisd fel égi szép szemed, űzd el gyötrő álmaid, e véres képeket! ERZSÉBET Hol vagyok? KAR Hölgyeid körében, kezünk híven ápol tégedet. ERZSÉBET És fiaim? KAR Ma még karjaidban. ERZSÉBET Igen, itt lesznek ők... hisz csak álom volt a látomás, Ébred a hajnal s kél új remény. Térdet hajtva kérem őt, a szelíd, a jó királyt, énértem ő szánni fog amikor majd szenvedni lát. Megkérem a jó királyt, ő szán és megbocsájt! Térdet hajtva stb. / ERZSÉBET (Elizabeth) Like the sea, my heart is storming, beating so wildly, in this sad counry, there is nobody, nobody sadder than me. A horrible sin is weighing down on my heroic son, be his protector, be his guide, my God, my Lord! If he was in the wrong, if he stumbled, do not strike down on him, Since Jesus, to all those who repent, your mercy has brought. He did not sin willingly, no, not my good son! O, protect him, and I will dedicate my life just to you, ah! Like the sea, my heart is storming, beating so wildly, in this sad counry, there is nobody, nobody sadder than me. and every wide awake night a vision tortures me: From the depths of dreams, a wild scream of distress rushes towards me! Oh woe, I hear it again now, oh, cursed me! Ah! Who kneels there on the bloody scaffolding? His forehead is bound... The executioner's sword is flashing down upon him! Murderer, stop! He is innocent, do not kill my son! Ah! The sword! The bloody head falls down! KAR (Chorus/ladies) Merciful God, look down upon us! Wake up, our lady, open your sky blue eyes, banish your torturing dreams, these bloody images! ERZSÉBET Where am I? KAR Among your ladies. Our hands take care of you loyally. ERZSÉBET And my sons? KAR In your arms today. ERZSÉBET Yes, they will be here... the vision was only a dream, The dawn awakens, new hope rises. I will ask him on my knees, him, the gentle, the good king, for me, he will pity, when he sees me suffer. I will ask the good king, he pities and forgives! I will ask him etc. *The lyrics and translation for the original version:* ERZSÉBET Gyógyszert nem ád szívedre, ó, anya, csak a király kegyelmi szózata. S ez a király oly jó, nemes, szelíd, törölni kész a sírók könnyeit. De trónusát kajánok környezik, kik buktomat öröm között lesik. Gyógyszert nem ád stb. (szorongva) Gyermekim! ó, mi vár tireátok? A nemes erkölcs tiszta útját félrehagyátok, s vétek ölébe léptetek át. Én titeket szendén nevelélek, mégis e vérbűnt elkövettétek! Míg karom e gyászos szívre lezár, rátok a hóhér pallosa vár. Hah! Térdel ott a vérpadon, bekötve homloka, s fölötte villog szörnyűen a hóhér pallosa. Gyilkos, megállj! Ártatlan ő! Megölni nem szabad! Jaj! nagy ég! nagy ég! Lehullt az áldozat! (földre omlik) KÓRUS Segítség! segítség! meghal ő! Térj magadhoz, asszonyunk, nyisd fel égi, szép szemed, s űzd szívedbõl szerteszét e sötétes képeket. (fölsegítik Erzsébetet) ERZSÉBET Hol vagyok? KÓRUS Hölgyeid körében, ápolunk szelíden tégedet. ERZSÉBET És gyermekim? KÓRUS Még ma karjaidban. ERZSÉBET És élnek ők? hajh! egy más hazában! KÓRUS Tévedsz, asszonyunk, ők élnek, már útban vannak, ezennel itt lesznek a királlyal. ERZSÉBET (magához tér) Igen, itt lesznek ők! hisz csak álom volt, amit láték. Igen, karomba zárom őket, mert bár kezök vértől gőzölög, csak mégis anyjok vagyok. Térdhajtva kérem őt, őt, a szelíd királyt, megszánja kínomat, igen, ő megbocsát. KÓRUS Ha kéri sírva őt, a szelíd királyt, megszánja kínjait, és nékik megbocsát. ERZSÉBET Térdhajtva kérem őt stb. (mind elmennek) / ERZSÉBET There is no remedy for your heart, mother, only the king’s words of mercy. And his majesty is so good, noble and gentle: ready to wipe off the mourners’ tears. Yet his throne is surrounded by ill-meaning enemies who await my fall with the greatest of joy! There is no remedy, etc. (in anguish) My children! What is in stall for you? You left the righteous path