I well recall this in 1968 on black-and-white television. Good to be reunited with it. Heard him in Forza and Werther in Minneapolis with the MET. Unmatched, unforgettable, very moving experiences.
Не было и нет, равного ЕМУ ... И быть не может!!! Ни красотой и великолепием голоса, и ни красотой и великолепием внешности!!! Ибо ОН --- ЯВЛЕНИЕ!!!❤️❤️❤️...❤️❤️❤️😇🙏🙏🙏❤️
This performance, and how Corelli prepared for it, were written up in an article by Robert Kotlowitz called "The Fragile Ego: A Tenor Named Corelli" for _Harpers_ magazine, June 1968. Ed was usually "appointment tv" in my house but for some reason we hadn't seen it that weekend and I am _just now_ seeing the performance Kotlowitz was writing about.
Met him years ago at the shrine audtorium in Los Angeles which is a huge venue no mic.His voice was "huge"it cut all the way to the top seats.Went back stage to get his autograph he was the most humble man you'd ever want to meet.He Mario Lanza... Mario Del monico... Geddaa few others tower over the tenors today no comparison. Thats why they say the 50's was the "Golden Age Of Opera"As i am now 74 I will always remeber that voice.He was a tenor for all ages!!!!!!!!
@@marcgiardina4043 Thank you for sharing that wonderful memory with me! There is nothing better than getting an autograph and standing next to someone like that. They're bigger than life... it's a dream come true! 💖
Precioso ,precioso precioso ,alucinante oirle cantar,..bravísimo,es un fuera de serie, lomejor que he oido,cada vez que lo escucho en cada canción que canta ,me gusta más
Thank you so much for this beautiful performance! I was hoping you would upload this! I love to see the great tenors on the Sullivan show. Please also upload Franco Corelli singing "Torna a Surriento" from an earlier episode. Thank you for these wonderful treasures!
Indeed, but I want to assure you that in person, the brilliance and size of his top notes made an impression that I can only describe as startling. I jumped in my seat when, while singing Romeo, the sound of Corelli's high Bnaturals reached my ears.
not quite! it was recorded! the technique was not the best for his tone of voice... that's why he ended up lowering down original keys from songs! already in 1971, he was singing la donna è mobile in B flat! that's terrible, it means his voice was tired... he was great but not for so long! which means his technique sucked! Look instead what Franco bonisolli, Kraus and Angelo loforese did! they never lowered down a key! NEVER! what corelli did was totally disrespectful to opera and composer! If you admire this guy, means that you have not completely understand what opera singing is about!
@@Jeff4014 Respectfully, I dissent. He sang heavier repertory than the three you mentioned for a very respectable 20 years. He stopped when he knew he no longer had it, which is a sign of self-awareness. He probably got some bad advice from Lauri Volpi beginning in the late 60s - that might have contributed to some decline in standard in the 70s. (Or his voice might have just worn out.) But he steadily got better and better through the 50s and 60s, and his improvements were clearly the result of conscious choices in technique rather than natural growth. Lo Forese was a respectable singer with a very fine technique, but lacked the charisma. Bonisolli was a bit of a freak of nature. Kraus had a dependable technique, but extremely masky, which makes his singing really not to everyone’s tastes. The word ‘acidic’ comes to mind. Bjorling, Pavarotti, Gigli, Gianni Raimondi, and Caruso all transposed even signature arias down half a step. Did they have poor techniques?
@@ER1CwC Pavarotti did have a bad technique... or haven't you heard that for each concert he would crack in at least 4 arias? Loforese lacked the charisma? wow, it really looks that you have very little knowledge of opera singing. Go listen vesti la giubba from Loforese. Bad advice from Lauri volpi? wow, it really looks that you have no knowledge at all of who was Lauri volpi, although he didn't have the best technique he would never suggest anybody to do what Corelli did... Kraus masky?, wow, poor analysis.... Go listen to salut demeure from Kraus, core n'grato, and Je crois entendre encore. You clearly don't know what an amazing technique Kraus had, a tenor who respected the composer's score! another amazing thing that had Kraus that only a few have is the perfect diction and pronunciation of the lyrics! amazing! no wonder you like Corelli, I mean he had a great voice! but didn't last long and that's ok, but SINGING la donna è mobile IN B FLAT IS SACRILEGIOUS! not even pavarotti did that! not even pavarotti! Opera singers other than singers must be respectful towards the composer as well! Corelli wasn't! Go watch, O PARADISO from 1970 sang by corelli, and see how awfully he hits that B flat! B FLAT! NOT EVEN B NATURAL! and so hard he pushes that he had to stop the note at half! Great singers are GREAT SINGERS bonisolli, Kraus, loforese, salvatore fisichella... but not corelli (at least after the 70's) nor pavarotti, go and re study the great singers, and re discover what opera singing is all about!
