He speaks with sincerity and wisdom. He didn't add or twist words with conceit and pride. You can't get this from the books or the TV interviews. He spoke humbly without a hesitance as if he was a very old tree telling a story to a child from the fairy tales who had seen and felt the world. Thanks for posting this video and your vivid translation. steak.
A transcript: 'You should have the awareness of the distance between your tongue and your palate, but gently without any tension or the sound remains there. You choke. There is no one person that teaches, that sings, that doesn't think about opening the throat. The yawn … then you sing. With time you establish an ideal spot, a bit more forward…a bit more back. You have to find it between the dark and bright. You need to find it, it takes time, slowly, slowly you find it. The key is to always feel freedom. If you tighten the throat: Ciao! Remember to keep the tongue supple, not tense The sound is like a ping pong ball floating on a spring of water, so you need to think of the voice like that not pushed too forward because if you push too forward sooner or later you close. If the breath comes up, you need to sit on it. If you center it all goes well but if you don't it will be of consequence to the throat, if you don't think to keep the throat open. Study yourself internally, map that your tongue is supple. You have to play with the breath. Its a breathing game. That's why you see many sing with extreme ease. Be careful not to take breath with your nose because when you take breath with the nose your voice goes a little higher and has less ring. One of the great remarks on singing is to sing on the teeth, as thought. Its contradictory in a way but the voice needs to remain back free. Careful to not darken the voice because dark is heavy. Especially the young voices need to sing brighter.'
One thing's for sure this man knew how to produce a glorious sound! This is very good advice, no 'science of singing' horseshit, very metaphorical, which is what I like. You don't get better at singing by reading science books, but by using your mind's eye. We're not robots after all.
I am not a singer, and so I am just on the verge of crying simply from listening to what he says and how he says it. Thank you so much for sharing this.
Thank you for sharing this. Highly interesting and in this case very moving too. One of the greatest singers of all time and certainly the most thrilling of all. The power both vocally and emotional is unsurpassed and will always remain remarkable.
How kind and generous you are to share this recording. I heard Corelli for the first time a couple of months ago, and marvel that he is not more famous now. I’ve purchased some recordings that are a joy to hear. I’m well into my seventies so have a lot of Corelli listening time to make up! You were blessed to have shared this lesson with him. All the best in your career.
I just started listening to Franco Corelli about 4 years ago and never get tired of hearing him. Let's hope succeeding generations will learn of him and keep his music alive. I try to send links, etc and introduce Mr. Corelli to others, hopefully to people younger than I am.🤗
Oh, he’s famous, but just among opera fans. Caruso was extremely famous at a time when opera was quite popular. Pavarotti and Domingo became famous in part by appearing on TV talk shows. Tenors like Corelli, Bjorling and Del Monaco came along too late for the popular era of opera and too early for the talk shows, so were never big in the public consciousness.
Your site just came up on my TH-cam feed. Thank you for this! I discovered Corelli in December 2019 and was immediately hooked. I listen to him almost every day. Stunningly beautiful expressive singing and a great actor as well. He was a genius. He is, in my opinion, a key part of world culture.
His voice ( which I must hear everyday ) was pure muscle, strength, and stamina with fabulous decrescendo! So athletic and confident. To me he will always be, the big beautiful man with the spectacular voice!
Non bisogna dimenticare che Franco era stato un grande atleta, un nuotatore, aveva un fisico ed una muscolatura potente, addominali d' acciaio, e che per lui fare certe cose era molto piú facile che per altri, quando dice che il canto é un gioco di respirazione, é vero, che bisogna sedersi sul fiato, verissimo, ma vallo a dire a uno che non sa che cosa sia dominare il diaframma con degli addominali flaccidi, chiaro che non arriva a farlo . Tutti coloro che cantano dovrebbero spaccarsi di vasche in apnea, di nuoto in mare e di serie di centinaia di addominali sulla panca! Poi una volta costruito il corpo giusto cominciate a cantare come dice lui, perché cantare prima di tutto é un gesto atletico ( l' arte interpretativa viene dopo, molto dopo e solo quando si riesce a dominare il proprio corpo e la propria mente) e per fare le cose come dice lui bisogna aver le basi che aveva lui, poi magari non si avrá il colore ed il metallo naturali che aveva lui, ma il risultato sará quasi sicuramente accettabile. Guardate ad esempio Rockwell Blake, che aveva un colore di voce veramente brutto, ma che era atleticamente e tecnicamente preparatissimo e che, se ci fate, caso emetteva esattamente come dice Franco, il risultato fu eclatante e duraturo, nonostante le scarse qualitá vocali naturali!
