[.ca] Very Best Of

In a class by himself:
Franco Corelli (1921-2003), who sang from 1951 to 1976, was the greatest tenore di forza of the post-WWII era. A powerful and viscerally exciting singer, never a subtle, elegant, or refined one, he had his detractors (who found him crude and self-indulgent, and who lambasted his execrable French), but there can be no argument about the quality of his voice: a big, vibrant tenor with a thrilling timbre (often described as rich, dark, or baritonal) and a brilliant, secure top that must have been the envy and despair of other tenors. A nervous performer repeatedly subject to pre-performance jitters and anxiety attacks (a wag once said of him that Corelli could think of more reasons not to sing than to sing), once onstage he was a generous singer who gave fully of himself and, like Caruso, poured out his magnificent voice unstintingly, never holding back. Corelli was born in Ancona, was largely self-taught from recordings, and made his debut in Spoleto in 1951 as Don Jose. He rose rapidly in Italy and by 1954 opened the season with Maria Callas at La Scala, the greatest honor for an Italian opera singer and quite an achievement for so inexperienced a tenor. He had a major career at La Scala and in Italy in the 1950s. He made his Metropolitan debut in 1961 as Manrico, became a favorite, and remained there to 1974. As The Metropolitan Opera Encyclopedia says of him at the Met, "With a handsome spinto tenor voice and movie-star looks, Corelli won a wide public following, despite complaints from critics about what they perceived as indulgences of phrasing and expression." His final operatic performance was in 1976 in Torre del Lago as Rodolfo. The voice itself was one of the glories of the generously endowed operatic scene of the 1950s and 1960s, and one of great tenor voices of the century. Herbert von Karajan said of Corelli, "A voice of heroic power, yet with great beauty of tone; darkly sensuous, mysteriously melancholic . . . but above all, a voice of thunder and lightning, fire and blood." Harold C. Schonberg, senior music critic of the New York Times, reviewing Corelli's Metropolitan debut in 1961, noted that his voice "has something of an exciting animal drive about it, and when Corelli lets loose, he can dominate an ensemble," and later described his voice as "a force of nature, an act of God, the vocal equivalent of an earthquake, volcano or hurricane." The distinguished musicologist Paul Henry Lang writing in the New York Herald-Tribune called Corelli "a latter-day Caruso." Alan Rich of the New York Herald-Tribune wrote of him, "There is no tenor in modern times, Italian or otherwise, whose voice rings out with greater vibrancy, whose every tone carries with it emotion at white heat. The sounds he makes, seemingly without effort, are dazzlingly bright, urgent, and communicative." Since Corelli's retirement we have heard nothing remotely like him, and those of us who know his voice (and Bjorling's and Bergonzi's) can perhaps be pardoned for finding the "three tenors" so popular in recent years somewhat underwhelming in comparison. Corelli began his recording career with the Italian label Cetra, for whom he recorded several recitals and a complete Aida monaurally (1956-1959). From 1960 on he recorded for the major classical labels, and his complete operas are to be found on Decca/London (Tosca, Faust), RCA (Carmen), DGG (Il Trovatore), and EMI (as well as many pirated live performances on various pirate labels). But his real recording home was EMI, for whom he made complete studio recordings of Norma, Il Trovatore, Aida, Cavalleria Rusticana, Pagliacci, Andrea Chenier, Turandot, and Romeo et Juliette, as well as recitals of Italian tenor arias, Neapolitan songs, and sacred songs and arias--all of which are represented in this generous collection. The 32 selections in this well-chosen and well-filled two-CD collection (75:37 and 76:57), all from Corelli's EMI studio recordings of the 1960s (from 1960 to 1968), are an excellent overview of this exciting singer, representing him in his prime and in his most famous roles. Despite the presence in this collection of selections by Handel, Rossini, Donizetti, and Bellini, it would be a mistake to assume that Corelli was any sort of bel canto stylist; much as I like Corelli (and to make use of an old pun), I have to admit that he was more an exponent of the "can belto" school. There is not a lot of variety in his singing, not much in the way of expressive shading (on the other hand, we don't normally expect these qualities from a tenore di forza, and Corelli's only real competitor as a tenore di forza, Mario del Monaco, had even less of them). He tends to treat whatever he is singing in pretty much the same way, and although he provides an occasional impressive messa di voce, he tends always to sound like a full-blooded Italian tenor singing Italian opera of the Verdi/Puccini/verismo period, even when he is singing Bizet, Gounod, Massenet, Handel, Schubert, Rossini, Bellini, or Donizetti. Never a cool, detached singer, he brings his own brand of gutsy Italianate passion and intensity to whatever he sings. He was at his best in the heavier Italian roles, like Radames, Manrico, and Don Alvaro (unfortunately he never made a studio recording of La Forza del Destino). Many regretted that he never essayed Otello; he certainly had the right voice for it, but seemed reluctant to tackle the role. He was easily the greatest Calaf (in Turandot) of his era (or since); his performances with Birgit Nilsson in this opera were prime attractions of the Met during the Bing reign in the 1960s. He was also the best Andrea Chenier of his era (or since). Andrea Chenier is a tenor's opera if ever there was one, and this collection generously includes all four tenor arias plus the final duet; you will never hear the Improvviso more heroically declaimed and thrillingly sung than it is here. Perhaps the least successful of his roles here is his Romeo (in which you can sample his poor French and his unidiomatic way with French opera). If you like Neapolitan songs, his version of Core n'grato has never been equaled, a prodigious outpouring of bronzen tone. There is not a tenor voice in the world today that can compare with this one. I urge you not to miss it.