@@Jeff4014This conversation is going nowhere, so I am ending it. I would be curious to hear if you have the same views in 10 years. But four things. 1. It is unfair to single out Corelli’s performances after 1970 as representative of what he was capable of. He was a major player in the 1950s and 1960s generation - the generation of Callas, Tebaldi, Nilsson, Del Monaco, Di Stefano, Bergonzi, Bastianini, etc. - and he retired just around when most of the major singers of his generation retired, give or take five years. In fact, he outlasted many of his colleagues. So, time span during which his voice lasted was well within the mainstream of great singers of his day. (The people you cite all had lighter voices than he did. So it makes sense that their high notes would come easier for them.) 2. I’m not Pavarotti’s biggest fan, but he had one of the best vocal techniques. Almost everyone agrees on this. 3. Even Kraus would describe his technique as masky. 4. It’s ok to object to transpositions, although I really don’t think it’s a big deal in the context of farewell concerts. Tebaldi transposed some of her arias during those same concerts. (In any case, the other transpositions he made during the prime of his career, such as in Di quella pira and Che gelida manina, were well within the mainstream of contemporary operatic practice.) But one really undercuts one’s own argument by mentioning ‘respecting the score’ and Boniselli in the same breath. He might have had great high notes, but he was the king of interpolating high notes that made no harmonic sense. Those interpolations are way more problematic musically speaking than modest transpositions. He didn’t make it to the top because he progressively became a circus performer.
@@ER1CwC If your technique makes you transpose an aria a half step down or even a full step down in 1970, it means that your technique is getting your throat and chords tired! don't you understand? it's that simple! i repeat his voice was beautiful like STEEL but you have to be willing to sing at your full level only for 15 o 20 years like Corelli... I repeat! he was great! but that's not a long term technique! singing la donna è mobile in b flat, it's terrible not even kauffman does that! corelli sang la donna è mobile in b flat. Plus his diction is not clear, I am italian, and there are great tenor who had an amazing pronunciation and good voice placement! without having to lower down la donna è mobile to b flat.
Thank you. Difficult to choose between he and Del Monaco although if course it isn't possible to really compare, as the latter became a dramatic tenor from his prime onwards. I slightly prefer Del Monaco because he was able to do what I had only ever before heard Gigli do with his voice. Go from so very soft and gentle to full power in a moment, then back to very soft and gentle. An extremely rare ability to do it so perfectly.
Perhaps you haven't listened to Corelli that much, he was far better at soft singing, legato and diminuendo then Mario Del Monaco. Both Del Monaco and Corelli had dramatic voices. Del Monaco went more into dramatic repertoire and Corelli more into spinto repertoire. Corelli was more refined then Del Monaco. But both of them were amazing once in a lifetime voices that you will not hear today.
you compare Del Monaco with Gigli?? Gigli could do anything with his voice that's for sure and, i'll take Corelli over Del Monaco all day long and, Pavarotti over the lot of them.
Just like variety and talk shows today. Artists such as ballerinas, opera singers, sculptors, painters, conductors, choreographers. All over late night and evening television.
Invece che fare paragoni dovreste inchinarvi davanti a tanta serieta , maestria studi e sacrifici.....perche Corelli ha fatto del bel canto la sua ragione di vita fino a che ha scelto di farlo perche del pubblico ha sempre avuto il massimo rispetto evoleva donare tutte le emozioni possibili.