Grazie Mille for sharing those extraordinary insights from theMaestro! Thank you also for your efforts in providing an excellent English translation which is of much use for those of us not fortunate enough to be fluent in your so beautiful Italian language.
kingcorelli, thank you very much for sharing this valuable document, the GRAN MAESTRO FRANCO CORELLI, live explaining some of their knowledge and valuable experience in the beautiful and magnificent performances that only he could deliver and thanks to his recordings and they can enjoy the valuable videos today and future generations. Blessed are those who knew him persdonalmente, as the case and testify to his generosity and kindness and those who listen and were directly
kingcorelli, muchas gracias por compartir éste valioso documento,EL GRAN MAESTRO FRANCO CORELLI, en directo explicando parte de sus conocimientos y valiosas experiencias en la bellas y magnificas interpretaciones que solo él a podido entregar y gracias a sus grabaciones y éstos valiosos videos podemos disfrutar al día de hoy y a nuevas generaciones. Dichosos quienes le conocieron persdonalmente, como su caso y dan fé de su gran generosidad y bondad y quienes le escucharo y vieron directamente
Invaluable information for all voice students. Corelli proved from the beginning of his career how he progressed with the technique he so simple explain on this video. Corelli was the most accomplished tenor of his generation. He controlled his voice dynamics in all the repertoire he sang, belcanto, heroic dramatic and verismo. Late on his career I herd him in Rodolfo, Boheme. Such a huge voice but effortless production. He really worked hard to succeed.
This are the same things he told me by phone and in person. He really was a very intelligent and clear mind person. He always talked about a "ball flotting" in the upper paladar,witht he assistance of air support.This also was shared by Kraus. A free voice supported by a "intercostal-diaphragmatic" "fiato", welll placed behind the teeth. They both spoke of the "parola" well pronounced. He was completly against darkening the voice; you have to listen to your self, be a student of your own nature.
@@downfromkentuckeh It means that you have to attack the sound "from hi, to low". The conection between the air support (from the diaphragm) to the bones in the upper head italiana call "La maschera", produces the resonance of the vocal cords vibrations, allowing us to vocalize and pronounce ear phrase. The lyrical singing is the "musical resitated poetry", meaning that you must respect with your pronunciación, the scence of the líneas/leanguage written by the autor...this means that your source of sound, must be held up, behind your eyes (mantained by the air/sound supported by the diaphragma) , and delivered into words ussing your "bommer" bone, a little in top behind your upper teeth.
Grazie mille Pietro per aver messo questa registrazione del nostro caro Maestro. Io ho avuto la fortuna di studiare con lui la bellezza di 6 anni fino all'anno della sua morte. Sentire la tua registrazione mi ha dato tanta nostalgia perche' mi sono ricordato della stanzetta isonorizzata di Via Carlo Crivelli 12, dove ho fatto tantissime lezioni con tanta ilusione. Grazie, Grazie e piu' Grazie ancora!
Sono più che un semplice un ragazzo che è rimasto ammirato da ciò che era dario corelli, prima vocalmente poi come uomo, le spiacerebbe se hai una sua email di scrivermela o rispondere alla mia che è vlrmusumeci@gmail.com, quest'uomo è andato via troppo presto ed io ero troppo piccolo mi farebbe piacere parlare sia di ciò che sa sugli aneddoti di cji era dario corelli sia sulla tecnica, se vuole quella è la mia mail. Grazie mille in anticipo
kingcorelli, vi ringrazio molto per la condivisione di questo prezioso documento,IL GRAN MAESTRNCO CORELLI, dal vivo spiegando alcune delle loro conoscenze ed esperienze preziose nella performance bello e magnifico che solo lui poteva offrire e grazie alle sue registrazioni e possiamo godere di questi video prezioso a partire da oggi.. Beati quelli che lo conoscevano persdonalmente, come il caso e testimoniano la sua generosità e la gentilezza e quelli che ascoltano e sono stati direttamente
I read an interview with Corelli that he detested lessons with voice 'experts' He had a few when he was young, but when one thought he should become a baritone Corelli exploded and fired him. What a tragedy if he had listened to him. It is nice to know as he aged he did want to share his life's talents with young singers. From 1958-1968 he reigned supreme with no equal. And what a temper he had, on and off the stage, he chased his wife out of the Met one day with a sword in hand........
Ci provo io a spiegare. I suoi anni migliori 1957/ 1969 lo vedono spaziare nel repertorio spinto con qualche incursione nel lirico ( un percorso stranamente al contrario) , vedi Boheme, Werther, Romeo. Io credo che questa scelte oltre ad alleggerire il suono con i pppp leggendari oltre al non essere più ortodosso sulle note di passaggio( per avere la gola sempre più libera o aperta oltre al suo sistema nervoso notoriamente precario ed in più, come disse Lauti Volpi una preferenza della respirazione toraco addominale si quella costo diaframmatico ne decretarono una crisi dal 1969/70 che lo porto ' a smettere di cantare nel 1975. Dal 1969 al 1972 ebbe ancora occasionalmente ottimi momenti ma la voce non era più quella di prima .@@klaudiusmarcelus
I have read a lot about singing and on "Great singers on great singing" by Jerome Hines,Hines asks Maestro Corelli about the passaggio and Corelli said that the voice has a turn or il giro della voce and that you must make a change when hitting the high notes, as far as I know, that is the only thing Corelli mentioned about high notes. Also, we all know he was a great athlete so I think there was no need for him to talk about appoggio since he had a very strong diaphgram, already..
