Da sitze ich und kann nicht anders. Corelli immer wieder Corelli! Nichts gegen Luciano aber in dieser Rolle bleibt Corelli für mich unerreicht, damals und erst recht heute! Ich liebe diese Vergleiche!!!
Corelli remains the champion in this particular moment. I have not yet listened to all his various VITTORIA’S on display here but it’s likely that the 1967 live Parma performance will be found in this group. This one is for the record books for phenomenal self indulgence & this complete TOSCA should still be available, at least from Stefan Zucker‘s mail order company. In addition, as if that were not enough this Parma performance also includes Corelli‘s 20+ second diminuendo during E LUCEVAN LE STELLE that has to be heard to be believed. Topping all this off is Corelli, in place of encoring this moment, has a piano brought out at the end of the opera & offers his audience CORE INGRATO! Would such be offered these days? I admire many great tenor voices but for his particular full spinto instrument Corelli, IMO, remains absolutely unique to this day. Self indulgent? When the circumstances call for it Corelli remains a guilty pleasure which I thoroughly enjoy in & of itself. Other artists like Björling, Simoneau, Wunderlich, Melchior all have different virtues & they affect me more on an emotional & artistic level but the greatest among them all have their particular place & Corelli‘s special qualities cannot be denied.
Comme ces comparaisons sont cruelles, et révélatrices, des faiblesses, des défauts de justesse, des laideurs de certains timbres, même chez les plus célèbres (Di Stefano, Bergonzi, Pavarotti) ! Un seul en sort vainqueur, haut la main, puissant et beau , virile et si juste, l'incomparable, le sublime Franco Corelli !
Et pourtant il fût sifflé à l'opéra de Paris dans tosca.......il est vrai que vocalement son timbre n'a pas fléchi au fil des ans contrairement à d'autres.
Ecpecially Pavarotti sounds like a mosquito buzz! How dares he sing either Cavaradossi or Calaf, being a lyric tenor , he should stick to Nemorino and other lyric parts!
Dear Atizaries, Pavarotti actually sang 60 Toscas at the Met. His early review in 1978 stated that Pavarotti has not found the ''balm'' in heavier repertory, as his basic quality remains as a lyric. However in 1986 at age 51. The reviewer stated that the tenor sounded as magnificent as ever with a performance of ''E Lucevan Le Stelle'' as fine as this reviewer has ever heard. Let us remember that the more qualified tenors for Cavaradossi like Tucker, Del Monaco, and Corelli were all gone by 1986 and as early as 1978. There's nothing wrong with any tenor venturing outside of his repertoire and challenging himself in a heavier role as long as he gives a good account of himself. Gigli, Di Stefano, Bjorling at times, and even Pavarotti were successful in doing so, even though they may not be as convincing as our preferred tenors in those roles. He also sang 6 performances of Turandot at age 62 when most tenors are retired. His review stated that the staging is all up and down the stairs and Pavarotti cannot climb them. Soprano Eaglen descends them only with great care and some difficulty. But, they both sang well. Pavarotti less well in the mezza voce` partly, perhaps because he had a mild cold. I've never seen a review stating that L.P.s voice was not big enough or could not be heard at the big house MET. Yes, perhaps not heroic enough or too lyric. For example the same statement is not accurate for Bjorling. Martin Bernheimer Los Angeles Times review: Pavarotti at twilight venturing the role of Calaf for the first time at the Met & Jane Eaglen, who also showed some signs of vocal strain. The would be hero on duty was none the less than Luciano Pavarotti. ''A tenorissimo-in-distress'' venturing the role of Calaf at the first time here as he approaches his 62nd birthday. Pavarotti had his moments, when he could legitimately float a softly graceful line, especially at mid range, he did so with melting suavity. He got through his automatically cheered theme song , ''Nessun Dorma'' with muted honor. His diction was exemplary. But Calaf represented a dangerously dramatic challenge for this essentially lyric voice even in his prime. And prime time waits for no man , not even Luciano Pavarotti. Enjoy
Totalmente de acuerdo. Pavarotti tenía una hermosa voz pero no tenía el timbre apropiado para Tosca, aunque se lo llevó a su terreno y no fué un mal Cavaradossi. Turandot le iba aún menos y sin embargo la gente lo idolatra tan solo por el aria que por cierto en vivo y sin micrófono la voz no sonaba especialmente grande en este aria.