behind you, stepping into the realm of crime. I brought you up meek and docile, and you still committed a crime! While I close you to my mourning heart the headsman’s axe is your fate. He is kneeling there, bandage on his eyes, above him is ruthlessly wielding the terrible axe! Halt, you murderer! He is innocent! He must not die! Heavens! Good heavens! The sacrifice is made! (collapses) KÓRUS Help, help, she is dying! Come around, our lady, open your heavenly eyes, and chase from your heart all images of gloom. (they support Erzsébet) ERZSÉBET Where am I? KÓRUS Among your maids: we care for you tenderly ERZSÉBET And my children? KÓRUS You will embrace them today. ERZSÉBET Are they alive? On another land! KÓRUS Wrong you are, our lady, as they are alive and on the way here with the king. ERZSÉBET (recovering) Indeed, they will be here! it was just a dream. Indeed, I will embrace them both, as though blood stains their hands, I am still their mother. I beg him on my knees, his most gentle majesty, to take pity on my pain, and he will forgive! KÓRUS Begging in tears the gentle king, he will pity her pain and certain to forgive. ERZSÉBET I beg him on my knees etc. (exeunt all) (translation of the original version via www.zti.hu/erkel/Hunyadi_Libr_HU_EN.pdf) update: this link seems to have been removed so here is a currently working link to the same version: www.brilliantclassics.com/media/549970/94869-Erkel-Hunyadi-L%C3%A1szl%C3%B3-Sung-Texts-download.pdf *Fun fact: the vision in this aria returns in the finale.*
@@operaanna [2] The revised version of the aria 'Hazám, hazám' from Bánk bán, sung by THE Bánk, József Simándy: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-r2sWQgCW7Wc.html The original version of this aria, sung by Simándy as well: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3OhFz01fBNw.html A slightly different revised version sung by Atilla Kiss-B. in the opera film: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5L_onvZ_9fE.html *The lyrics and translation to the revised version:* Mint száműzött, ki vándorol A sűrű éjen át, S vad förgetegben nem lelé Vezérlő csillagát, Az emberszív is úgy bolyong, Oly egyes-egyedül, Úgy tépi künn az orkán, Mint az önvád itt belül. Csak egy nagy érzés éltetett Sok gond és gyász alatt, Hogy szent hazám és hős nevem Szeplőtlen megmarad. Most mind a kettő orvosra vár, S míg itt töprenkedem, Hazám borítja szemfödél S elvész becsületem! Hazám, hazám, te mindenem! Tudom, hogy mindenem (Simándy) / életem (Kiss-B.) neked köszönhetem. Arany mezők, ezüst folyók, Hős vértől ázottak, könnytől áradók. Sajgó sebét felejti Bánk, Zokog, de szolgálja népe szent javát. Magyar hazám, te mindenem! Teérted bátran meghalok, Te szent magyar hazám! (Simándy) Magyar hazám, megáldalak! Szép érted élni, érted halni, Te szent magyar hazám! (Kiss-B.) / Like an exile, who wanders through the thick night, and in the wild tempest, does not find his guiding star. The human heart is wandering all alone, the gale outside tears it like the remorse inside. Only one great feeling kept me alive under much trouble and grief, my holy homeland and heroic name stays immaculate. Now both are waiting for a doctor, and while I'm pondering here, my homeland is covered with a blindfold, and my honor is fading. My homeland, my homeland, my everything! I know that I can thank you for my everything / life. Golden fields, silver rivers, soaked in heroic blood, flooding from tears. Bánk forgets his aching wound, He weeps, but serves his people's holy cause, My Hungarian home, my everything! For you, I bravely die, you holy, Hungarian homeland! (Simándy) My Hungarian home, I bless you! Living and dying for you is beautiful, you holy, Hungarian homeland! (Kiss-B.) *The lyrics and translation for the original version:* Miként vándor, ki tévedez viharzó