Great, thank you. And thanks for the translation, which helps me to catch every word. Only I would say he said alcuni cantano con estrema facilità - which is more like, a few people, or certain people, sing with extreme ease, rather than 'many'
@@livrowland171 nothing said about or relevant to beauty, for that is god given and subjective….more, some, few is irrelevant. The essential idea is about the posturing equilibrium of the vocal apparatus to generate the true chiaroscuro, if the singer can achieve this with ease then that’s beautiful but there is a reason why it’s a very rare form.
pavarotti:'' corelli had vocal cords of steel''.. in opera it is like: BC /AC= before corelli / after corelli..he is a milestone for every tenor--including the greatest---not talkin about ordinary ones like carreras & domingo.. opera isnt opera without franco... r. i. p
@tenorschofield Great document about the ideal singing technique. Your testimony from Kraus, is superb. Please, clarify to me the last sentence by Corelli. It seems I herd he mentioned Mellochi and the voce pessante or dark. Please, translate that section. About the need of a floating voice, 100% exact, and the need of the effortless singing with a bright tone, perfect, specially for the young singer. THANKS
@tena2 A singer will feel what he feels. And if he's the best, then what he feels is probably what WE should be feeling as singers when singing. Singing is explained in thousands of different ways- Corelli, thankfully, is one who concisely articulated his technique on many occasions, like this video. He worked with Maestro Lauri Volpi for years in private study, and if anyone knows anything about the voice, its him. Videos like this make me skeptical of voice teachers today, but i hear your pt.
WONDERFUL! Thank you for posting this. Corelli is my all time favorite tenor. Where I am now, in my vocal development, seems to be the weight of Corelli's voice or a bit more…as a spinto, Im listening to everything maestro says. PS How does one darken their voice? I want to avoid that.
JPSovereignStrikes when we speak of darkening the voice it is basically when you have too much chest coordination in the sound it is usually associated with voices that use the exaggerated lowered larynx as that is what is needed to negotiate the passaggio when the voice is heavy.... but in saying that you can sing with the "lowered larynx" and not over darken the sound.The ideal is the chiaroscuro, the voice not too forward or too back, not too much chest, not too much falsetto in the sound, balanced! Like Ying and Yang!
@minnie888444 My pleasure to humbly share some of his teachings.Hope this helps others to succeed in this "life adventure" that is lyrical singing.All the best for you.
By "back and free" I think he means covered but with open throat? The low larynx method "covers" automatically but allows for brilliant focus , a characteristic of Lauri Volpi and Corelli. On the end, He was born with such extraordinary equipment that he could not explain or teach it.
Thank you very much for this video, such words really are a light among darkness. Still I have to express I'm a bit confused about the last part where he speaks about avoiding to darken the voice, since to my ears, the difference in sound between his speaking voice (of Corelli) and his singing voice is really big, being the second clearly darker. If one has to avoid a darker sound then how one can sound manly and heroic? This seems contradictory to me, unless he's refering to an over-darkening, but I really think one has to darken the voice at some extent in order to sound good.
For the voice to sound good it must be free from constriction, darkening the voice, more often than not adds to this problem. Essentially one must sing with his or her naturally attributed voice, not to try to make the voice excessively darker or larger than it is. Corelli had a very powerful voice by nature.
@tena2 everyone has a right to there opinion and you may have achieved good results with your ideas but what you don't agree with is the very reason this video was initiated. I believe the concept of "putting" here or "there" is where the singer starts to put voluntary muscle in sound production. The voice just needs to be FREE no put here or there. The sound starts in the THROAT not to say you do anything but breath and sing as you do when you speak. The throat doesn't close when you speak!
He was pointing to the error of many schools focusing the voice on the front teeth, too far forward. That the voice for it to incorporate its true potential should be thought of on the back molars. He then exaggerates the idea with the example.
@@kingcorelli Thanks, it was interesting to hear him talk about working to find the best balance between too dark or too bright, too throaty or too masky etc, and also not letting the voice go too high that it gets too thin in quality. I understand what he means as I'm always looking to find that balance too
" Be careful not to take breath with your nose because when you take breath with the nose your voice goes a little higher and has less ring" wait, is we supposedly to take breath from nose to diaphragm? if not, so we need to take breath through mouth? Newbie here, CMIIW.
