Heroes - Franco Corelli

Giuseppe Verdi (Composer), Gaetano Donizetti (Composer), Amilcare Ponchielli (Composer), Francesco Cilea (Composer), Giacomo Puccini (Artist), Vincenzo Bellini (Artist), Giacomo Meyerbeer (Artist), Charles Gounod (Artist), Pietro Mascagni (Performer), Umberto Giordano (Artist), Ruggero Leoncavallo (Artist), Nicolai Gedda (Artist), Franco Corelli (Artist)

Product Details

• Performer: Pietro Mascagni
• Composer: Giuseppe Verdi, Gaetano Donizetti, Amilcare Ponchielli, Francesco Cilea
• Audio CD (October 14, 1997)
• SPARS Code: ADD
• Number of Discs: 1
• Label: EMI Classics
• ASIN: B000002SAP
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars See all reviews (10 customer reviews)
• Amazon.com Sales Rank: #197,515 in Music (See Bestsellers in Music)

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Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars Vincero!, April 1, 1999

By A Customer

Hear the Tenor of the century! This Franco Corelli CD contains many of his greatest recordings...the long lost 2nd half of "A Portrait of Franco Corelli". No tenor can compete with the sheer power and excitment of Corelli's high "c" from Di quella pira. After hearing his impassioned "E lucevan le stella"...with it's awe inspiring diminuendo phrase "Le belle forme disciogliea dai veli...", all must realize that in Corelli we trully had the Tenor of the ages. I challenge all the Pav fans to listen to the "REAL MAN!" Be warned, Track #18, his Nessun dorma will forever ruin your enjoyment of this song when others sing it. No one holds the "Vincero" like Corelli. NO ONE! Enjoy the albulm, I challenge anyone to find a "Vincero" like Corelli's

13 of 13 people found the following review helpful:

5.0 out of 5 stars In A Class By Himself, May 13, 2001

By	David A. Kemp (Plano, TX USA) - See all my reviews (REAL NAME)

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" so 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, when his only recordings were Italian Cetra imports). I have just about everything he recorded. This CD is a fine, representative selection of Corelli's Angel/EMI studio recordings from the 1960s, when he was in his prime, and a good introduction to his singing, including two roles in which he was without a peer: Andrea Chenier and Calaf in Turandot. You will never hear a more thrilling and heroic Improviso from Chenier than the one here. And if you're fond of Nessun dorma, this is one of the great ones.

There is no tenor singing today with a voice the equal of this one. Don't miss it.

9 of 9 people found the following review helpful:

5.0 out of 5 stars Super, March 5, 1999

By A Customer

This is a great testament to the studio art of Franco Corelli. Although there are some exceptions, these is a great collection of arias that Franco sang incredibly well. His is a voice that has a strong, baritonish middle and a high voice that cuts through the air as a blade. Highly reccomended.