!!!MAGNIFICO!!! !!SEI GRANDE CORELLI!!! Imposible igualarlo, menos superarlo; La voz del Gran Maestro Corelli es grandiosa, bella, única, la interpretación perfecta, magnifica. BRAVO GRAN MAESTRO CORELLI, AÚN EL MEJOR EN TODO LO QUE INTERPRETÓ.
Si è del 58, la serata in cui la callas lascio il teatro con il presidente fra il pubblico. Qui Corelli non era in forma perfetta infatti non esegue il Do.
"Del Monaco". I prefer Corelli, by the way, but Pollione is very interesting because was written for a "baritenore", a baritone voice that sang high notes with falsettone.
I was likely wrong about the falsettone part, it's more likely that at the time opera singers used a kind of mixed voice for high notes and that it was not that much different from XX century style.
@@edraith You are right I think heldentenors used falsetto in the early years, it was very acceptable. But falsetto became very unfashionable for some reason. Now tenors are just expected to use more chest voice. I am actually surprised by the way Corelli sound in this version. His studio version is far lightly and more delicately performed. Of course I also really do enjoy Del Monaco's version, and there is a great video of Del Monaco doing an amazing performance of this aria. In this version I do think Corelli actually sounds more baritone like then Del Monaco, Corelli did sing as a baritone in his very early years.
@@ZENOBlAmusic not really falsetto, it's a very complex matter really... There has been for some time in the field of studies about history of music and singing this idea that PERHAPS before Gilbert Duprez most male voices could have sung high notes in some different way than nowadays but by analysing both partituras and other writings we usually find that a falsetto was always clearly indicated when needed and was mostly used for other effects, usually comical ones, NOT for high notes. It's likely that Duprez was a natural contraltino who could reach a High C in a belting voice, so it was actually HIS style that would be different from XX Century style. But pertaining high notes we cannot really say how they were sung back in XVIII and XIX century, we just know it was NOT a falsetto, perhaps it was just the whole vocal range that used to be emitted in a slightly lighter slightly less timbrically readjusted fashion than what started happening during the Mid XIX century. Tenors using falsetto is usually a myth for tenors from the Early XX Century having developed an extremely controlled mezzavoce and pianissimo singing that it's indistinguishable from a falsetto from a simple earing standpoint (then again some of them likely used to slip into falsetto too, but that's only for some timbrical effects on pianissimo singing).
Problem is we don't really have a time machine, so we will never know for sure. In the 13 years from my previous comment I kept studying old treatises and old writings in order to understand some more but it's impossible to put a definitive word on this matter.
Mario del Monaco e dupa umila mea parere cel mai bun Otelo,dar Corelli e cel mai bun Polione si cel mai bun Mc Daf,din Macbeth.E interesant ca acum la multi ani de la disparitia celor doi maestri noi facem comparatii,clasamente.Cred ca acolo unde sunt ei acum si unde il desfata pe Dumnezeu cu vocile lor, se amuza copios.
Pollione é Corelli e basta! Nessun altro! Anche in questa occasione disgraziata, con una evidente laringite, forse una bronchite perché é in totale affanno con i fiati e non osa il do, non esiste paragone.
Non ce.del Monaco non ce nessuno che superi quel maestoso Pollione e superbo incantevole ti penetra nell'anima il suo pathos ,vibra il suo cuore quando canta non è solo una emissione di note di acuti lui è divino poi quello che non.guasta e stupendo bello virile e tutto
@@raffaelamontanari2373 It appears impressive at first glance, until you read the actual libretto. Then his singing on this aria does not make much sense. Pollione is not in a powerful position of pathos. He comes across somewhat insecure actually. Del Monaco cannot convey insecurity and vulnerability. Corelli understands the actual character he is singing about.
![[UNCUT]"ทนายตั้ม" แฉยับ! ความลับสวรรค์ ใครคือ "บิ๊กเทวดา" ของบอสพอล l คนดังนั่งเคลียร์ l 15 ต.ค. 67](http://i.ytimg.com/vi/ru9fpSaUwdA/mqdefault.jpg)
If maestro Bellini heard this his jaw would drop to the floor!!! Surely the best Pollione ever!!!!!!!