In realta' il metodo Melocchi, se ben insegnato, e' il metodo piu' sano, efficace e longevo che vi sia tra quelli normalmente insegnati. Lo stesso Fussi sul suo sito ne spiega limiti e pregi ponendo un'accento a favore della purezza del suono che questo metodo permette di raggiunngere. Marcello del monaco, suo allievo prediletto, ha forgiato cantanti quali cecchele, martinucci, silvano carroli, aldo mori, oslavio di credico, giuseppe giacomini, vincenzo bello ed altri.. tutte voci ancora sane..
2- un'altro illustre maestro allievo di melocchi fu paride Venturi il quale a sua volta formo' tanti cantanti ancora in ottima carriera tra cui, carlo colombara, roberto servile, ildebrando d'arcangelo ed altri. Questo per dire che sicuramente e' una tecnica che e' stata fraintesa dai piu' e quindi mal applicata con consuguenti danni alla voce. Io stesso, ho trovato in questo metodo la liberta' e la facilita' che mi hanno consentito in pochi anni di serratissimo studio di debuttare in piu ruoli
Corelli said NEVER SING IN MASCHERA. Corelli had a very open nose, and his sound is always in the face, "sui denti", in the mask. You can hear it in his half vocals L, M, N and W, how the sound "goes through".
I don’t understand the last sentence, Corelli himself had an ultra dark voice, perhaps he meant that it’s not suitable for beginners, hence he mentioned young singers ? Go easy on me, I am a new Opera fan 😂.
+zura iashvili ofcourse you need to cover...MUST! Maestro in fact build most of his voice on the downward scale with the "U" vowel, but a lot gets lost in translation, you need to find the debth of the vowel and the frequency of the sound....and when you think of teeth, think the molars not the front teeth.
il grande Corelli dice ( dopo avere fatto una carriera sfolgorante in teatro ed essersi successivamente dedicato all'insegnamento del canto ) che """"nel passare dalle note medie a quelle acute si "volta" o incupola la voce e che per ottenere buoni risultati, fra le cose più importanti, si deve ricorrere alla posizione che assume normalmente il palato quando si sbadiglia . """" io, con tutta umiltà aggiungo che questa posizione consente di trovare in " maschera " ( bocca viso e testa) le risonanze che daranno alla propria voce un personale timbro.... " sbadiglio" questa è la magica parola che apre gli occhi a tanti giovani principianti che hanno la voce indietro, quindi ingolata
@TheDrunkiedean Essatamente, e poi, in fondo, ce solo una vera tecnica che avevano, La Maschera e basta...chi abbassava di piu, chi di meno, ma una voce completa.
To be clear Maestro didn’t believe in singing in the mask, when he speaks about teeth it’s in a different concept to mask singing, having said that if the voice is free the mask and body engages by consequence
JESUS CHRIST IS COMING BACK PEOPLE REPENT OF YOUR SINS AND ACCEPT JESUS CHRIST AS YOUR SAVIOR TODAY NOT TOMORROW PEOPLE WHICH IS PROMISED TO NOONE ON THIS EARTH AT ALL
He speaks with sincerity and wisdom. He didn't add or twist words with conceit and pride. You can't get this from the books or the TV interviews. He spoke humbly without a hesitance as if he was a very old tree telling a story to a child from the fairy tales who had seen and felt the world. Thanks for posting this video and your vivid translation. steak.
Corelli was theee king of tenors in my opinion. Thanks for the video.
A transcript:
'You should have the awareness of the distance between your tongue and your palate, but gently without any tension or the sound remains there. You choke. There is no one person that teaches, that sings, that doesn't think about opening the throat. The yawn … then you sing.
With time you establish an ideal spot, a bit more forward…a bit more back. You have to find it between the dark and bright. You need to find it, it takes time, slowly, slowly you find it. The key is to always feel freedom. If you tighten the throat: Ciao! Remember to keep the tongue supple, not tense
The sound is like a ping pong ball floating on a spring of water, so you need to think of the voice like that not pushed too forward because if you push too forward sooner or later you close. If the breath comes up, you need to sit on it. If you center it all goes well but if you don't it will be of consequence to the throat, if you don't think to keep the throat open. Study yourself internally, map that your tongue is supple.
You have to play with the breath. Its a breathing game. That's why you see many sing with extreme ease. Be careful not to take breath with your nose because when you take breath with the nose your voice goes a little higher and has less ring. One of the great remarks on singing is to sing on the teeth, as thought. Its contradictory in a way but the voice needs to remain back free. Careful to not darken the voice because dark is heavy. Especially the young voices need to sing brighter.'
Thank you for the lengthy translation, especially as maestro Corelli died that year.
Thank you so much
Thank you thank you!
X x 0⁰⁹di .., @@onelittleplum
Thank you for the transcript!
The king of old tradition singing, the real deal!
What a great singer and what a beautruful man.
One thing's for sure this man knew how to produce a glorious sound! This is very good advice, no 'science of singing' horseshit, very metaphorical, which is what I like. You don't get better at singing by reading science books, but by using your mind's eye. We're not robots after all.
I am not a singer, and so I am just on the verge of crying simply from listening to what he says and how he says it. Thank you so much for sharing this.