éjjelen, Avagy hajós a szélvésztől korbácsolt tengeren... Úgy ingadoz felzaklatott lelkem határtalan S vezércsillag nincs kétségem vad pusztaságiban. Amott hangzik kipusztított hazám rémes jaja, Itt elgázolt becsületem haldokló sóhaja. Oh, mind a kettő orvosra vár S míg itt töprenkedem; Hazámra szemfödél borul, elvész becsületem! Hazám, hazám, te mindenem! Hisz mindenem neked köszönhetem. Hazám, hazám, te mindenem! Rajtad előbb kell, előbb segítenem. Szegény hazám, te mindenem! Rajtad előbb kell, előbb segítenem. Magyar hazám, te mindenem! Rajtad előbb segítenem, Előbb kell segítenem! / Like a wanderer, who's wandering in the stormy night Or a sailor on the storm-lashed sea... My disturbed soul fluctuates without limit, And there is no guiding star in the wild fields of my doubts. There sounds the scream of agony of my destroyed home, Here sounds the dying sigh of my honor. Oh, both are waiting for a doctor and while I'm pondering here; A blindfold falls onto my home, my honor is lost! My homeland, my homeland, my everything! I can thank you for my everything. My homeland, my homeland, my everything! I must first, first help you. My poor homeland, my everything! I must first, first help you. My Hungarian homeland, my everything! I must first help you, first help you! . . I hope this can help you in the future 😀
@@operaanna I'd love you to react to Mint a tenger! Ist is considered one of the most difficult arias for dramatic soprano in Hungary, including a large amount of coloratura. Also look into the recording with Sylvia Sass from the 1980s, she's incredible. Hunyadi László, a mid-19th century romantic historical opera set in mid-15th century Hungary was composed by Ferenc Erkel who also scored the Hungarian national anthem. His most famous opera is Bánk bán, considered the national opera in Hungary. A tenor aria of the titular character, Mint száműzött, ki vándorol (Like the exile who wanders) is considered the national aria of Hungary. Bánk bán was made into a film in the early 2000s, but the quintessential Bánk bán was József Simándy who sung the role many times in the 1950s to 80s. You can find it on RU-vid.
@Opera Anna Both ; lyric Pav. and Spinto with dramatic color in the voice Corelli are very different types and a singer like Corelli, or dramatc Del Monaco are a better fit for it live in the opera house then Lyric Pav. or Bjoerling, I did see all three of them in the opera house, going back to 1957 when I was 17 years old, BTW This is a studio recording of Corelli, it's not a live opera as such, "all RAI films" are done in studio a studio recordings and then the video is added and or dubbed in, Del Monaco has a RAI video of Trovatore , opera isn't one size fits all, Pav. and Bjoerling was a better fit for Boheme then Corelli it's amore lyric less verismo opera, so voice type matters and some are just better at a certain type ofg opera, Corelli is a better fit for Chenier and Turandot then Pavarotti was, though Pav. sang the aria so well, an aria is one thing an entire opera is quite another, Pav did it on stage complete but Corelli was a greater CALAF the role fit him like a glove, just as Boheme fit Pav. and Bjoelring so well and Forza fit Tucker, Corelli and MDM in the old days, and the great Leonard Warren, the baritone it fit so well in the 1950's, when they owned it, Tucker and Warren both Americans, Warren died in 1960, (march 4th) at age 48 on the stage while singing with the tenor Tucker and soprano Tebaldi in Forza , he was our greatest Verdi baritone at the time, so sadly in front of a packed opera house in NY at the Met. while singing he suddenly stopped, fell and was passed away, my friend was there, they stopped the opera, Warren was sensational along with the then younger baritone robert Merrill, as back then we had more great singers.
