The director was Donald Voorhees; the fragment was broadcast on March 24, 1964, by Bell Hour Telephone. The collaboration between Franco and Regine Crespin was going to take place that same year in the studios through Il Trovatore, in Rome, where she was replaced by Garbiella Tucci. Months later, in August of that year, a recording of Tosca began in Rome under the baton of Gabriele Santini, but Regine Crespin fell ill and the recording was cancelled. Tito Gobbi would be Scarpia. More than ten years ago, some fragments of that canceled record were made public, here on You Tube, for one or two days only.
Maravigliosi cantanti la Regine Crespin anche Franco Corelli!!!!. penso che questa opera "Ballo in Maschera" non fu cantata nessuna volta per Corelli?....ma la canta in modo magistrale...BRAVI!!!!!
caro loggione 1984, vero, Franco aveva qualche sbandamento..umane mancanze....ma l'emozione di questa voce la trovi per caso negli anonimi interpreti moderni di cui non si ricorda ne la qualità, ne la faccia.....niente di niente, passano tra fraseggi sgrammaticati di aartisti stranieri messi di forza nei cast dei teatri italiani, solfeggiano e basta....allora è giunto il momento di far cantare i primi violini, tanto per certe persone e certi direttori è meglio, quindi a teatro andremo a vedere le scene e i costumi, non certo per emozionarci.....se siamo a quaste valutazioni....addio al teatro d'opera italiano...
Regine Crespin aussi, à sa manière, était belle. Honte à Yann Moix d'avoir écrit qu'elle avait un visage de concierge. Il n'y a pas que les top models qui peuvent être belles...
@@vincentpavesi1679 , no, non c'e'. Una cantante assai sopravvalutata ma non lo dice nessuno. Dal vivo trasmetteva poco. Un critico musicale famoso, Rodolfo Celletti, a proposito di Carmen, disse che c'era un modo di cantare il ruolo di Carmen da brune e da bionde e la Carmen di Crespin aveva i capelli ossigenati.
@@vincentpavesi1679 Garzi (Carabosse) trascorre il suo tempo a scrivere parole denigratorie sulla Tebaldi... e, in seconda battuta, sulla Crespin. Lui e il suo alter ego GiudiciadAnna. I fan della Callas sono così: pensano più a criticare le presunte rivali (Tebaldi sopra tutte) che ad ascoltare la loro Diva e a vivere una vita normale.
Both of these huge-voiced singers each in superb voice, but perhaps because of the cameras (televised opera was still in its early days then) there is very little real excitement here. Both stars play it very safe, no chemistry, no electricity...
Crespin, an under- rated and diva and not as well known as she deserves to be, did indeed have a huge voice. I think she and Corelli are superbly well matched...
Crespin was also a great Brunnhilde in Wallkure! So her voice was huge! She was a great artist. And I love this recording of the duet so, because Corelli recorded the arias in Ballo. But he never performed the role on stage. I believe that was because the end of the first act (E' scherzo o follia) was too florid, and not his true repertoire. Also, in the early 1960s at the Met, the role was practically owned by Carlo Bergonzi. But he was truly glorious in this duet with Crespin!!!
I heard Nilsson and Crespin together onstage at the Met in Walkure. In the last act I have no doubt who had the bigger voice. Nilsson was like a huge laser beam. In o herstes wunder, Crespin shook the walls. She had the largest voice I’ve ever herd and that includes Nilsson, Farrell and Jones.
I often have mixed feelings about Corelli, but here I love the sound the sound of the voice; too bad he never sang the whole role. And I'll forgive the errors for that sound.....and much pleasure from Crespin here
It is indeed possible to have mixed feelings about Corelli. In general, I am quite a fan, but i believe he is massively overrated, and i believe the people that believe Corelli is the standard of "true opera singing" for tenors are toxic to the operatic art form and also are generally misinformed about the vast history of the tenor voice prior to the 20th century. I love Corelli, and id kill to sing like him.. His talent is incredible, and his vocal style is visceral and exciting, but it only represents a small portion of opera which was made for his singing style. Pre-verismo opera did not have voices like Corelli's, and yet it was immensely popular, so to blame opera's decline in popularity purely on a perceived decline in the quality of singing doesn't add up to me. Ill admit the 90's and 2000's were not good decades for top quality singing, but that is not purely because they didn't sound like Corelli. "True" opera existed long before Corelli and sounded scarcely like Corelli. Corelli's voice and his contemporaries were surely a part of "true" opera as well. I do not mean to diminish him and his art. But I also hate to see years and years of opera prior to Corelli and after Corelli being diminished for not being like him. That is all.
@@meto2854 I adore his powerful voice but that is not all. In som e roles, as for example Calaf, he is splendid but in others not so much. Still he is of our legendary tenors.