Thank you for sharing this. Highly interesting and in this case very moving too.
One of the greatest singers of all time and certainly the most thrilling of all.
The power both vocally and emotional is unsurpassed and will always remain remarkable.
How kind and generous you are to share this recording. I heard Corelli for the first time a couple of months ago, and marvel that he is not more famous now. I’ve purchased some recordings that are a joy to hear. I’m well into my seventies so have a lot of Corelli listening time to make up! You were blessed to have shared this lesson with him. All the best in your career.
I just started listening to Franco Corelli about 4 years ago and never get tired of hearing him. Let's hope succeeding generations will learn of him and keep his music alive. I try to send links, etc and introduce Mr. Corelli to others, hopefully to people younger than I am.🤗
Oh, he’s famous, but just among opera fans. Caruso was extremely famous at a time when opera was quite popular. Pavarotti and Domingo became famous in part by appearing on TV talk shows. Tenors like Corelli, Bjorling and Del Monaco came along too late for the popular era of opera and too early for the talk shows, so were never big in the public consciousness.
Thank you for posting this. How wonderful to have one of the great masters talking about singing.
Your site just came up on my TH-cam feed. Thank you for this! I discovered Corelli in December 2019 and was immediately hooked. I listen to him almost every day. Stunningly beautiful expressive singing and a great actor as well. He was a genius. He is, in my opinion, a key part of world culture.
I could have I could have written your text myself, except I started listening to Franco Corelli in 2016 and yes, I was hooked as well.
@@carolpaynter8181 🙂
His voice ( which I must hear everyday ) was pure muscle, strength, and stamina with fabulous decrescendo! So athletic and confident.
To me he will always be, the big beautiful man with the spectacular voice!
He was a swimmer.
Thank you for sharing this gift of the wonderful recording of your lesson with Franco Corelli.
Long live his legacy! Such an inspiration for all of us.
Unquestionably the Best natural voices of the century!
It is said his voice was not a natural one, but carefully and systematically crafted.
Non bisogna dimenticare che Franco era stato un grande atleta, un nuotatore, aveva un fisico ed una muscolatura potente, addominali d' acciaio, e che per lui fare certe cose era molto piú facile che per altri, quando dice che il canto é un gioco di respirazione, é vero, che bisogna sedersi sul fiato, verissimo, ma vallo a dire a uno che non sa che cosa sia dominare il diaframma con degli addominali flaccidi, chiaro che non arriva a farlo . Tutti coloro che cantano dovrebbero spaccarsi di vasche in apnea, di nuoto in mare e di serie di centinaia di addominali sulla panca! Poi una volta costruito il corpo giusto cominciate a cantare come dice lui, perché cantare prima di tutto é un gesto atletico ( l' arte interpretativa viene dopo, molto dopo e solo quando si riesce a dominare il proprio corpo e la propria mente) e per fare le cose come dice lui bisogna aver le basi che aveva lui, poi magari non si avrá il colore ed il metallo naturali che aveva lui, ma il risultato sará quasi sicuramente accettabile. Guardate ad esempio Rockwell Blake, che aveva un colore di voce veramente brutto, ma che era atleticamente e tecnicamente preparatissimo e che, se ci fate, caso emetteva esattamente come dice Franco, il risultato fu eclatante e duraturo, nonostante le scarse qualitá vocali naturali!
a true master - thx for sharing.
Rest in peace, dear Franco..
BRAVISSIMO FRANCO DARIO CORELLI MARCHETTI!!!
Great Corelli. Para mi, el mejor.
Grazie Mille for sharing those extraordinary insights from theMaestro! Thank you also for your efforts in providing an excellent English translation which is of much use for those of us not fortunate enough to be fluent in your so beautiful Italian language.
Thank you for sharing this, he is brilliant.
WONDERFUL ! Thank you for posting !
Grandissimo Franco!!! Grazie
kingcorelli, thank you very much for sharing this valuable document, the GRAN MAESTRO FRANCO CORELLI, live explaining some of their knowledge and valuable experience in the beautiful and magnificent performances that only he could deliver and thanks to his recordings and they can enjoy the valuable videos today and future generations. Blessed are those who knew him persdonalmente, as the case and testify to his generosity and kindness and those who listen and were directly
un principe!
grazie
kingcorelli, muchas gracias por compartir éste valioso documento,EL GRAN MAESTRO FRANCO CORELLI, en directo explicando parte de sus conocimientos y valiosas experiencias en la bellas y magnificas interpretaciones que solo él a podido entregar y gracias a sus grabaciones y éstos valiosos videos podemos disfrutar al día de hoy y a nuevas generaciones. Dichosos quienes le conocieron persdonalmente, como su caso y dan fé de su gran generosidad y bondad y quienes le escucharo y vieron directamente
Invaluable information for all voice students. Corelli proved from the beginning of his career how he progressed with the technique he so simple explain on this video. Corelli was the most accomplished tenor of his generation. He controlled his voice dynamics in all the repertoire he sang, belcanto, heroic dramatic and verismo. Late on his career I herd him in Rodolfo, Boheme. Such a huge voice but effortless production. He really worked hard to succeed.