Del Monaco and Corelli, are better in Pagliacci then a more Lyric type like Pavarotti but in lyric opers's like Boheme Pav. is of course great as his signature role, so was Bjoerling and Gigli. so many fine ones long ago like Bergonzi, Tagliavini, Peerce and Di Stefano with (in the 1940's and 1950's) his great Diminuendo in Faust and Tosca.
You scoot past the most difficult part of this aria! I was lucky enough to have sung it on stage (no competition Franco or Pav - strictly amateur!) I found the most difficult part was keeping control of the voice when supposedly losing control of myself - just before the last phrase “il cor” - “your heart”!! NOT EASY!!!!!! Wonderful opera for an ageing tenor - which I am! Lovely series by the way, have you ever thought of doing a synopsis of “La Tra”?
I didn't realize that would be the hardest part! But like I said at the beginning, I know how difficult it can be to balance vulnerability/despair/sadness with your singing technique 😵😵💫 at a certain point while watching I am just too moved to say anything anymore. It's such a stunning performance. I would love to look at Sempre Libera! I should start doing full synopses of operas so we can have a glimpse of all the gorgeous music 🔥 I'm afraid it would take so long since my aria videos are already getting ridiculously long 🙊 have you sung anything from it?
@@operaanna You're probably right, a full synopsis would be too much, but Sempre Libra would be good. It was explained to me many years ago about how the leitmotif for Violetta is in 3/4 time whereas that for Alfredo ...?! Sang Gaston many, many years ago and had fun in the Chorus where the bestest of fun can be had!!🤗Please keep it up, you're a breath of fresh air in this often very pompous world!
I like to think he never got far enough in his makeup job-for one, he keeps trying things and ultimately his grief just keeps consuming him. Going for a walk? Time to collapse sobbing. Doing your makeup? Get as far as two lines to demonstrate your tears and immediately give up. Also, while his wig isn’t rave-worthy, I have seen goofier ones. (Iirc there’s a picture of Tucker that looks full birthday clown, it’s heart-chilling in the worst, wrong way 🥲) Corelli’s wig is self-deprecating enough without being as cringy as it could have. I also do like that we don’t get a demonic clown. Between the fuzzy muppet rat on his head or the potential serial killer clown get up he could have donned, I will take the former. Anyway besides all that, I would love it if Corelli started trending! At least we have Pavarotti out there for us opera fans, I’ll take anything 😅
Yeah, that's a good take! I'm so used to that being the beginning of the aria that I was just confused by the time he finally picked up the pencil. I love that idea though, and it makes his throwing off of the wig at the end more connected (although I definitely could see why he did it regardless).. Thank God it wasn't one of those multi-colored ones like you say. That would've been too much for me. If we can get Corelli up to the popularity of Pav,I I'd be literally so happy.
@@operaanna Me too. An artist of his caliber deserves to be much more universally appreciated. One of the less appreciated aspects of Corelli's vocal production was the effortlessness of it. For example, the huge dramatic sound of Mario del Monaco was produced with much more total body physical effort than Corelli's. Del Monaco and Corelli both utilized the lowered larynx technique (although Corelli claimed to do so intermittently by allowing his larynx to "float" up and down which no doubt was the reason he never lost the very top of his upper register the way del Monaco did).
