Che fortuna ho avuto nel poter seguire questo grande artista in Arena. (ero corista) per diversi anni. Tenore tra i gradissimi con voce vellutata, tecnica eccellente che gli permetteva di interpretare diversi ruoli, in particolare da lirico spinto eroico, ma anche in parti meno pesanti come ottimimo RODOLFO, DUCA DI MANTOVA ecc.. Non si faceva mai pregare a concedere bis sulle romanze più note PIRA/NESSUN DORMA/DONNA È MOBILE /IMPROVVISO/CHE GELIDA MANINA ecc.. Bel fisico da atleta e sulla scena era il personaggio non secondo a nessuno. Per questo forse era un po' inviso dai Direttori per il suo carattere esuberante di grande personalità,( rubava la scena) a quel tempo CECCHELE, GIACOMINI, MARTINUCCI, successivamente GIORDANI, potevano competere con lui alla pari. A mio modesto parere questi sono stati i tenori che hanno chiuso il periodo d'oro della lirica in Arena di Verona. Cordialità
I saw Corelli, Bonisolli and Pavarotti in London during the 70s and 80s, and also Domingo, Carreras, Bergonzi, Gedda and many other great tenors. I gave up trying to compare them decades ago - what's the point? Just appreciate them for their wonderful talents. What I would say is that Bonisolli's middle range when I heard him in L'Africaine was the most powerful and thrilling sound I have ever heard in the opera house.
Se fossi stata un soprano, avrei cantato sia con corelli, che con bonissolli, senza esitazione, se mi avessero chiesto di cantare con Pavarotti, magari la scena romantica, durante le prove, avrei con una scusa fatto fare corto circuito all'impianto di luce e poi sarei andata via, ma visto che sono un uomo, mi limito a dire che Pavarotti non mi e' mai piaciuto a parte la grande generosità per gli amici e colleghi con rispetto
Wisdom comes with age.........It is important to realize that comparisons here on yt are only ever made by those who are not singers themselves. Many probably don't even have basic musical knowledge, but they judge, oftentimes disrespectfully, professional singers who sing with long training and full commitment.
Bonisolli was one of the best tenors of his generation. I have his first long playing where he shows not only a beautiful voice but a cotrol of dynamics that is truly amazing. Only Franco Corelli was able to make diminuendos in very high notes. Given their's huge voices, that technique is unherd from the new generation of young tenors.
Why? Because he was crazy. He could punch a conductor or just leave the stage during the preformace. General managers could hardly accept such a behaviour. The fear of loosing money was stronger.
@@andrzejzborowski4920 Your facts are no better than your illiterate spelling, Sir! Where do you have any documentation of Bonisolli "punch a conductor or just leave the stage during the preformace" [sic] ???? Facts: Bonisolli stormed out of a Vienna State Opera Trovatore *public dress rehearsal* in 1978 - after throwing a prop sword in the direction of the old Nazi control freak Herbert von Karajan. The Vienna State Opera CONTINUED TO EMPLOY Bonisolli for another 35 years, you freak! Bonisolli after that 1978 incident was also frequently employed in all the best German opera houses, including the wealthy and prestigious opera house in Hamburg and the Deutsche Oper Berlin - as a big star, and for decades. It is only places with lower performing standards at the time, like the Metropolitan Opera, that had their heads up the proverbial when it came to Bonisolli. Yes he left the stage in Taormina in 2002 because of a bad conductor - in 2002 at the end of his life and his career. That obviously had no effect on anything. news.bbc.co.uk/2/hi/entertainment/2211579.stm By all means, continue to wallow in your own ignorance, Sir.
Bellissima resa di questa non facile aria in cui il legato é importantissimo. Fiati smisurati e facilità di emissione notevole. Averne oggi di tenori simili !!!
I first heard Bonisolli in the pirate recording of the 1969 La Scala "Siege of Corinth" with Sills and Horne. At that time he was a splendid Rossini-Bellini-Donizetti tenor, complete with coloratura. He was to develop into a thrilling dramatic tenor, and I am grateful for having the opportunity to hear him, still vocally splendid, as Manrico at the Met in 1990...
Y sin tanta publicidad como los tenores de hoy o tantos que se dicen cantantes cuando solo los hace el mercantilismo bravissssssiiiiiimmmmmo Maestro Granddddiiiisssssiiiiimmmmo Bonisolli.....