Franco Corelli has died, Oct 29 2003, Aged 82:
This is a tribute to one of my all-time favorite tenors. He had the most stunning top notes ever - sheer nuclear power. I'm so sad.

Alle voci della gloria:
When Franco Corelli was voted Favorite Tenor of the (20th) Century by members of the Bel Canto Society, he remarked that he was lucky the world had begun to forget Gigli. This digitally remastered EMI might persuade us that Corelli was being too modest. Listen as he spins out a sheer pianissimo in "E lucevan le stele." Listen to the huge, brilliant ring of "Di quella pira" and "Nessun dorma"--old tenor chestnuts I know, but Corelli makes them as vivid and new as the World's first dawn--and decide for yourself who had the most ravishing tenor of the past century. And let us not forget his physical presence---Corelli was tall, dark, and handsome, and projected his character with an intensity that holds us in thrall even through the imperfect medium of video. If you don't already own his 'Forza' or 'Turandot'--well, what are you waiting for? A better voice? A greater presence? Forget it. It won't happen in your lifetime. I wish there had been a little less Gounod and a little more Verdi on this two-CD recording. I most especially missed "La vita e inferno all'infelice" and the tenor/baritone duet 'Solemne in quest'ora' from "La Forza del Destino." According to Stefan Zucker, Corelli lightened his voice in the 1960s, in order to sing the lyric French repertory, but his trademark diminuendo sounds flat and a bit dry rather than light at the end of "L'amour, l'amour...Ah! lève-toi, soleil!" (Gounod's "Roméo et Juliette" Act II). However, he more than redeems himself with a beautiful liquidity of tone in the following "C'est là! Salut! tombeau!" from Act V. The second CD comes to a close with some miscellaneous curiosities (for Corelli, at least), including Handel's "Ombra mai fu," Schubert's "Ava Maria" (hoked up with a soprano chorus), and Ernesto de Curtis's "Torna a Surriento." What a beautiful voice! What a beautiful man.