Thank God I'm not the only one! I felt so weird at my reaction. I think I really wanted to be emotional but the fact that the camera was there changed it into something totally different 😅
Corelli e'stato il piu' grande tenore del 1900, i giovani purtroppo hanno conosciuto solo Pavarotti, per il semplice motivo che ha fatto pochissime Opere teatrali, aveva una bella voce, ma totalmente inadatto al teatro, pochi sanno che ha iniziato la carriera operistica sui trenta anni, non sapeva leggere e scrivere la musica, andava ad orecchio, e' stato il piu' grande tenore microfonato della storia, ha portato l'opera fuori dal teatro, cantando nelle piazze e negli stadi, questa non e' opera........ ora diciamo chi sono stati secondo me i migliori tenori che hanno cantato nel 1900, Corelli- Pertile- Caruso-Gigli- Lauri Volpi- Bergonzi- Del Monaco-Di Stefano - Bonci-Shipa- Martinelli-Pavarotti-Domingo-Giacomini-
Anna, that performance is superb. But I've only begun to love Corelli's fine work. You're always a joy to learn from, too. Here's the last science from my favorite performance of Pagliacci , including a strange mistranslation(?) I would have corrected. The translator makes Tonio say "The play is over" instead of "The comedy is finished." So that eliminates the irony from the opera's last line. Tonio calls the story a comedy when there's nothing humorous in it. Please forgive me if I nitpick. But mistranslations annoy me when I attend an opera. Years ago, I went to Verdi's La Traviata sung in English. During the Brindisi, the drinking song, Alfredo sings "Libiamo," which means "Let's drink." But someone replaced "Let's drink" with "Come, join us." So, when I heard that, I asked myself "For what?" ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yXOHuZyYwQs.html Another detail surprised me, too. Compare Raina Kabaivanska's voice to how it sounded in about 1982 when she sang Cioicio San in Verona, Italy. Maybe I just haven't heard her voice's full range. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-d_ku6l-Ungs.html
Sólo queria agregar una cosa, que nadie menciona en los análisis, y es que este video de Corelli, no está en vivo, es una grabación y sobre eso está actuada... por eso la total perfección y no es para quitarle mérito, que Corelli es de mis favoritos. Sólo lo digo, ya que, algunos comparan estas presentaciones actuadas, con otras que son realmente en vivo de otros cantantes, lo cual no es lo más justo.
Magnificent video, remember that corelli studied with the great master of Mario del Monaco Arturo Melocchi hence his great vocal power, shading the aria of canio as one of the best in history. I would love to see an analysis of Mario del Monaco's version, best regards.
The scene in Watchmen. First time I noticed the mistake, it should have been "Pagliacco". Interesting scene nevertheless to revisit in the context of the opera: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vd7JWxRE5ao.html
JUSSI BJÖRLING IS THE, YET, UNMATCHED TENOR.... CORELLI BELONG TO THAT RARIFIED TOP, VERY TOP, NOTCH TENORS.... respectfully, Pagliacio.means "man*-of-straw"... I know you know.... Thank you, we need more of you
I must confess, I never saw I Pagliacci. It is one of these operas where one aria and, in this instance, one character, is more famous than the whole work. The character is mentioned in Watchmen, it has been mentioned when Robin Williams committed suicide, this very aria is featured in The Untouchables (after Sean Connery gets murdered) and other films...
Absolutely, but I think the whole opera would be performed more if it was a full length opera instead of a two act that needs to be paired with something else. It makes putting it on in a big house really expensive
@operaanna I think Zeffirelli made a movie adaptation of it, but it's with Placido Domingo and I'm not going to watch something with this vile bastard.
My voice teacher liked Pavarotti. But he idolized Corelli. When I brought up Jussi Bjorling, he said, "don't talk to me about Bjorling." He said Bjorling made it seem so easy that he was from another planet.
Great analysis! My heart goes to Pavarotti. If you want, it would be interesting an analysis of Nedda's aria "Vivono lassù": the text is so moving and so significant: the desire of freedom in Nedda, compared to the possessive love of Canio.