This are the same things he told me by phone and in person. He really was a very intelligent and clear mind person. He always talked about a "ball flotting" in the upper paladar,witht he assistance of air support.This also was shared by Kraus. A free voice supported by a "intercostal-diaphragmatic" "fiato", welll placed behind the teeth. They both spoke of the "parola" well pronounced. He was completly against darkening the voice; you have to listen to your self, be a student of your own nature.
Behind which teeth ? Cause if the voice have to stay back and free it would mean on the molar teeth ?
Can you give an example of a voice that sounds “too dark”?
@@onelittleplum I mean someone who is trying to sound darker (exam: a lyrical tenor trying to sing like a dramatic tenor.)
@@tenorschofieldwhat does it mean for the voice to float like a ball on the palate?
@@downfromkentuckeh It means that you have to attack the sound "from hi, to low". The conection between the air support (from the diaphragm) to the bones in the upper head italiana call "La maschera", produces the resonance of the vocal cords vibrations, allowing us to vocalize and pronounce ear phrase. The lyrical singing is the "musical resitated poetry", meaning that you must respect with your pronunciación, the scence of the líneas/leanguage written by the autor...this means that your source of sound, must be held up, behind your eyes (mantained by the air/sound supported by the diaphragma) , and delivered into words ussing your "bommer" bone, a little in top behind your upper teeth.
Interesting material, thanks for this awesome share!
Priceless... thank you!!!!
thank you so much for sharing this record!
THANK YOUUUUUUUUUUUUUUUUUUUUU!!!!!!!!!!!!
Thank you for this. What a treasure.
Wonderful lesson!!!
✨🎶
Thank you very much for posting this, excellent!!
Thank you for sharing this extraordinary moment!
Thank you for this
Grazie mille Pietro per aver messo questa registrazione del nostro caro Maestro. Io ho avuto la fortuna di studiare con lui la bellezza di 6 anni fino all'anno della sua morte. Sentire la tua registrazione mi ha dato tanta nostalgia perche' mi sono ricordato della stanzetta isonorizzata di Via Carlo Crivelli 12, dove ho fatto tantissime lezioni con tanta ilusione. Grazie, Grazie e piu' Grazie ancora!
Sono più che un semplice un ragazzo che è rimasto ammirato da ciò che era dario corelli, prima vocalmente poi come uomo, le spiacerebbe se hai una sua email di scrivermela o rispondere alla mia che è vlrmusumeci@gmail.com, quest'uomo è andato via troppo presto ed io ero troppo piccolo mi farebbe piacere parlare sia di ciò che sa sugli aneddoti di cji era dario corelli sia sulla tecnica, se vuole quella è la mia mail. Grazie mille in anticipo
Grande!!!!
Thanks so much
kingcorelli, vi ringrazio molto per la condivisione di questo prezioso documento,IL GRAN MAESTRNCO CORELLI, dal vivo spiegando alcune delle loro conoscenze ed esperienze preziose nella performance bello e magnifico che solo lui poteva offrire e grazie alle sue registrazioni e possiamo godere di questi video prezioso a partire da oggi.. Beati quelli che lo conoscevano persdonalmente, come il caso e testimoniano la sua generosità e la gentilezza e quelli che ascoltano e sono stati direttamente
Ecco perché era oltre che una voce leggendaria anche un mostro di tecnica...!!!
I read an interview with Corelli that he detested lessons with voice 'experts' He had a few when he was young, but when one thought he should become a baritone Corelli exploded and fired him. What a tragedy if he had listened to him. It is nice to know as he aged he did want to share his life's talents with young singers. From 1958-1968 he reigned supreme with no equal. And what a temper he had, on and off the stage, he chased his wife out of the Met one day with a sword in hand........
Why till only till 1968? . I ask because , I think he stoped singing in the early / mid seventys.
Ci provo io a spiegare. I suoi anni migliori 1957/ 1969 lo vedono spaziare nel repertorio spinto con qualche incursione nel lirico ( un percorso stranamente al contrario) , vedi Boheme, Werther, Romeo. Io credo che questa scelte oltre ad alleggerire il suono con i pppp leggendari oltre al non essere più ortodosso sulle note di passaggio( per avere la gola sempre più libera o aperta oltre al suo sistema nervoso notoriamente precario ed in più, come disse Lauti Volpi una preferenza della respirazione toraco addominale si quella costo diaframmatico ne decretarono una crisi dal 1969/70 che lo porto ' a smettere di cantare nel 1975. Dal 1969 al 1972 ebbe ancora occasionalmente ottimi momenti ma la voce non era più quella di prima .@@klaudiusmarcelus
Cara Elba, thank you for your kind words and your efforts in putting forward a great channel dedicated to the great Maestro. Saluti Pietro
Wunderbar!
