Customer Reviews

Great Opera Tenors: Franco Corelli

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Franco Corelli, who sang from 1951 to 1975, was the greatest tenore di forza of the postwar era. A powerful and exciting singer, never a subtle, elegant, or refined one, he had his detractors (who called him crude, vulgar, 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 always 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.

The voice itself was one of the glories of the generously-endowed operatic scene of the Fifties and Sixties, and one of greatest 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 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 Mr. 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 haven't heard anything remotely like him, and those of us who know his voice (and Bjorling's) can perhaps be pardoned for finding the "three tenors" popular today somewhat anemic in comparison.

I have been an admirer of Corelli, a collector of his recordings, and a follower of his career since the 1950s (before he sang in America and when his only records were Italian Cetra imports). I have just about everything he recorded. The two-CD album under review here, featuring a generous selection of Corelli's Angel/EMI studio recordings from the 1960s, is an excellent introduction to this exciting singer, representing him in his prime and in his most famous roles. He was in a class by himself as Calaf in Turandot and as Andrea Chenier in the opera of that name; both roles are represented here, Chenier generously so. You will never hear the Improviso from Andrea Chenier more thrilllingly sung than it is here. His other Italian verismo roles, and his other Puccini and Verdi roles, are also represented, as is his somewhat less happy Romeo (in which you can hear his dreadful French). And if you like Neopolitan songs, his version of Core n'grato has never been equalled, and it is here too, a prodigious outpouring of bronzen tone that must be heard to be believed.

There is not a tenor voice in the world today that can compare with this one. Don't miss it.

Franco Corelli was an exciting singer, with a virile, manly voice and a very original, personal approach to singing. That he was basically self-taught is well known, and that fact dogged him throughout his career. Critics loved to heap insults on Franco Corelli, forgetting all the while that he was one of the most incredible voices ever to stride across an opera stage. I've heard a fair number of his roles, and Franco Corelli never once bored me. He seemed to me to live his characters. When Corelli sang Faust, my ears heard Faust, not just some big, handsome Italian stud mouthing the words. This singer gave meaning to all the words, not just the high notes. (Singers like that bore me.)

This collection is well rounded and shows him in excellent voice throughout. There are some unusual choices here, at first sight, for Corelli. Ombra Mai Fu is just not a song I think of easily when thinking about this man's singing, but he does a fine job with it. The religious numbers show a soul deeply concerned with spiritual matters and an abiding respect and affection for God. That is the impression I get, anyway, and they help point out his versatility.

If you ever get a chance to hear him sing Calaf from Turandot (Assuming you've been living on Mars and have not heard him!), then take any opportunity to do so. Nessun Dorma is here to tantalize you while thrilling you. Also, and this is no small matter, Corelli had one of the few voices that could go toe-to-toe with Birgit Nilsson and come out unscathed- in live performance, on stage, in front of thousands of people. Technically, Franco Corelli was not at the top of the heap, but he was no slouch, either. His diminuendos were spectacular and justly famous, though there is a little technical hanky-panky with his final B-flat in the Romeo and Juliette aria. He takes the note and does fine it down to a hair himself, but some dingaling added a fade where none was needed. I have it on good authority that Franco Corelli was NOT a fake and certainly did NOT need idiotic studio hocus-pocus!

I have great respect for Franco Corelli and miss his presence mightily. I will not try to insult modern day tenors by saying they are nothing compared to this Golden Age quality voice. That is not true- Ben Heppner is an enormous talent (In more ways than one!, but Corelli really was one-of-a-kind and his rivals seem to be nowhere in sight.

Corelli's heroic voice and passionate delivery are a real treat, and this 2-CD set is a bargain, with most of it recorded in his prime. The first CD is all opera, while the second mixes opera, song, and sacred arias.

While I enjoy many of the tenors of the past two decades, Corelli has more richness and power than all of them. True he was not the always most "polished" tenor and sometimes I wish he would scoop less as he goes to high notes. But what glorious notes! This is a "manly" tenor. While I don't think his delivery is ideal for the more subdued songs like Bach/Gounod or Schubert's Ave Maria, it is compelling in Verdi, Bellini, Mascagni, Giordano, and Puccini, i.e., most of this collection. Also, he was due to his height and in-shape build, much more convincing visually in the young heroic roles that he sang.

His ability to control the dynamics on high notes was unusual, such as the amazing decrescendo on the final note of "Celeste Aida" which I have never heard anyone else do. In contrast, the high B's and C's in "Nessun Dorma" and "Di Quella Pira" are earthshattering. Pollione's defiant aria from Norma is also thrilling (though I wish they hadn't compressed his volume at the end).

Because of its diversity and low price, this would be an excellent choice for someone not familiar with Corelli. If you want more, then I recommend hearing him in the context of a full opera playing opposite a worthy diva, like Nilsson in Turandot or Sutherland in Norma. His dramatic vocal duel with Birgit Nilsson in the "riddle scene" of Turandot (not included in this CD) is truly a highlight of recorded opera.

He is the King. No tenor has the quality, size, and technique and beauty of the great Corelli.
I have a recommendation. Buy the Meyerbeer Gli Ugonotti he recorded live for La Scala and hear the most phenomenal display of verisimo singing of the XX Century. As a bonus, you also get the young Sutherland who display the female version of a vocal miracle. Sutherland and Corelli on the same stage in 1962. In my opinion, one of the greatest cd sets available. Try it.