@@aaronmckone8973 Corelli's my favourite tenor, but I totally agree with this. He was a one off and should in no way be considered reprentative of what a 'real tenor' should sound like. Opera singing today unfortunately isn't as good as it was 60 years ago, however much of the apparent decline in standards of singing over the previous half a century owes to the perverse expectation that all tenors are supposed to sound like Corelli or Mario Del Monaco, when it fact the two were aberrations even in their own time.
@@angelicinterment Hm I'm not sure about this. Although it's true that Corelli's technique was largely self-taught, he developed his technique from listening to singers who came before him -- notably, Del Monaco and the Melocchi school, but also Caruso and Pertile. And very heavy tenors like Gino Penno were active in Italy when he came onto the scene. (I don't think Penno was as much as an influence on Corelli as the others I've mentioned.) Moreover, Corelli was arguably relatively _lyric_ in his approach as a result of Lauri Volpi's influence. (Plus the weight of his voice wasn't dramatic either). I'm inclined to say that modern singers would do well to learn from Corelli's technical approach without trying to copy his sound. And in terms of style, I'm inclined to say that his approach to Italian repertory was perfectly mainstream. His problem was that he sang French lyric repertory as if it were Italian music. And his French diction was bad. But even then, I consider those experiments guilty pleasures. And I do respect that he did try to 'branch out,' even if I think we would be better off with a Corelli Des Grieux than a Corelli Faust.
E dicono che Pavarotti non conosceva il solfeggio... Corelli gli fa una concorrenza spietata! Commette una serie incredibile di errori musicali, spesso non si trova con l'orchestra, a volte canta altre parole ( 0.31 - 0.34), ( 2:46 ), e poi quel taglio ( 5:00 ) è veramente ingiustificabile.
loggione1984 carissimo aspettiamo con ansia una tua interpretazione!!!!Ma dico io con tutte le capre che cantano tu vai a cagare il cazzo ad un MOSTRO SACRO ASSOLUTO della lirica MONDIALE!!!!aspettiamo il link con la tua interpretazione siamo tutto orecchie🎶🎶🎶🎶🎶🎶
@@philippeparra7015, Mozart's Countess (wow, what would that have been?). birgitnilsson (what a pretentious name!) does not understand her unique voice.
Lousy acting? This is not from the fully staged opera. The duet was done for a TV show. 1964 Bell Telephone Hour. Bell Telephone Orchestra and Chorus Donald Voorhees
![LUCIANO PAVAROTTI & LEONTYNE PRICE [Un ballo in máschera]](http://i.ytimg.com/vi/S6Hdh0lSYrU/mqdefault.jpg)
![LUCIANO PAVAROTTI & LEONTYNE PRICE [Un ballo in máschera]](/img/tr.png)
What a fantastic duet, especially when sung by such artists!
Thank you.
Fantástico!!!!!!!!!!!!!!Mil gracias❤❤❤❤❤❤❤❤❤❤❤
Absolutely stunning.
Grande Franco Corelli. Rimane ineguagliato! ❤
Corelli è spettacolare!! Anche lei è bravissima!!
The director was Donald Voorhees; the fragment was broadcast on March 24, 1964, by Bell Hour Telephone. The collaboration between Franco and Regine Crespin was going to take place that same year in the studios through Il Trovatore, in Rome, where she was replaced by Garbiella Tucci. Months later, in August of that year, a recording of Tosca began in Rome under the baton of Gabriele Santini, but Regine Crespin fell ill and the recording was cancelled. Tito Gobbi would be Scarpia. More than ten years ago, some fragments of that canceled record were made public, here on You Tube, for one or two days only.
Outstanding performance by the fabulous Regine Crespin. What a voice!!
Great duet, great voices. Corelli is as always amazing
Edtupendo!!!!! Sin Palabras!!!!❤❤❤
Un merveilleux duo avec de beaux chanteurs plein de charisme !
Meraviglioso Franco Corelli ❤il Re dei tenori tutti
Corelli, the last of the really great tenors. The greatest of them all...
Look up Luciano Pavarotti!
@@rogerpropes7129 Not to compair!!!!!!
@Ces Yal Jussi Bjoerling nr one not Caruso
There have been many great tenors. Franco was one of them. Many to enjoy and appreciate. Franco was quite special and I do love others as well.
Bellissimi !!! FANTASTICO !!!
What a glorious voice she had.
Franco Corelli inigualable.
Thank you
Grande CORELLI
Two huge sounds singing one of most acclaimed Verdi duets!
fantastico los dos, CORELLI nunca canto ballo in teatro.. la voz esta fresca, sana, bonita, potente...en estos años era INSUPERABLE!!!!