Obrigado por compartilhar.
I have read a lot about singing and on "Great singers on great singing" by Jerome Hines,Hines asks Maestro Corelli about the passaggio and Corelli said that the voice has a turn or il giro della voce and that you must make a change when hitting the high notes, as far as I know, that is the only thing Corelli mentioned about high notes. Also, we all know he was a great athlete so I think there was no need for him to talk about appoggio since he had a very strong diaphgram, already..
Great, thank you. And thanks for the translation, which helps me to catch every word. Only I would say he said alcuni cantano con estrema facilità - which is more like, a few people, or certain people, sing with extreme ease, rather than 'many'
It means more like “some people” not few in that context.
@@kingcorelli yes,but not 'many', that's all I meant. Singing with great ease and beauty is more the exception than the rule
@@livrowland171 nothing said about or relevant to beauty, for that is god given and subjective….more, some, few is irrelevant. The essential idea is about the posturing equilibrium of the vocal apparatus to generate the true chiaroscuro, if the singer can achieve this with ease then that’s beautiful but there is a reason why it’s a very rare form.
pavarotti:'' corelli had vocal cords of steel''..
in opera it is like: BC /AC= before corelli / after corelli..he is a milestone for every tenor--including the greatest---not talkin about ordinary ones like carreras & domingo..
opera isnt opera without franco... r. i. p
@tenorschofield Great document about the ideal singing technique. Your testimony from Kraus, is superb. Please, clarify to me the last sentence by Corelli.
It seems I herd he mentioned Mellochi and the voce pessante or dark. Please, translate that section. About the need of a floating voice, 100% exact, and the need of the effortless singing with a bright tone, perfect, specially for the young singer. THANKS
@tena2 A singer will feel what he feels. And if he's the best, then what he feels is probably what WE should be feeling as singers when singing. Singing is explained in thousands of different ways- Corelli, thankfully, is one who concisely articulated his technique on many occasions, like this video. He worked with Maestro Lauri Volpi for years in private study, and if anyone knows anything about the voice, its him. Videos like this make me skeptical of voice teachers today, but i hear your pt.
WONDERFUL! Thank you for posting this. Corelli is my all time favorite tenor. Where I am now, in my vocal development, seems to be the weight of Corelli's voice or a bit more…as a spinto, Im listening to everything maestro says.
PS How does one darken their voice? I want to avoid that.
JPSovereignStrikes when we speak of darkening the voice it is basically when you have too much chest coordination in the sound it is usually associated with voices that use the exaggerated lowered larynx as that is what is needed to negotiate the passaggio when the voice is heavy.... but in saying that you can sing with the "lowered larynx" and not over darken the sound.The ideal is the chiaroscuro, the voice not too forward or too back, not too much chest, not too much falsetto in the sound, balanced! Like Ying and Yang!
@minnie888444 My pleasure to humbly share some of his teachings.Hope this helps others to succeed in this "life adventure" that is lyrical singing.All the best for you.
la voz es como una flor que brota en primavera
@pieritlyon My pleasure I'm humbled you enjoyed it.
By "back and free" I think he means covered but with open throat? The low larynx method "covers" automatically but allows for brilliant focus , a characteristic of Lauri Volpi and Corelli. On the end, He was born with such extraordinary equipment that he could not explain or teach it.
Thank you for a great clip! Do you have any more?
Thank you very much for this video, such words really are a light among darkness.
Still I have to express I'm a bit confused about the last part where he speaks about avoiding to darken the voice, since to my ears, the difference in sound between his speaking voice (of Corelli) and his singing voice is really big, being the second clearly darker. If one has to avoid a darker sound then how one can sound manly and heroic? This seems contradictory to me, unless he's refering to an over-darkening, but I really think one has to darken the voice at some extent in order to sound good.
For the voice to sound good it must be free from constriction, darkening the voice, more often than not adds to this problem. Essentially one must sing with his or her naturally attributed voice, not to try to make the voice excessively darker or larger than it is. Corelli had a very powerful voice by nature.
True
Your welcome!
@tena2 everyone has a right to there opinion and you may have achieved good results with your ideas but what you don't agree with is the very reason this video was initiated. I believe the concept of "putting" here or "there" is where the singer starts to put voluntary muscle in sound production. The voice just needs to be FREE no put here or there. The sound starts in the THROAT not to say you do anything but breath and sing as you do when you speak. The throat doesn't close when you speak!
@EmilyGreene1984 We are currently recording and will release in December.
in his day, most opera singers couldnt live in the same sun as Franco, vocal chords of steel Pavarotti said of him,
Did he say near the end that Melocchi sang too darkly - or rather that Melocchi warned students not to sing too darkly?
the noise is the minidisk recorder buffering
Can you explain more what he was pointing to when he said to sing 'on the teeth'.. did he mean directing the sound towards the upper teeth?