Dear Opera Anna, It seems obvious that your swooning during Corelli's performance that you would probably fall into his arms rather than Silvio's. A very nice walk through and explanation of the aria by you has to be commended. Here is something else you may not know; all RAI performances are prerecorded and the videos lip-synched. Corelli also never cared too much for the role of Canio. Perhaps he thought he was too handsome to sing and play Canio. He only sang the opera about 7 times in 15 years at the Met
HAHAHHAH HELL YEAH!! Who wouldn't?? I just want to nestle into his Adam's Apple and live there 😂🤪 I didn't know that! That's a good tidbit to know for the future. He did an excellent job lip-syncing for sure, and honestly I wish I could sing something this fantastically while not caring too much for the role. I think the fact that he's so handsome makes it even more heart breaking! Gorgeous guy, loves his girl, in touch with his feelings... I see no red flags here 😆
@@operaanna You may be interested in some of his interviews or his co hosting with Stefan Zucker here on You Tube which I think are pretty interesting. Enjoy
@@operaanna I think it is wrong to say that he did not care about the role. He cared deeply about all of the characters and their emotions, that he performed. The problem was that he experienced a bad event on stage when he performed the role, just as he was starting out in his earliest years. Franco Corelli did not have a lot of experience in his early years. From the first time he performed a full opera he was already part of the circuit of the bigger opera houses, he was quickly signed to the Rome opera house practically with his first appearance, he had never even performed a full opera in his life, before his first appearance at Spoleto in Carmen. He was singing Pagliacci in Rome during only his second year of his career, but something was off that night, he and the conductor was just completely out of sync the whole time, it was a constant struggle. The conductor, became so frustrated that he just left in the middle of the opera. Corelli with very little experience, was left alone on stage, he had to complete the opera by himself without the conductor. This was a terrible experience for Franco Corelli, the very next day he went to the Rome opera manager, to cancel his contract, he seriously wanted to quit singing after the experience. The manager simply refused his cancellation or quitting, and everyone around him at the time had to convince and plead with him to keep on going. After this incident he was always apprehensive about performing Pagliacci, the incident also vastly exaggerated his stage fright. Interestingly there is a review that survives from that night, and it is not actually a bad review. During his time at the Met they were far more interested in putting him in tights then oversized clown suits.
Anna you shouldn’t be talking Pavarotti in the same sentence with Corelli,,,you’re comparing apples and oranges,one is a lyric,the other Spinto/Dramatic…you being an opera singer should know that.
Sorry when did I mention Pavarotti? And they both sang the aria, so I have all freedom to compare them in regards to how it is sung, regardless of Fach.
If I may come with a recommandation to You: Your voice is fairly deep for a soprano - perhaps not as deep as Vesselina Kasarova, but probably suitable for the role of Sesto in "La Clemenza di Tito". Now the trick in that aria is the clarinet. Mozart knew of no other clarinette than the basset clarinette. That is the reason it is not specified in the score - because Mozart invented the clarinette for opera and had the only two musician playing the damned piece of kindling - Gebrüder Stadtler. Now the clarinette cannot play forte in the low register, and the overtones in the low register splices into the overtones of a soprano of Your type. I the high register it cannot play piano, but the overtones compete with the singer, so she cannot hear herself - which is disconcerting. Lots of great singers get that aria smashed by the wrong clarinette. What You could do is to find a young talent on the clarinette - I know that woodwind in the USA is put to shame by the brass section - but it is a large country. The real problem is WHAT basset clarinet. The normal one is tuned in A. But they exist C, bB and F. The tuning is of importance because it decides where the "break" between low and high register is situated. The trick is possibly to find a clarinette that suits your voice. You might even descend into the basset horn in F? What do you do when the instrument cannot play forte - you double up - the Stadler brothers! If you are ever auditioning for the role of Susanna (not Zuzana -2, which is a slovakian artillery gun - and over the top in opera): Please use the right score and supporting instrument. That goes for all late operas of Mozart. In the "Cosi fan tutte" the tuning of the clarinettes is downright weird. But to me it indicates that the clarinettes of Mozart were basically tuned differently. Fiordiligli uses a clarinette in B natural. Normally the it is in A. And as there is a switch in the opera, where the sisters have a change of heart. It would be interesting to see if the clarinette follows the switch. One should remember that ALL Mozart does is tailor made to the singer or the musician at hand. You can get pretty close, if you know what you are doing. Now Mozart is not perfect, but the last years of his life was a frenzy - as if he knew his time was limited. No I won't buy You a cup of coffee, but possibly I can come with a hint that is more helpfull - I doubt it though for in the world of theater talentless idiot have a tendency to dominate - and don't get me started on the critics.