Maravigliosi cantanti la Regine Crespin anche Franco Corelli!!!!. penso che questa opera "Ballo in Maschera" non fu cantata nessuna volta per Corelli?....ma la canta in modo magistrale...BRAVI!!!!!
What a pity! Franco did not sing in Un Ballo in Maschera!
I wonder why he didn’t. He later said he got stuck in Bing’s French repertoire trap.
MERAVIGLIOSI!!!
Bravoooooo
Dos grandes voces y un maravilloso Dúo.
Régine Crespin.
Born: February 23, 1927, Marseille, France
Died: July 5, 2007, Paris, France
Sempre Bravo Grande Meastro Franco Corelli!!!
merveilleux!
Great!
Superbe duo ! Deux très grands … quel dommage de ne pas avoir l’intégralité de l’opéra
Bravi, bravi !!
Oh golly, how he is missed.
Красота
Magnificent Corelli
Layla Ibrahim dopo di loro pavarotti e price hanno fatto meglio...franco grazie a dio che sei nato
2 MONSTRUOS DE LA LIRICA !!!
caro loggione 1984, vero, Franco aveva qualche sbandamento..umane mancanze....ma l'emozione di questa voce la trovi per caso negli anonimi interpreti moderni di cui non si ricorda ne la qualità, ne la faccia.....niente di niente, passano tra fraseggi sgrammaticati di aartisti stranieri messi di forza nei cast dei teatri italiani, solfeggiano e basta....allora è giunto il momento di far cantare i primi violini, tanto per certe persone e certi direttori è meglio, quindi a teatro andremo a vedere le scene e i costumi, non certo per emozionarci.....se siamo a quaste valutazioni....addio al teatro d'opera italiano...
¡CORELLI...NO MORE!
il valore dei due interpreti non è discutibile...Francone fa un po come gli pare,riguardo al solfeggio🤣🤣🤣🤣🤣
Regine Crespin aussi, à sa manière, était belle. Honte à Yann Moix d'avoir écrit qu'elle avait un visage de concierge. Il n'y a pas que les top models qui peuvent être belles...
HOFFMAN Elisabeth et fi
Chake
Si, non so chi sia Yann Moix ma ha ragione.
ma non c'è un video di Crespin dove non vieni a sputare @@fabriziomariagarzi5534 ? Get a life.
@@vincentpavesi1679 , no, non c'e'. Una cantante assai sopravvalutata ma non lo dice nessuno. Dal vivo trasmetteva poco. Un critico musicale famoso, Rodolfo Celletti, a proposito di Carmen, disse che c'era un modo di cantare il ruolo di Carmen da brune e da bionde e la Carmen di Crespin aveva i capelli ossigenati.
@@vincentpavesi1679 Garzi (Carabosse) trascorre il suo tempo a scrivere parole denigratorie sulla Tebaldi... e, in seconda battuta, sulla Crespin. Lui e il suo alter ego GiudiciadAnna. I fan della Callas sono così: pensano più a criticare le presunte rivali (Tebaldi sopra tutte) che ad ascoltare la loro Diva e a vivere una vita normale.
Both of these huge-voiced singers each in superb voice, but perhaps because of the cameras (televised opera was still in its early days then) there is very little real excitement here. Both stars play it very safe, no chemistry, no electricity...
She is even louder than Corelli.
Crespin, an under- rated and diva and not as well known as she deserves to be, did indeed have a huge voice. I think she and Corelli are superbly well matched...
Crespin was also a great Brunnhilde in Wallkure! So her voice was huge! She was a great artist. And I love this recording of the duet so, because Corelli recorded the arias in Ballo. But he never performed the role on stage. I believe that was because the end of the first act (E' scherzo o follia) was too florid, and not his true repertoire. Also, in the early 1960s at the Met, the role was practically owned by Carlo Bergonzi. But he was truly glorious in this duet with Crespin!!!
Это же всего лишь запись, которая НИЧЕГО не показывает
Chanteurs magnifiques, mais gestuelle et costumes....
Who was the conductor? The singers and conductor are not together enough!
Bravi! If only Corelli sang Riccardo in full... Crespin seems to be more favorably placed to mike than Corelli.
Oh no, just because of the powerful of voice
Stop talking nonsense
@@birgitnilsson WORD 🇫🇷 Arnold Bourbon Amaral
I heard Nilsson and Crespin together onstage at the Met in Walkure. In the last act I have no doubt who had the bigger voice. Nilsson was like a huge laser beam. In o herstes wunder, Crespin shook the walls. She had the largest voice I’ve ever herd and that includes Nilsson, Farrell and Jones.
She overshadowed Franco could it be that Regine was standing closer to the microphone?