You are correct both Franco's had huge voices, but Bonisolli was a true Dramatic Tenor and Corelli more of a spinto with dramatic qualities. Bonisolli's voice was deeper and bigger than Corelli's and just as powerful but because of his temperment and stage antic's was never taken seriously and was vastly under rated . Bonisolli in my opinion was 2nd to none. R.I.P. Franco.
Meiner Ansicht nach die schönste Tenorstimme mit unwahrscheinlichen High-Notes,wunderbarer Agilität und schmeichelndem Timbre .Außerdem ist er der schönste Mann der Opernbühne.Warum hat man Tenöre wie Pavarotti,Bergonzi,Carreras,Gedda,Domingo immer bevorzugt.Grandios der Traviata-Film mit Anna Moffo.Bravissimo Franco Sie sind der GRÖßTE!!!!!!!!!!
siempre he apreciado mas a Bonisoli que Pav. su canto era mas puro y sublime y messo voce y su coloratura cambio a lo largo de su carrera para bien , me hubiese verlo cantar en los 4 tenores en vivo virtual, Bonisoli, Wunderlich, Krausy el gran Lanza !que delicia hubiese sido!
Bravissimo Franco. No si puo parlare di Escalais, Tamagno, Lauri-Volpi, Corelli senza Bonisolli. Il problema era semplice: Bonsolli era un gigante, ma stava vivendo con i moscerini, e gli mattavano con milla morsi.
The 'big three' enjoyed exaggerated reputations, entirely due to their careers peaking just at the time when technology and marketing techniques hit the right level.
It was HvK that made it impossible for Franco to do the Travatore in question here as HvK took a tempo at a ridiculous speed and Franco got angered and threw in sword in the orchestra pit and walked off . He was replaced by Domingo which was a big mistake , they should have replaced HvK.
Bonsolli should have thrown the sword directly at HvK. Too bad it wasn't real... He would have spared many singers (and audiences) a lot of pain. Maybe Ricciarelli would still sing like an angel.
@Dekyi1210 I only saw him in videos, but must say that I agree with you. His voice had that wonderful color an elasticity that even if full and strong, gave him the tools to manage hyper high notes. He was great Bravo!!!!!
Do you by any chance have his Giorno di Pianto from this performance. I was stunned by the high D here, tossed off like it was nothing. I have always admired his exciting, thrilling, and fearless way of singing. Thanks for posting this- Ernesto
es muy interesante lokeme cuentas. de esto esta lleno el ambiente del canto. araiza y vargas son dos grandes voces, pero a veces en esta carrera se encuentra uno con ese tipo de gente. es duro para un cantante.
Come si permette un cretino calzato e vestito che intendo non nominare perché gli darei troppa importanza, tacciare con parole offensive un magnifico ARTISTA splendito come Franco BONISOLLI, per giunta non è più in vita, forse gli piacerebbe avere, se è addetto ai lavori, un decimo del TALENTO che aveva Lui. Meno male che cene sono pochi , che soffrono d' Invidia perché come si dice in gergo è una brutta bestia. Ciao GRANDE MAESTRO.
E' stato un grande tenore drammatico ma qui impartisce lezioni di canto a parecchi chiacchieroni della lirica. Quando si ha voce, fiato, flessibilità, modulazioni legato ci si possono permettere anche delle licenze "liriche". qua e là ....
@raigekimaru If you've never heard Bonisolli live then you really can't make a judgment on his voice, i heard both Corelli and Bonisolli live and believe me Bonisolli had the bigger , rounder ,deeper tenor. Corelli had more squillo there-fore his tenor sounded more brilliant and piercing as you mentioned of Nilsson.
Io non ho molta conoscenza di musica ma il Signore tenore franco bonisolli in questa aria e un capolavoro di bravura !!ma come si fa acriticare volutamente per fare intendere chi sono gli esperti e sono loro che capiscono!! Bah!!
NON CI FACCIA CASO! CI SONO MOLTI "FINI INTENDITORI" CHE NON DISTIGUONO GLI SPAGHETTI DAI FILI DEL TELEFONO!! PERO' SONO DEGLI OTTIMI INVIDIOSI!! CORDIALITA.