Il triste destino d'amor non posso mai dimenticar, poichè vieni tutto il mio core a chi fa 'si tanto penar. Il pegno m'aveva giurato ed io credevo d'onor, eppure m'ha tutto scordato e ride del mio dolor. Ma t'amo ancor e tu lo sai, per te darei la vita al cor. Sì, t'amo ancor, per me sarai, sempre sarai fiamma d'amor. Sì, t'amo ancor, e tu lo sai, se pur mi fai morir. Oh, dimmi che il cor mi darai un'altra notte e poi morir! Un'altra notte e poi morir!
![Megan Thee Stallion - Roc Steady (feat. Flo Milli) [Official Video]](http://i.ytimg.com/vi/HozPPyqW0dY/mqdefault.jpg)
Franco Corelli, one of the greatest tenors of all time.
Had it all..
The greatest, i've never heard such of a bealtiful voice like this
And for me too
1. Pavarotti
2. Corelli
3. Björling
@@josuerestrepo1476pavarotti could never. He was just lucky enough to have more popularity, marketing and hunger.
Can there be anything more beautiful?Franco Corelli-the best of all the tenors of all time!!!!!
really~~
@@yjbk21 Yes!,there are only 2 tenors Corelli And Pavarotti the rest are crippled
Del Monaco ?too heavy,Di Stefano? an unsophisticated Pavarotti,Jussi?didn't live enough but was amazing,Guedda out there with these 2
Ah the unparalleled Corelli. What a treat.
One of the finest tenors to ever live!
I well recall this in 1968 on black-and-white television. Good to be reunited with it. Heard him in Forza and Werther in Minneapolis with the MET. Unmatched, unforgettable, very moving experiences.
By the way, the accompaniment is not bad. The conductor breathes with Corelli, something that even certain conductors at the Met didn't do.
Bravo! A great voice. Best in the last century.
My God!!! Such a beautiful voice! Such a perfect... perfect performance!
Magnificent singing, handsome looks..what a combination! 😘🎹
The clarity of voice is exceptional, as I've discovered tens of years too late.
Sound, color, and performance are astounding, especially for 1968.
To think we could once tune in on our television and watch a performance like this! That was democracy!
Не было и нет, равного ЕМУ ... И быть не может!!! Ни красотой и великолепием голоса, и ни красотой и великолепием внешности!!! Ибо ОН --- ЯВЛЕНИЕ!!!❤️❤️❤️...❤️❤️❤️😇🙏🙏🙏❤️
Sublime in sound and appearance, yes!
I am agree with you
Така е Красив ,висок и невероятен глас сила ,яснота и красота в тембъра
❤❤❤❤❤❤❤❤
У меня фолос как Марио Дел Монако как стомана 4 октави бъил сейчас незнаю😊
Every tenors challenge when they hear Maestro Franco Corelli. Dramatica & Spinto tenor.
This performance, and how Corelli prepared for it, were written up in an article by Robert Kotlowitz called "The Fragile Ego: A Tenor Named Corelli" for _Harpers_ magazine, June 1968. Ed was usually "appointment tv" in my house but for some reason we hadn't seen it that weekend and I am _just now_ seeing the performance Kotlowitz was writing about.
So much passion in his singing, the crowd couldn't even contain themselves at the end! Thank you for posting this!
What a voice...That took my breath away! Thank you for sharing! 💖
Met him years ago at the shrine audtorium in Los Angeles which is a huge venue no mic.His voice was "huge"it cut all the way to the top seats.Went back stage to get his autograph he was the most humble man you'd ever want to meet.He Mario Lanza... Mario Del monico... Geddaa few others tower over the tenors today no comparison. Thats why they say the 50's was the "Golden Age Of Opera"As i am now 74 I will always remeber that voice.He was a tenor for all ages!!!!!!!!
@@marcgiardina4043 Thank you for sharing that wonderful memory with me! There is nothing better than getting an autograph and standing next to someone like that. They're bigger than life... it's a dream come true! 💖
Absolutely magical, magnificent and it brings tears to my eyes. Bravo Franco🎉
bravissimo, bellissima la canzone, SPLENDIDO FRANCO COME SEMPRE, ELEGAMZA E BELLEZZA INARRIVABILI\\
Thank you Master!!!! It's a pleasure to hear you
Precioso ,precioso precioso ,alucinante oirle cantar,..bravísimo,es un fuera de serie, lomejor que he oido,cada vez que lo escucho en cada canción que canta ,me gusta más
Magical combination of voice and physique. Truly the prince of tenors.