I often have mixed feelings about Corelli, but here I love the sound the sound of the voice; too bad he never sang the whole role. And I'll forgive the errors for that sound.....and much pleasure from Crespin here
How on earth can you have mixed feeling about Corelli? Would you elaborate as to why?
It is indeed possible to have mixed feelings about Corelli. In general, I am quite a fan, but i believe he is massively overrated, and i believe the people that believe Corelli is the standard of "true opera singing" for tenors are toxic to the operatic art form and also are generally misinformed about the vast history of the tenor voice prior to the 20th century. I love Corelli, and id kill to sing like him.. His talent is incredible, and his vocal style is visceral and exciting, but it only represents a small portion of opera which was made for his singing style. Pre-verismo opera did not have voices like Corelli's, and yet it was immensely popular, so to blame opera's decline in popularity purely on a perceived decline in the quality of singing doesn't add up to me. Ill admit the 90's and 2000's were not good decades for top quality singing, but that is not purely because they didn't sound like Corelli. "True" opera existed long before Corelli and sounded scarcely like Corelli. Corelli's voice and his contemporaries were surely a part of "true" opera as well. I do not mean to diminish him and his art. But I also hate to see years and years of opera prior to Corelli and after Corelli being diminished for not being like him.
That is all.
@@meto2854 I adore his powerful voice but that is not all. In som e roles, as for example Calaf, he is splendid but in others not so much. Still he is of our legendary tenors.
@@aaronmckone8973 Corelli's my favourite tenor, but I totally agree with this. He was a one off and should in no way be considered reprentative of what a 'real tenor' should sound like. Opera singing today unfortunately isn't as good as it was 60 years ago, however much of the apparent decline in standards of singing over the previous half a century owes to the perverse expectation that all tenors are supposed to sound like Corelli or Mario Del Monaco, when it fact the two were aberrations even in their own time.
@@angelicinterment Hm I'm not sure about this. Although it's true that Corelli's technique was largely self-taught, he developed his technique from listening to singers who came before him -- notably, Del Monaco and the Melocchi school, but also Caruso and Pertile. And very heavy tenors like Gino Penno were active in Italy when he came onto the scene. (I don't think Penno was as much as an influence on Corelli as the others I've mentioned.) Moreover, Corelli was arguably relatively _lyric_ in his approach as a result of Lauri Volpi's influence. (Plus the weight of his voice wasn't dramatic either).
I'm inclined to say that modern singers would do well to learn from Corelli's technical approach without trying to copy his sound. And in terms of style, I'm inclined to say that his approach to Italian repertory was perfectly mainstream. His problem was that he sang French lyric repertory as if it were Italian music. And his French diction was bad. But even then, I consider those experiments guilty pleasures. And I do respect that he did try to 'branch out,' even if I think we would be better off with a Corelli Des Grieux than a Corelli Faust.
E dicono che Pavarotti non conosceva il solfeggio... Corelli gli fa una concorrenza spietata! Commette una serie incredibile di errori musicali, spesso non si trova con l'orchestra, a volte canta altre parole ( 0.31 - 0.34), ( 2:46 ), e poi quel taglio ( 5:00 ) è veramente ingiustificabile.
loggione1984 carissimo aspettiamo con ansia una tua interpretazione!!!!Ma dico io con tutte le capre che cantano tu vai a cagare il cazzo ad un MOSTRO SACRO ASSOLUTO della lirica MONDIALE!!!!aspettiamo il link con la tua interpretazione siamo tutto orecchie🎶🎶🎶🎶🎶🎶
Alessandro Bro Ben detto!!! Non poteva essere più esplicito. Quando ci vuole ci vuole!!!Grazie infinite da parte mia!!!
Ignorante... ascoltati Pavarotti e lascia a noi Corelli
Magnifique Crespin , dans son vrai répertoire, qu'est-elle allée faire dans le chant allemand ? Sa voix est toute de latinité!
Proprio due voci piccole piccole! Madonna mia!!! :-O
She's still alive..
She died in 2007.
Old fashioned acting but the singing is in a class virtually gone now and possibly forever, such is the decline in quality,
COrelli fantastic! Crespin despite her big voice looks and sounds like a French countess.
And what is a french countess ?
@@philippeparra7015, Mozart's Countess (wow, what would that have been?). birgitnilsson (what a pretentious name!) does not understand her unique voice.
Corelli makes so many mistakes in the text ,but it is role he really didn't sing.
Great singing; lousy acting.
tryst16 What lousy acting? It is certainly dignified unlike the chaotic and classless mess that today's mediocrities present.
Lousy acting? This is not from the fully staged opera. The duet was done for a TV show. 1964 Bell Telephone Hour. Bell Telephone Orchestra and Chorus
Donald Voorhees
Price and Pavarotti did it much better.