What good colleagues. Corelli was having uncertainty about the final high C, Corelli hesitated, the conductor waited, he leaped, hit it, and cut it short, not a great night. SHE respected his plight totally and cut off her high C with him. If she was a 'prima donna' she would have held her high C for 2 or 3 hours and showed him up. Instead, she helped him cover. You don't always find this in the theater. Brava, Freni.
Corelli playing Rodolfo at nearly 50 years old (and also towards his last few years of active performing) was always interesting to me. Could he, still, deliver a good C then? Yes. But maybe, just maybe, both his age and the Fach (lyric, vs his spinto) gave him reservations.
I read somewhere where in one performance Corelli actually sang the ending of this in the harmony that Puccini wrote. Every time I have heard Corelli sing this duet he has always sang the ending not in the harmony, but the other way as he did here. Corelli was a tenor who always seemed very comfortable with his high c's perhaps more so than Pavarotti. Corelli did have an angst about him particularly if he was just a bit uncomfortable on a given night. For a man as talented as he, he at times had nerves so fragile.
It's my first time to hear franco corelli cracks even a little bit. It's kinda sad because this is such a beautiful aria. How I wish he was able to perfect tha last part. But still, considering that he's very rare to crack, my sadness is a little bit decreased. edited: the first phrases of the aria tho 🥹💖
Lo stesso accade quando lui chiede Mimi: -e al ritorno? con Sorpresa e Curiosità come tutti i giovani nella prima volta che inizia una storia d'amore Entrambi Bellissimi!!! Grazie Mille!!! Cara *phalenopsis1* per questo Indimenticabile Ricordo!!! ***************Infinite**********************
She did have a small voice, although with minimal volume that opera requires, which is what lacks nowadays. Mimi is a role for a lyrical soprano, that is to say a voice that doesn't need to be large, but the smallest of Puccini's actually. Mirella Freni was a good singer, but a lyrical one and she never got beyond, so roles that are not lyrical (spintos and dramatics) will show her voice to be small.
Enjoyed immensely after Bohema at Salzburg Festival 2012 which showed surprising even for our times absence of any aethetic sense and the capacity to vulgarise any beautiful store. Here they are so wonderful inspite the austere and somber setting - but the feelings go so well with the voices and appearance
Senza dire qualche cosa di peggio contro la signora Freni, ma Franco Corelli ha più potenza vocale di quella della signora Freni. Se ascoltiamo il "Vicino a te", dove lui canta con Antonietta Stella, il soprano aveva una voce potente paragonabile con Corelli, specialmente nell "INSIEME". Grandi cantanti del bel passato, tutti morti.
What good colleagues. Corelli was having uncertainty about the final high C, Corelli hesitated, the conductor waited, he leaped, hit it, and cut it short, not a great night. SHE respected his plight totally and cut off her high C with him. If she was a 'prima donna' she would have held her high C for 2 or 3 hours and showed him up. Instead, she helped him cover. You don't always find this in the theater. Brava, Freni.
Corelli playing Rodolfo at nearly 50 years old (and also towards his last few years of active performing) was always interesting to me. Could he, still, deliver a good C then? Yes. But maybe, just maybe, both his age and the Fach (lyric, vs his spinto) gave him reservations.
Así es. Saludos cordiales
I read somewhere where in one performance Corelli actually sang the ending of this in the harmony that Puccini wrote. Every time I have heard Corelli sing this duet he has always sang the ending not in the harmony, but the other way as he did here. Corelli was a tenor who always seemed very comfortable with his high c's perhaps more so than Pavarotti. Corelli did have an angst about him particularly if he was just a bit uncomfortable on a given night. For a man as talented as he, he at times had nerves so fragile.
Mirella Freni is the most passionate of opera singers. Absolutely love her performances.
The perfect Rodolfo, the perfect Mimi. Adorable.
Que Maravilla!! El Grandioso Tenor Franco Corelli y la Egregia Soprano Mirella Freni!!! Una Conjuncion de Estrellas!!!
Il grande maestro Franco Corelli,unico. Il migliore di sempre.Grande Freni.
Che generosità a 460 560 gradi ❤ grazie
Sublime Franc Corelli el mejor Rodolfo de la història.❤️❤️❤️❤️❤️❤️❤️❤️
Maravilloso Corelli
The best Tenor High C I have ever heard!
You havent heard too many so,hes cracked here at the end,and she helps him save face,but u are correct on his prime he was hard to beat
Ay! Qué romántico…
Cómo emociona la parte final, aquellas voces parecen de otro mundo
Grandissimi!
Fantástico !
Thank you for including the translation. How beautifully they both sing! A real treasure.
Super!
Franco Corelli ..unico❤
It's my first time to hear franco corelli cracks even a little bit. It's kinda sad because this is such a beautiful aria. How I wish he was able to perfect tha last part. But still, considering that he's very rare to crack, my sadness is a little bit decreased.
edited: the first phrases of the aria tho 🥹💖
Lo stesso accade quando lui chiede Mimi:
-e al ritorno?
con Sorpresa e Curiosità
come tutti i giovani nella prima volta che
inizia una storia d'amore
Entrambi Bellissimi!!!
Grazie Mille!!! Cara *phalenopsis1* per questo Indimenticabile Ricordo!!!
***************Infinite**********************
EL Ba n
Parceria divina❤
For those who always say Freni had too small a voice to do some of the roles she did, she holds her own just fine in this!
Few sopranos could match Corelli's power in a duet!
@@Bobrogers99 listen to the recording of Turandot in the ending of In Questa Reggia. Very few tenors could overpower Birgit Nillson. Corelli did.
She did have a small voice, although with minimal volume that opera requires, which is what lacks nowadays. Mimi is a role for a lyrical soprano, that is to say a voice that doesn't need to be large, but the smallest of Puccini's actually. Mirella Freni was a good singer, but a lyrical one and she never got beyond, so roles that are not lyrical (spintos and dramatics) will show her voice to be small.
Enjoyed immensely after Bohema at Salzburg Festival 2012 which showed surprising even for our times absence of any aethetic sense and the capacity to vulgarise any beautiful store. Here they are so wonderful inspite the austere and somber setting - but the feelings go so well with the voices and appearance
Wow
❤❤❤❤❤❤❤❤
Stecca nell'acuto finale, non avevo mai sentito Corelli farne una...
Probabilmente non sei abituato ad ascoltare l'opera e confondi il cambio tono con una "stecca"
Shiit big voice tenere!
Welche Supersänger machten in Hamburg Oper Station, früher und ... einst! Und das wunderbare beidseitige (!!!!) hohe C!
Tutti Idue dopo
🙄🙄🙄🙄😮😮😮🥲🥲
Corrpp
Corelli irripetibile in tutto
Senza dire qualche cosa di peggio contro la signora Freni, ma Franco Corelli ha più potenza vocale di quella della signora Freni.
Se ascoltiamo il "Vicino a te", dove lui canta con Antonietta Stella, il soprano aveva una voce potente paragonabile con Corelli, specialmente nell "INSIEME".
Grandi cantanti del bel passato, tutti morti.
Renata Tebaldi è stata la perfetta Mimì secondo me
He just kills her she is not audible with Franco
Cierto. Saludos cordiales