Mi favorito. ¡Qué linda voz!!
This is why no current opera singers approach this level- the time-honored and proven Italian vocal instruction and techniques aren’t being taught!
Do I?
Thank you so much for this beautiful performance! I was hoping you would upload this! I love to see the great tenors on the Sullivan show. Please also upload Franco Corelli singing "Torna a Surriento" from an earlier episode. Thank you for these wonderful treasures!
You can't put a price on that voice, it's priceless. I was floored by his version of Nessun Dorma.
He sings with such ease. Incredible!
Yes similar to Caruso, Mario Lanza, Pavarotti, Placido Domingo, and many tenors.
@@NellieKAdabaDomingo and Lanza, nope.
That ending brings chills ,tears and goosebumps 🥹🥹🥹🥹
Indeed, but I want to assure you that in person, the brilliance and size of his top notes made an impression that I can only describe as startling. I jumped in my seat when, while singing Romeo, the sound of Corelli's high Bnaturals reached my ears.
¡Que voz tan linda!
Magnífico! Espléndido! Maravilloso! El único e inigualable!
Bravo Franco 👏👏👏👏👏👏👏👏
Thank you very much for posting this wonderful song performed by great tenor!!!
Franco Corelli fantástico sublime ❤❤❤❤🥰🥰🥰🥰
Arguably the best Tenor voice in the history of Opera as an art form.
No argument.
I agree but with the noteworthy exception of the great Enrico Caruso.
Unparalleled level of maestry...
👏👏Que placer escucharlo, muchas gracias 🌹🤗🇨🇱
His powerful voce, his squillo and his ample fiato are remarkable. Greetings.
The best. Thank you truly
Ohhhhh my gooodddd!!!! What a freaking performance!!!
Grandíssimo! Thanks
A masterclass.
not quite! it was recorded! the technique was not the best for his tone of voice... that's why he ended up lowering down original keys from songs! already in 1971, he was singing la donna è mobile in B flat! that's terrible, it means his voice was tired... he was great but not for so long! which means his technique sucked! Look instead what Franco bonisolli, Kraus and Angelo loforese did! they never lowered down a key! NEVER! what corelli did was totally disrespectful to opera and composer! If you admire this guy, means that you have not completely understand what opera singing is about!
@@Jeff4014 Respectfully, I dissent. He sang heavier repertory than the three you mentioned for a very respectable 20 years. He stopped when he knew he no longer had it, which is a sign of self-awareness. He probably got some bad advice from Lauri Volpi beginning in the late 60s - that might have contributed to some decline in standard in the 70s. (Or his voice might have just worn out.) But he steadily got better and better through the 50s and 60s, and his improvements were clearly the result of conscious choices in technique rather than natural growth.
Lo Forese was a respectable singer with a very fine technique, but lacked the charisma. Bonisolli was a bit of a freak of nature. Kraus had a dependable technique, but extremely masky, which makes his singing really not to everyone’s tastes. The word ‘acidic’ comes to mind.
Bjorling, Pavarotti, Gigli, Gianni Raimondi, and Caruso all transposed even signature arias down half a step. Did they have poor techniques?
@@ER1CwC Pavarotti did have a bad technique... or haven't you heard that for each concert he would crack in at least 4 arias?
Loforese lacked the charisma? wow, it really looks that you have very little knowledge of opera singing. Go listen vesti la giubba from Loforese.
Bad advice from Lauri volpi? wow, it really looks that you have no knowledge at all of who was Lauri volpi, although he didn't have the best technique he would never suggest anybody to do what Corelli did...
Kraus masky?, wow, poor analysis.... Go listen to salut demeure from Kraus, core n'grato, and Je crois entendre encore. You clearly don't know what an amazing technique Kraus had, a tenor who respected the composer's score! another amazing thing that had Kraus that only a few have is the perfect diction and pronunciation of the lyrics! amazing! no wonder you like Corelli, I mean he had a great voice! but didn't last long and that's ok, but SINGING la donna è mobile IN B FLAT IS SACRILEGIOUS! not even pavarotti did that! not even pavarotti! Opera singers other than singers must be respectful towards the composer as well! Corelli wasn't!