He was pointing to the error of many schools focusing the voice on the front teeth, too far forward. That the voice for it to incorporate its true potential should be thought of on the back molars. He then exaggerates the idea with the example.
@@kingcorelli Thanks, it was interesting to hear him talk about working to find the best balance between too dark or too bright, too throaty or too masky etc, and also not letting the voice go too high that it gets too thin in quality. I understand what he means as I'm always looking to find that balance too
@@kingcorellisorry. Can i ask you something? You mean upper back molar or under back molar.. or both?
@@guiguijb back lower molars , the sense of biting the sound
@@kingcorelli thank you so much. Have you ever studied with Corelli?
You know about him well..
@enriquepinatenor Si quella camera molto anti squillante, i primi giorni sforzavo che non mi sentivo :) Piacere mio da avere messo. Saluti Pietro
" Be careful not to take breath with your nose because when you take breath with the nose your voice goes a little higher and has less ring"
wait, is we supposedly to take breath from nose to diaphragm? if not, so we need to take breath through mouth?
Newbie here, CMIIW.
In realta' il metodo Melocchi, se ben insegnato, e' il metodo piu' sano, efficace e longevo che vi sia tra quelli normalmente insegnati. Lo stesso Fussi sul suo sito ne spiega limiti e pregi ponendo un'accento a favore della purezza del suono che questo metodo permette di raggiunngere. Marcello del monaco, suo allievo prediletto, ha forgiato cantanti quali cecchele, martinucci, silvano carroli, aldo mori, oslavio di credico, giuseppe giacomini, vincenzo bello ed altri.. tutte voci ancora sane..
Hello, can I connect with you for talking about Melocchi's method? I'm writing my graduation work about him
2- un'altro illustre maestro allievo di melocchi fu paride Venturi il quale a sua volta formo' tanti cantanti ancora in ottima carriera tra cui, carlo colombara, roberto servile, ildebrando d'arcangelo ed altri. Questo per dire che sicuramente e' una tecnica che e' stata fraintesa dai piu' e quindi mal applicata con consuguenti danni alla voce.
Io stesso, ho trovato in questo metodo la liberta' e la facilita' che mi hanno consentito in pochi anni di serratissimo studio di debuttare in piu ruoli
@AntW11 Your Welcome
Corelli said NEVER SING IN MASCHERA.
Corelli had a very open nose, and his sound is always in the face, "sui denti", in the mask.
You can hear it in his half vocals L, M, N and W, how the sound "goes through".
Do you still sing, sometimes?
I don’t understand the last sentence, Corelli himself had an ultra dark voice, perhaps he meant that it’s not suitable for beginners, hence he mentioned young singers ?
Go easy on me, I am a new Opera fan 😂.
so do you sing on teeth or does voice have to remain back, which one it is.
The voice remains back, throat open
+kingcorelli Maestro does not say anything about covering voice, do you have any idea what was his view on the subject?
+zura iashvili ofcourse you need to cover...MUST! Maestro in fact build most of his voice on the downward scale with the "U" vowel, but a lot gets lost in translation, you need to find the debth of the vowel and the frequency of the sound....and when you think of teeth, think the molars not the front teeth.
@OperaFanCantor Your welcome
il grande Corelli dice ( dopo avere fatto una carriera sfolgorante in teatro ed essersi successivamente dedicato all'insegnamento del canto ) che """"nel passare dalle note medie a quelle acute si "volta" o incupola la voce e che per ottenere buoni risultati, fra le cose più importanti, si deve ricorrere alla posizione che assume normalmente il palato quando si sbadiglia . """"
io, con tutta umiltà aggiungo che questa posizione consente di trovare in " maschera " ( bocca viso e testa) le risonanze che daranno alla propria voce un personale timbro....
" sbadiglio"
questa è la magica parola che apre gli occhi a tanti giovani principianti che hanno la voce indietro, quindi ingolata
Correct me if I am wrong :)
@TheDrunkiedean Essatamente, e poi, in fondo, ce solo una vera tecnica che avevano, La Maschera e basta...chi abbassava di piu, chi di meno, ma una voce completa.
See?He said -“sing on the teeth”that’s to all who says ,that Corelli didn’t use the mask singing.
To be clear Maestro didn’t believe in singing in the mask, when he speaks about teeth it’s in a different concept to mask singing, having said that if the voice is free the mask and body engages by consequence
JESUS CHRIST IS COMING BACK PEOPLE REPENT OF YOUR SINS AND ACCEPT JESUS CHRIST AS YOUR SAVIOR TODAY NOT TOMORROW PEOPLE WHICH IS PROMISED TO NOONE ON THIS EARTH AT ALL
The Flying Spaghetti Monster is coming back! He will twirl your pasta on the sacred spoon of salvation!
what a pea brain
Your welcome!