A review plus corrections:
Once again I'll write a review and correct another review which presents much ignorance and mistakes. Lets begin with: "Gli Ugonotti at La Scala, Milan. This recital is great, but his singing of Raoul in the Italian version Les Hugenotts is the greatest display of verisimo singing by this greatest of tenors." Many experts pointed out already how unidiomatic Corelli's Raoul was, no matter how much bravura it contained. I love Corelli but in French stylish opera he was miscast, listen to his French Don José, Romeo, Werther AND Raoul. Meyerbeer demands finesse, noblesse and elegance. This can be heard in Nicolai Gedda's Raoul or in Warren Mok's EXCELLENT Raoul. As beautiful and magnificent Corelli's voice was it didn't fit this part at all. And to correct the reviewer: It's VERISMO. That's a word every opera-novice knows. "He also is aware that he will have to battle his duets with a mezzo named Simionato who has the range of a high soprano the size of a Brunhilde. Added to that, Corelli wants to make sure the reviews will promote him as the star of the show. He knows that a new superstar in the name of La Stupenda is the toast of the opera world and all eyes are on her. He wants to make sure that He is the talk of La Scala and the World in this impossible to sing opera." What's this silly tabloid-crap supposed to mean? Corelli had to worry about other things than to "outsing" Ms. Sutherland. Having extreme stage-fright all he might have worried about is to sing a good performance. And what does this have to do with this Recital-Disc anyway? "Perhaps higher than a C but the slightest bit flatter than a D flat. But she really nails the note. She also matches the high Bs that are held for about five minutes per notes in the phenomenal "Grand Duet"." WHAT? "This is, as one famous critic said it, " perhaps the greatest verisimo singing on record"." I'm sure that the famous critic spelled it right: VERISMO. Plus Meyerbeer is stylistic French Grand opera and not Verismo at all. If it sounds like verismo the singers are miscast. "But it was Sutherland who got 28 curtain calls for her Queen. La Stupenda sang dramatic coloratura such as La Scala had never heard since the days of Malibran and Grisi." Another wrong thing. How do you know who sang like who at La Scala in the last 200 years? You can't positively have heard them all. This is just fanatic and wrong. Sutherland had nothing in common with Malibran who was a soprano sfogato like Giuditta Pasta and not a bell like songbird ala Sutherland. Grisi is more similar to Sutherland but not quite. (Read Stendhals writing on the time, he heard them all) "She throws around so many high Cs and Ds and Es that one critic lost track. The coloratura tricks are instrumental in its dead on precision. And the trills are toss off as if they were nothing. This is the greatest coloratura soprano in the world, perhaps of all time." What on earth does this have to do with the Corelli-Recital? Review Sutherland-recordings for stuff like that. This is a Corelli-Recital for God's sake! And Sutherland too wasn't idiomatic as the Queen, despite her acuti and coloratura. She lacked the French style, most essential for Meyerbeer and bravura and tricks don't cover that. "All in all, this Hugenotts is Golden Age singing of the highest caliber. Truly one of the greatest evening in operatic history. And at this price, it is not only essential, but necessary. Oh, yes, and the sound is pretty good. Expect 1962 vintage live recording sound, which is acceptable. " Not one word on the recital. Totally off topic and misplaced here. This recital is just magnificent and shows Corelli in all his glory. Especially the Italian songs and Puccin-arias are stunning. His Chenier has never been surpassed, plus the "Core n'grato" is just gorgeous. One wishes the world had a tenor of such passion and power today! A must for every fan who wonders how EXCITING tenors can sound!

• A Te, O Cara
• Meco All' Altar Di Venere... Me Protegge, Me Difende
• Ah Si, Ben mio...De Quella Pira
• Se Quel Guerrier Io Fossi!...Celeste Aida
• Pur Ti Riveggo, Mia Dolce Aida
• Intanto Amici... Viva Il Vino Spumeggiante
• Mamma, Quel Vino E Generoso
• Recitar!... Vesti La Giubba
• No, Pagliaccio Non Son
• Colpito Qui M'avete...Un Di All'azzuro Spazio
• Credo A Una Possanza Arcana
• Legray!... Andrea Chenier!...Si, Fui Soldato
• Come Un Bel Di Di Maggio
• Vicino A Te
• Donna Non Vidi Mai
• Recondita Armonia
• E Lucevan Le Stelle
• Non Piangere, Liu... Ah! Per L'ultima Volta!
• Nessun Dorma
• Favorita Del Re!... Spirto Gentil
• Cielo E Mar
• L'anima Ho Stanca
• Non Lunge Della Torre... Bianca Al Par Di Neve Alpina
• Ange Adorable
• L'amour, L'amour.. Ah! Leve-Toi, Soleil!
• O Nuit Divine!
• C'est La! Salut! Tombeau!
• Fronde Tenere... Ombra Mai Fu
• Ave Maria
• Domine Deus
• Core 'Ngrato
• Torna A Surriento