This album is a magnificent introduction to the most thrilling tenor voice in history. The selections range from his best arias to the Neopolitan songs he loves so much. Franco Corelli gave his all to his craft and to his listeners and it all shows on these songs. Warning: no one stops with one Corelli CD.

I would generally echo the superlatives bestowed upon Franco Corelli by the previous reviewers. However, be aware that this collection overlaps substantially (only 2 or 3 songs differ) with EMI's "Very Best of Franco Corelli", which Amazon recommends to purchase along with this collection. I would buy one or the other, but not both.

This is a superlative recital. But let me tell you of a even more spectacular effort of Franco Corelli, the King of Tenors...
I am the biggest fan of the tenor of not only this Century but of all time...going back to the era of Rubini. Franco Corelli is the emperor of tenors and he kills Bjoeling, Caruso, and Gigli.
First, I must say that this recording is live. But the sound is excellent. If you have the 1955 Callas Lucia, and can deal with that sonics, you'll be happy with the recorded sounds here.
There are two outrageously fantastic scenes. The scene with the Queen, supremely sung by the very young Dame Joan and the Grand duet with Corelli/Simionato.
I'm not out to exaggerate. But these two highlights are miraculous. Sutherland, in 1962 voice with super squillo and gigantic high notes(high C's,D's,E'sand even Fs are easy for her)These notes are the size of Nilsson's, and they left me with my jaws hanging and breathless. La stupenda simply attacks every terrifying notes of Marguerite's taxing coloratura and adds her own even more difficult embellishments. Tossing trills and fiorituri, here, there, and everywhere, making even the most arduous coloratura unsingable to all other divas seem like child's play. She trills and trills all through her great scene, high above the staff and taking 64th notes as if it's nothing. Her rendition of O beau pays and its even more taxing cabaletta is just a stroll in the part for her. Sutherland's exquisite super squillo, especially the notes above the staff makes all other sopranos take up pottery or needle-point(take your pick), her trills-both high and low are what legends are made of, to shame the flute, and the fioritura so fast that the orchestra has to catch up with her, we're talking 64th notes that cover 20 seconds at a time through two octaves. Sorry, this one must be heard to believe the scope of Dame Joan's power when she was in her prime. This is bravura singing in the style never heard since the days of Malibran! If corelli is the Emperor, she is his emperess, and we know that it's the empress who rules. No wonder she is called the "Voice of the Century!
The second spectacular highlight is the glorious duet between Corelli and Simionato. Now this is verisimo singing in all its glories. Super high emotions with super high notes. Both Corelli and Simionato attacks them without fear in complete accuracy and power. Their ringing high notes are the best that these two great artists have ever put on record, live or studio. That Corelli takes his high B's and C's to the ultimate length- extending them to heights no tenors have ever attempted, or even dreamed of. And that's saying a lot about the king of tenors. High B's and C's and D flats are all blasting with squillo , piercing through the orchestra and ensembles like a dagger through a dragon's heart. Simionato matching these high notes(very surprising for a mezzo). She even holds and match a D flat with Corelli. This is Verisimo singing for the books. And this could be the most awesome live recording of an opera in the last century...Infinitely, and I repeat, infinitely superior to even the Corelli/Price Travatore... and with far superior sound.
Truly a voice lover's wildest wet dream! This is a combination of bel canto and verisimo singing taken to the limits of the human vocal cords. It is definitely the last word for the possibilities and wonders of the human voice.
Bravissimi, divo, diva...To Sutherland, Prima donna Assoluta, per sempre...pushing even Callas to the second spot. To Corelli, you put Pavarotti, Bjoeling and Gigli to shame. A dream performance of the highest magnitude. And quite possibly the greatest live performance of a bravura opera ever recorded.
Search for Gli ugonotti with Sutherland/Corelli!

The live recording of Meyerbeer's Gli Ugonotti(Les Hugenotts) may hold Corelli's finest singing, ever. Read this,
The 1962 live recording of Gli Ugonotti at La Scala Milan may very well be the most impressive display of verisimo singing ever recorded. That sounds like I'm exaggerating, but I am NOT. Corelli saved every ounce of his formidable energy for days just to sing this Hugenotts. He is aware that the role of Raoul is the most taxing role in the tenor reportoire, rivaled only by Rossini's "William Tell". 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.
Well, he got his wish. He sang the best he's ever sang, holding on to high notes for as long as seven to ten seconds(I'm talking Bs, Cs, and Ds). Corelli's high D puts all tenors to shame, and when unveils it, he holds it, bursting with power and squillo to force all other tenors to take up nitting. And in Hugenotts he has lots of opportunities to hit notes B and above. High Cs are common here. And he excells in them. The surprise of the evening is the awesome high notes of Simionato. I think she hit a D flat. I can't tell because my piano says D flat, but not quite. 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". This is, as one famous critic said it, " perhaps the greatest verisimo singing on record".
But Corelli did not prevent the Italian papers from raving about La Stupenda's Queen. Yes, Corelli got his share of rave reviews about him being the Caruso of the day. And his ovations are overwhelming, to say the least. 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. 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.
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.

Franco Corelli has a robust yet melodic timbre to his voice which is highlited on this CD. His breath control in "E Lucean Le Stelle" is unparallel. Nobody sings the pianissimo at the end of Verdi's "Celeste Aida" as the composer intended like Corelli. I have yet to hear a better "Nessun Dorma", yes Pavarotti fans, Franco does it better! Overall a magnificent collections.