Go watch, O PARADISO from 1970 sang by corelli, and see how awfully he hits that B flat! B FLAT! NOT EVEN B NATURAL! and so hard he pushes that he had to stop the note at half! Great singers are GREAT SINGERS bonisolli, Kraus, loforese, salvatore fisichella... but not corelli (at least after the 70's) nor pavarotti, go and re study the great singers, and re discover what opera singing is all about!
@@Jeff4014This conversation is going nowhere, so I am ending it. I would be curious to hear if you have the same views in 10 years.
But four things. 1. It is unfair to single out Corelli’s performances after 1970 as representative of what he was capable of. He was a major player in the 1950s and 1960s generation - the generation of Callas, Tebaldi, Nilsson, Del Monaco, Di Stefano, Bergonzi, Bastianini, etc. - and he retired just around when most of the major singers of his generation retired, give or take five years. In fact, he outlasted many of his colleagues. So, time span during which his voice lasted was well within the mainstream of great singers of his day. (The people you cite all had lighter voices than he did. So it makes sense that their high notes would come easier for them.)
2. I’m not Pavarotti’s biggest fan, but he had one of the best vocal techniques. Almost everyone agrees on this.
3. Even Kraus would describe his technique as masky.
4. It’s ok to object to transpositions, although I really don’t think it’s a big deal in the context of farewell concerts. Tebaldi transposed some of her arias during those same concerts. (In any case, the other transpositions he made during the prime of his career, such as in Di quella pira and Che gelida manina, were well within the mainstream of contemporary operatic practice.) But one really undercuts one’s own argument by mentioning ‘respecting the score’ and Boniselli in the same breath. He might have had great high notes, but he was the king of interpolating high notes that made no harmonic sense. Those interpolations are way more problematic musically speaking than modest transpositions. He didn’t make it to the top because he progressively became a circus performer.
@@ER1CwC If your technique makes you transpose an aria a half step down or even a full step down in 1970, it means that your technique is getting your throat and chords tired! don't you understand? it's that simple! i repeat his voice was beautiful like STEEL but you have to be willing to sing at your full level only for 15 o 20 years like Corelli... I repeat! he was great! but that's not a long term technique! singing la donna è mobile in b flat, it's terrible not even kauffman does that! corelli sang la donna è mobile in b flat.
Plus his diction is not clear, I am italian, and there are great tenor who had an amazing pronunciation and good voice placement! without having to lower down la donna è mobile to b flat.
Numero uno !!!!!! Forever best !!!!!
The very best of all tenors!
The best
Brilliant performance by one of the very greatest Tenor voices of all time.
what a voice👏👏👏👏
What a voice AND looks..mama mia .......
GRANDÍSSIMO . . .
Corelli..L'UNICO!!!
Sooooo great! Bravo Franco Corelli
Me after finding out someone just uploaded a HD video of my favourite tenor: 🥲👏
Absolutely fantastic!!!
Beautiful
As a friend used to say, "When Corelli sang, there wasn't a dry seat in the house."
@Enoch Tse or…
Ha! Ha! I have a buddy that, after he hears Franco sing, "And everybody got naked for Franco!"
Immenso.
GRANDISSIMO FRANCO CORELLI !!!!
Gigante ! Numero UNO !
I have several C D's of this awesome tenor👍💥voice, the best👍
Amazing
가장 날카로운 멋진 스핀토 가장 아름다운 목소라 드라마티코
Thank you.
Difficult to choose between he and Del Monaco although if course it isn't possible to really compare, as the latter became a dramatic tenor from his prime onwards.
I slightly prefer Del Monaco because he was able to do what I had only ever before heard Gigli do with his voice. Go from so very soft and gentle to full power in a moment, then back to very soft and gentle. An extremely rare ability to do it so perfectly.
Perhaps you haven't listened to Corelli that much, he was far better at soft singing, legato and diminuendo then Mario Del Monaco. Both Del Monaco and Corelli had dramatic voices. Del Monaco went more into dramatic repertoire and Corelli more into spinto repertoire. Corelli was more refined then Del Monaco. But both of them were amazing once in a lifetime voices that you will not hear today.
you compare Del Monaco with Gigli?? Gigli could do anything with his voice that's for sure and, i'll take Corelli over Del Monaco all day long and, Pavarotti over the lot of them.