Di Stefano had about a 15-20 year prime, but was still extremely popular for about 40 years. He knew how to sing with closed vowels but refused to do so, and the heavier roles were also a contributing factor in his decline. Try His very beautiful Ah Non Credevi Tu and Addio Mignon.
Da sitze ich und kann nicht anders. Corelli immer wieder Corelli! Nichts gegen Luciano aber in dieser Rolle bleibt Corelli für mich unerreicht, damals und erst recht heute! Ich liebe diese Vergleiche!!!
Corelli was born to sing Cavaradossi!!
From the bottom of my heart, I want to thank you for including only true tenors (old school) in your compilations.
Only Corelli, no one else❤
Wow 16 Franco Corelli’s, you’re spoiling me, OT! Love this compilation, many thanks! ❤️
Corelli 😍😍
Granda, Corelli (1956) 😍
WOW!
What a immense job!
My warmest compliments Tur
Corelli 🌹❤️
The arc of Corelli: development;
The arc of Tucker: consistency and growth;
The arc of Di Stefano: one way decline.
Yes, Corelli sings the most heroic Cavaradossi with an ample note holding in live performances. Greetings,
Corelli remains the champion in this particular moment. I have not yet listened to all his various VITTORIA’S on display here but it’s likely that the 1967 live Parma performance will be found in this group. This one is for the record books for phenomenal self indulgence & this complete TOSCA should still be available, at least from Stefan Zucker‘s mail order company. In addition, as if that were not enough this Parma performance also includes Corelli‘s 20+ second diminuendo during E LUCEVAN LE STELLE that has to be heard to be believed. Topping all this off is Corelli, in place of encoring this moment, has a piano brought out at the end of the opera & offers his audience CORE INGRATO! Would such be offered these days? I admire many great tenor voices but for his particular full spinto instrument Corelli, IMO, remains absolutely unique to this day. Self indulgent? When the circumstances call for it Corelli remains a guilty pleasure which I thoroughly enjoy in & of itself. Other artists like Björling, Simoneau, Wunderlich, Melchior all have different virtues & they affect me more on an emotional & artistic level but the greatest among them all have their particular place & Corelli‘s special qualities cannot be denied.
Corelli. Corelli. Corelli. per sempre! ❤
Franco Corelli 1965
Why maestro Franco Corelli has the best “Vittoria”?
Simple, breath control in a most powerful note.
Only Corelli❤
None except the one and only Corelli. No other Csaradossi!
Corelli senz'altro, poi il primo Di Stefano, Raimondi e Labò
Comme ces comparaisons sont cruelles, et révélatrices, des faiblesses, des défauts de justesse, des laideurs de certains timbres, même chez les plus célèbres (Di Stefano, Bergonzi, Pavarotti) !
Un seul en sort vainqueur, haut la main, puissant et beau , virile et si juste, l'incomparable, le sublime Franco Corelli !
Et pourtant il fût sifflé à l'opéra de Paris dans tosca.......il est vrai que vocalement son timbre n'a pas fléchi au fil des ans contrairement à d'autres.
Corelli is the greatest Cavarradosi ever
Gianfranco Cecchele forever ! 💓
from where is the 1955 corelli excerpt at 2:04? i'd love to listen to the whole thing. thanks
It's from the film (up on RUclips) "Puccini - Tosca - Heredia, Corelli, Tagliabue."
Giovanni Consiglio is very impressive as is Richard Tucker.
Süper
Di Stefano'yu loopa almaktan diğer tenorları dinleyemedim..
With all due respect to all tenors and especially maestro Corelli, my heart is also given to di Stefano.
At 16:52 Giovanni Consiglio was 70 !!! Amazing!!!
You should have played Giovanni Martinelli live from Covent Garden in 1937, it is something very special!