Considering that Bonisolli's voice was quite a lot heavier than Pavarotti's (even though Pavarotti eventually ventured into heavier roles), Bonisolli having more volume isn't that surprising.
Pavarotto lowered down all his roles half step down, and even like that, che gelida manina in B he cracked, don carlo in B he cracked...let alone singing in the high c which Bonisolli always respectede amd never lowered down until his death
Giuseppe Di Silva 28 seconds ago Bonisolli was by far a greater tenor than Placido Domingo. Domingo was MUCH lesser - but always heavily hyped and promoted - an essentially dull tenor voice with always a very limited top. Bonisolli grew to be a far better Otello than Domingo. Bonisolli's technique and sheer tenor sound were always infinitely superior.
Hes definitely Great... but you forget how strong a very young Pavarottis voice was, ever hear his early recordings?... and he sings with more passion.
@Etnalleb It depends on when you heard them. Corelli started late but immediately began singing the heaviest roles. Late in his career he sang lighter parts. Bonisolli had a rather samll voice at first but he looked good and had great high notes. His voice got bigger every time I heard him. Alas he started to lose finesse. He began to strut around the stage and shout. He always had a great C.
@Etnalleb I would disagree, I never heard Bonisolli live, but Corelli could match the volume of Birgit Nilsson, who had the largest, most piercing voice of any singer in the 20th century.
@Etnalleb he is right Corelli had a bigger instrument bonisolli was more of a lyric than corelli a big voice surely but not as big as corelli. i would say bonisolli was a big lyric/light spinto where corelli was more spinto to heroic.
@cantanteporsiempre pues mira vivia en usa un tiempo 10 años aprox y asisti a unos conciertos y opera de domingo alla le dicen algunos criticos wheres the do y lo critican por que la mayoria de sus operas o las cantadas por el las transpone medio tono o un tono abajo del usual para poder cumplir con el registro establecido ni araiza ni vargas hacian esto y eran mas aclamados en europa cos a q molestaba a domingo quien etsa muy relacionado con las cias disqueras... cont...
If you want to understand Franco Bonisolli listen to Richard Margison. Margison started off as a folk singer. Then he became a Gilbert and Sullivan tenor. Then a lyric doing roles like Rodolfo. Lastly he sings heavy drammatic parts in the big theaters. Or try Alan Titus. When I first heard him he sang tenor - sort of. Then he sang Belcore. Then he became a big voiced Verdi Baritone. Now he a heldenbariton and sings Wotan. Bonisolli started as a lyric and later became a drammatic. Old story.
Sometimes WAY OVER THE TOP (check the DI Quella Pira ENCORE available on the complete TROVATORE video & he even sounds stronger the second time around) plus a LIVE Hamburg OTELLO from the 80's. Anyway, although, I feel Corelli had the more beautiful sound, Bonisolli certainly was a match for him in power & BOTH died within a day or so of each other! Where. for the better or worse (many support the latter view but not myself) are voices & personalities like these fellas in our time? Bonisolli also seemed not to have the fear factor to deal with as did Corelli, at least not to the same, often debilitating, extent.
@cantanteporsiempre yes he avoid all coment about fco araiza y he try to ruined his career because the jealous feelings about the popularity of araiza in germany and austria where araiza was very popular in opera thats why araiza no work too much in la opera metropolitan new york
@cantanteporsiempre por lo q trato de boicotearlos muchas veces y prueba de ello es que ahora vargas tiene muchisimo trabajo dado q domingo y pavarotti ahora estan retirados y ya no hay por q molestarlos inclusive araiza se rebelo contra domingo en la presentacion de una opera en el met causandole desasosiego a domingo por q no acataba las indicaciones de las cias disqueras donde domingo tenia mucha influencia.
Carissimo Andrea lupini, sono pienamente in linea con lei, primo era un tenore molto bravo , non una voce di quelle da effetti speciali come aveva franco corelli, ma buoni acuti. tenuti con destrezza, coraggio da vendere, scena e sopratutto bellezza, anche di voce
Per quanto riguarda i critici, devono dire qualcosa e fare il loro lavoro che era, e', sarà sempre quello che oggi e' gossip, si ricordi che anche nel cinema e' stato più o meno così.