I would love to sing Sesto! Ive sung Annio before but hopefully Sesto one day! I'm not sure how much control ill have over the type of clarinet being used in the orchestra however... Additionally, I sing Cherubino in Le Nozze but could see myself singing Susanna at some point, because I think at the end of the day I'm a Zwischenfach, nice and flexible! The standard for Mozart is usually Bärenreiter, so I guess I don't know what you mean by the right score for that... But again, types of instruments in the orchestra aren't my decision 🤸 interesting convo to have with the conductor though!
@@operaanna Well Cecilia Bartoli flattened David Levine on that. When Diana Damrau sang Susanna it was in a totally different score. But then You might ask Cecilia (say it was my suggestion) and she might be able to scrounge up the score. You could sing Barberina - and there are NO small roles in Mozart.
Every 3 seconds seems a bit of a stretch 😅 but like I mentioned in the video I also didn't understand my laughing at the end of the aria. I think the camera in my face made it difficult to be vulnerable in that way, bc I can assure you that I definitely cry whenever I watch this all the way through Also Corelli's singing makes my soul happy. ❤️
I have seen a few arias by Corelli and must say he is impressive. But alas, nobody will ever get close to Pavarotti's performance. He does so many things easily with his eyes and face. And I think he had the better feel for singing the aria, putting breaks in where they were needed, but singing through when not. That last scene where he looks at his face in the mirror after smearing his face with white make-up is one of the most heart-breaking things I have ever seen.
Corelli had the perfect voice for this role, the ending of the aria is not just suppose to be sad and heartbreaking, it should be distraught. Vesti La Guiba is still relatively easy, but the ending of this opera is very dramatic, far too dramatic for Pavarotti's lyrical voice and style. Franco Corelli is absolutely amazing at the ending of this opera, because he had a dramatic voice. I have a comparison of the ending of the this opera between Pavarotti, Corelli, Del Monaco and Domingo if you are interested, or just look up No! Pagliaccio Non Son with Franco Corelli. If you see the ending you would understand why this role requires a dramatic voice. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v9OfvKCG6IE.htmlsi=2B0pZQTt9tdpNnIa This version used is not one of Corelli's best versions of Vesti La Guibba, he was still quite young here. Of course Pavarotti was great lyric tenor, one of the best, but this was simply not the role for him. Here is a great live version: Vesti La Giubba: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-t0lHMyr5ys0.html
Can't wait to check out your comparison! I would tend to agree, Pavarotti's voice was too lyrical and not dramatic enough. A lot of these things have to do with the stage direction, which I think can have a very strong influence on the interpretation.
@@operaanna That is very true, for example some of the staging for this film is a bit questionable. But you cannot really beat the cast, voices and the singing. I think people often hear and listen to arias out of context. A lot of lyric tenors sing Vesti La Guibba the aria quite well. But they don’t really fit into the role where the aria comes from. Canio is not some idealistic young man, a playboy duke or a poor poet that requires a lyrical voice. He is slightly older, with a darker personality. When you have unhinged or emotionally distraught characters in opera they are not just suppose to appear sad and resigned. That how the lyric tenors tend to interpret this aria and some other arias as well, such E Lucevan Le Stelle. I think one of the worst offenders for Vest La Guibba is Jussi Bjorling, he looks and sounds so sad and resigned after finishing the aria. You would never believe that this man is about to kill two people in cold blood right on stage. Of course Bjorling was an amazing singer, but this would certainly not have been a role for him. The character is fighting madness, grieve and some very bitter thoughts, it is not suppose to be pretty and sad. It should be harsh, gut wrenching and mad. Dramatic singers are far better at these types emotions. And of course when you arrive at the finale, they can deliver the most believable and dramatic ending.
@@ZENOBlAmusic i love your insight into the interpretation!! It's absolutely imperative as you say that we believe what happens next and a well calibrated dramatic voice will bring that over much better than a lyric. Bjorling sounds always so sweet and a bit melancholic, which worked great for other roles but here...not so much. I think the thing you say about his having a darker personality in general is so key to understanding him. Thanks so much for your insight!