Instead of presenting your Corelli bias, present a variety of singers. Constantly repeating Corelli achieves nothing but revealing your bias!
Comparison? There is Corelli and then there is everyone else.
Just because some of them can hold a long note doesn't make it pleasant or artistic!
Caruso bunu söylememiş dimi
Tüm kayıtları full operalardan kesit aldığım için Caruso’nun full opera kaydını bulamadım
Gracias por habernos ahorrado el aùn celebrado (?) baritenor hispanico, pero: ¿Carreras? ¿ARAGALL? ¿Lauri-Volpi? 😊
1)Di Stefano 2)Bjorling 3)Corelli 4)Barioni 5)Tucker
Corelli number three??!! The only Cavaradossi, Maestro Puccini would chosen only him,
@@atizaries5512
I mean in this clip
Missing Domingo...😊
Ecpecially Pavarotti sounds like a mosquito buzz! How dares he sing either Cavaradossi or Calaf, being a lyric tenor , he should stick to Nemorino and other lyric parts!
Dear Atizaries, Pavarotti actually sang 60 Toscas at the Met. His early review in 1978 stated that Pavarotti has not found the ''balm'' in heavier repertory, as his basic quality remains as a lyric. However in 1986 at age 51. The reviewer stated that the tenor sounded as magnificent as ever with a performance of ''E Lucevan Le Stelle'' as fine as this reviewer has ever heard. Let us remember that the more qualified tenors for Cavaradossi like Tucker, Del Monaco, and Corelli were all gone by 1986 and as early as 1978. There's nothing wrong with any tenor venturing outside of his repertoire and challenging himself in a heavier role as long as he gives a good account of himself. Gigli, Di Stefano, Bjorling at times, and even Pavarotti were successful in doing so, even though they may not be as convincing as our preferred tenors in those roles. He also sang 6 performances of Turandot at age 62 when most tenors are retired. His review stated that the staging is all up and down the stairs and Pavarotti cannot climb them. Soprano Eaglen descends them only with great care and some difficulty. But, they both sang well. Pavarotti less well in the mezza voce` partly, perhaps because he had a mild cold. I've never seen a review stating that L.P.s voice was not big enough or could not be heard at the big house MET. Yes, perhaps not heroic enough or too lyric. For example the same statement is not accurate for Bjorling. Martin Bernheimer Los Angeles Times review: Pavarotti at twilight venturing the role of Calaf for the first time at the Met & Jane Eaglen, who also showed some signs of vocal strain. The would be hero on duty was none the less than Luciano Pavarotti. ''A tenorissimo-in-distress'' venturing the role of Calaf at the first time here as he approaches his 62nd birthday. Pavarotti had his moments, when he could legitimately float a softly graceful line, especially at mid range, he did so with melting suavity. He got through his automatically cheered theme song , ''Nessun Dorma'' with muted honor. His diction was exemplary. But Calaf represented a dangerously dramatic challenge for this essentially lyric voice even in his prime. And prime time waits for no man , not even Luciano Pavarotti. Enjoy
Totalmente de acuerdo. Pavarotti tenía una hermosa voz pero no tenía el timbre apropiado para Tosca, aunque se lo llevó a su terreno y no fué un mal Cavaradossi. Turandot le iba aún menos y sin embargo la gente lo idolatra tan solo por el aria que por cierto en vivo y sin micrófono la voz no sonaba especialmente grande en este aria.
Where is Domingo?
Domingo has always been overrated
Està ahora cantando de Barítono como buen egocéntrico y osado que es. Puro marketing.
Di stefano went from mind blowing to painfull to listen to
Great testimony for any tenor for how bad technique can ruin the most beautifull voice
Di Stefano had about a 15-20 year prime, but was still extremely popular for about 40 years. He knew how to sing with closed vowels but refused to do so, and the heavier roles were also a contributing factor in his decline. Try His very beautiful Ah Non Credevi Tu and Addio Mignon.
Menos de 20 años. Después de los 15 años lo que hacía era chillar.
Otro tenor idolatrado, con una bella voz de joven pero con una pésima técnica pero tiene su club de fans fanáticos que no quieren ver la evidencia