Sei veramente il Principe dei tenori ❤
who is the king?
@@hermanadosporelarte907 evidentemente non sai che in Italia è sempre stato chiamato così.. Se leggi bene le sue biografie lo capirai
@@hermanadosporelarte907 Caruso.
@@hermanadosporelarte907 Simply the best.....Del Monaco!
Beautiful.Tank you for posting♪♫•*♫♪ ¨*•♫♪
Quel voix il transporte toute les émotions de la chanson
Grande Franco. Sempre il più grande.
❤❤❤❤❤❤❤❤❤❤
Браво❤
all-time great...superior to....well...why make enemies.....Corelli was a Giant!
Superior to every other Tenor. Only a deft wouldn't reckon it.
Grande voce!! Forever!!👍👍👍
Meraviglioso!! ♥
Спасибо.
Holy Smokes! That is some fire!
Franco Corelli il più grande❤❤❤
Excelente tenor de expresión fácil y elegante muy bien timbrada . Bravo. Gracias
Dios te bendiga en su universo.
The Doc
Gracias
ED SULLIVAN RULES PERIOD.
💪🏾💪🏾💪🏾💪🏾💪🏾
Para mí, el mejor
Just like variety and talk shows today. Artists such as ballerinas, opera singers, sculptors, painters, conductors, choreographers. All over late night and evening television.
What shows today display artistic talent like this?
America’s Got Talent?
@@sw5114 Sure, sometimes! Remember Susan Boyle? She knocked everybody's (including my) socks off. Sounded just like Rita Gorr.
HUGE.
God’s gift to humanity!
The best!
Maravillosa voz Franco corelli me entusiasma sublime bravisimooooo
Invece che fare paragoni dovreste inchinarvi davanti a tanta serieta , maestria studi e sacrifici.....perche Corelli ha fatto del bel canto la sua ragione di vita fino a che ha scelto di farlo perche del pubblico ha sempre avuto il massimo rispetto evoleva donare tutte le emozioni possibili.
Dios mío!!!!!!
Absolutely the greatest.
Tremendously good
non ho parole adtte per elogiarlo.
WHAT VIBRATO!
In his hay days, no one, and I mean no one looked better in a pair of tights! Not to mention he was a world class tenor.
“World-class” is an understatement. He was outta this world!!
His nickname among Italian women was Golden Legs or Golden Thighs.
❤️❤️❤️❤️
Bellooooooooooooooooooooooooooooooooo!!!!!!!!!❤❤❤❤❤❤❤
please more corelli color hd thanks ❤
Thanks
Great Video
Che meraviglia.
Franco saying "Take that!" at the end!!
Yeah, I saw that! He'd been very worried about this performance and I think he was a little surprised he actually did it!
@@ksol1460tv Well, he was usually worried about every performance, but I would think this would be a piece of cake compared to Calaf or Manrico!!
...minden szavával egyetértek...
Wer der Beste ist/war ist letztlich Geschmacksache.
Italian god ❤
Il triste destino d'amor
non posso mai dimenticar,
poichè vieni tutto il mio core
a chi fa 'si tanto penar.
Il pegno m'aveva giurato
ed io credevo d'onor,
eppure m'ha tutto scordato
e ride del mio dolor.
Ma t'amo ancor e tu lo sai,
per te darei la vita al cor.
Sì, t'amo ancor, per me sarai,
sempre sarai fiamma d'amor.
Sì, t'amo ancor, e tu lo sai,
se pur mi fai morir.
Oh, dimmi che il cor mi darai
un'altra notte e poi morir!
Un'altra notte e poi morir!
Sto cercando lo spartito. Non riesco a trovarlo da nessuna parte. Lo avete?
Wow wow wow
Oh my God !
Please upload also the O soave fanciulla of Franco Corelli and Dorothy Kirsten
Wow!
난 프랑코 코렐리가 엔리코카루소랑 스테파노랑 역사상 최고의 테너라 본다
He has a dramatic-like lower range but his higher range is that of a spin to tenor.