@@ZENOBlAmusic I thank you for your explanation. You (and Operaanna) obviously are far more versed in the intricacies of opera than I am. It is just that Pavarotti gets to me, he has that effect. A certain vulnerability, maybe that appeals to me. I got hooked on Callas when I saw Philadelphia if you can believe it, and maybe this sounds a bit trivial, but it opened a world full of bliss for me. Cause unlike any other musical style, opera is forever. I never ever feel less astounded and emotional and destroyed and exhilarated about it than the first time. But who knows, maybe if I knew too much about the technical side of opera singing, I wouldn't enjoy it that much.
Corelli is a monster of talent and for many opera lovers the most talented tenors of all time but...but in Pagliacci Del Monaco was second to none, not even to Corelli.
How about the acting? Franco acts like a freaking superstar here. Mario could never do what you watched in this clip. I love Mario too btw. Full package is still Corelli
@@samricher For me. Forza del destino and Pagliacci MDM. Tosca, Trovatore, Carmen, Turandot Corelli. Ernani, Don Carlos Corelli and MDM same level. Otello MDM(Corelli not perfomed Otello). All in all I prefer Corelli but MDM very very very close.
Corelli interprets this magnificently. The only voice I can truly compare him to is Jussi Bjorling. Both were absolutely fabulous voices that put many modern tenors to shame. If you don’t know Bjorling, check him out. I think that you will enjoy his singing as well.
For me there is noone better than del Monaco in this aria.The intensity and dramaticity in his acting and voice is out of this world.Corelli is an amazing tenor too but i much prefer him in "lucevan le stelle" Toska
T;his would have been a great upload were it not for that woman trying to display her scholarly personality. Let Corelli sing the piece, then explain it; or vice versa. But stop interrupting the performance with your own interpretation. Eh gads!
As "that woman" I'll repeat what I've said to everyone who doesn't like the format of my content. I've provided a link to the full video as always in the description box. These videos are copyrighted so I'm not allowed to show the whole video, because it goes against the idea of fair use and value adding. Not that it's relevant but this video was especially difficult to keep from being flagged so I had to cut the clips shorter than I would've liked. Additionally I'd like to add that I have never claimed to be a scholar or anything close to the type. In fact this channel is about making opera more approachable so I'd rather not be associated with it. 😂 If "scholarly personality" was a dig because of how I present it then... That is the point. I understand your wanting to watch the full performance through, but unfortunately you're on the wrong channel for that. My content is for people who want to learn and be helped in understanding what they're seeing, not those who already know what's going on.
@@operaanna I have wrongly expressed my self. I was referring to Franco Corelli's singing in this video. Maybe because I find it somewhat musical or maybe because it is not a live performance. If I were to think of other roles for him, the first thing that comes to mind is Calaf or Mario Cavaradossi.
Lanza was a studio artist, similar to Bocelli. In fact Bocelli has sung more in theatres then Lanza ever did. Corelli was never just loud, he had one of the biggest tenor voices of al time but he still sang with great finesse for his vocal size.
I am Italian. I hope for a good google translation. I am sending you and others the link to what I personally consider to be the best opera singing performance of all time. Franco Corelli, January 21, 1967, Teatro Regio di Parma , from Puccini's Tosca the aria "E lucevan le stelle". Never, ever has an auditorium (and we are talking about an auditorium of opera lovers at the highest level) gone into such a frenzy. The only mistake on the part of the audience was made by those who asked for an encore. God manifests himself when he wants and when he does it you can't ask him for an encore. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-T-RrG4sfdis.html&start_radio=1
Thank you so much for this!! Grazie mille per questo video. Non ho fatto un 'Aria Explained' per 'E lucevan le stelle' su OperaAnna, allora questo è l'esempio perfetto!
@@operaanna Thank you. As I have already had the opportunity to say elsewhere, Corelli's "disciogliea" "dissolves" me every time. I'm a fairly strong and emotionally balanced man, but when it comes to that point I have to fight to hold back the tears. There the paradox occurs: we go beyond perfection. Many kind regards.