!!!MAGNIFICO!!! !!SEI GRANDE CORELLI!!! Imposible igualarlo, menos superarlo; La voz del Gran Maestro Corelli es grandiosa, bella, única, la interpretación perfecta, magnifica. BRAVO GRAN MAESTRO CORELLI, AÚN EL MEJOR EN TODO LO QUE INTERPRETÓ.
unino Franco Corelli...
Amazing and wanderfull teno. Bravissimo
the best Pollione ever!
best one ever!!
Maestro Corelli is the best tenor in the world! Маэстро Корелли -лучший тенор в мире!
X me dopo CARUSO E. Corelli il migliore.
Ottima performance!!! Un Pollione di grande prestigio più nella romanza che nel recitativo...saluti
Nel recitativo è insuperabile vario e poetico eroico
@@graziellalandolfo4507 un fenomeno
You can hear many great voices is this aria. But cannot find any, who coul be so interesting, tahan Corelli, or of course Monaco.
Franco Corelli - Meco all'altar di Venere (Live)
Romanza della Norma con recitativo iniziale.
del 1958?
Credo di si😊
Non credo sia il 53...comunque grande Pollione!!!
Si è del 58, la serata in cui la callas lascio il teatro con il presidente fra il pubblico. Qui Corelli non era in forma perfetta infatti non esegue il Do.
I would take sick Corelli over almost anyone 😂😂😂
MOSTRUOSO ! DA BRIVIDI !
Corelli ,Del Monaco...e Francesco Merli,ce lo dimentichiamo?
"Del Monaco".
I prefer Corelli, by the way, but Pollione is very interesting because was written for a "baritenore", a baritone voice that sang high notes with falsettone.
Corelli sound very baritonish here, more then Del Monaco's version.
I was likely wrong about the falsettone part, it's more likely that at the time opera singers used a kind of mixed voice for high notes and that it was not that much different from XX century style.
@@edraith You are right I think heldentenors used falsetto in the early years, it was very acceptable. But falsetto became very unfashionable for some reason. Now tenors are just expected to use more chest voice. I am actually surprised by the way Corelli sound in this version. His studio version is far lightly and more delicately performed. Of course I also really do enjoy Del Monaco's version, and there is a great video of Del Monaco doing an amazing performance of this aria. In this version I do think Corelli actually sounds more baritone like then Del Monaco, Corelli did sing as a baritone in his very early years.
@@ZENOBlAmusic not really falsetto, it's a very complex matter really...
There has been for some time in the field of studies about history of music and singing this idea that PERHAPS before Gilbert Duprez most male voices could have sung high notes in some different way than nowadays but by analysing both partituras and other writings we usually find that a falsetto was always clearly indicated when needed and was mostly used for other effects, usually comical ones, NOT for high notes.
It's likely that Duprez was a natural contraltino who could reach a High C in a belting voice, so it was actually HIS style that would be different from XX Century style.
But pertaining high notes we cannot really say how they were sung back in XVIII and XIX century, we just know it was NOT a falsetto, perhaps it was just the whole vocal range that used to be emitted in a slightly lighter slightly less timbrically readjusted fashion than what started happening during the Mid XIX century.
Tenors using falsetto is usually a myth for tenors from the Early XX Century having developed an extremely controlled mezzavoce and pianissimo singing that it's indistinguishable from a falsetto from a simple earing standpoint (then again some of them likely used to slip into falsetto too, but that's only for some timbrical effects on pianissimo singing).
Problem is we don't really have a time machine, so we will never know for sure.
In the 13 years from my previous comment I kept studying old treatises and old writings in order to understand some more but it's impossible to put a definitive word on this matter.
Tomislav Zoricic NEVER! Franco is the first!
Mario del Monaco e dupa umila mea parere cel mai bun Otelo,dar Corelli e cel mai bun Polione si cel mai bun Mc Daf,din Macbeth.E interesant ca acum la multi ani de la disparitia celor doi maestri noi facem comparatii,clasamente.Cred ca acolo unde sunt ei acum si unde il desfata pe Dumnezeu cu vocile lor, se amuza copios.
Pollione é Corelli e basta! Nessun altro! Anche in questa occasione disgraziata, con una evidente laringite, forse una bronchite perché é in totale affanno con i fiati e non osa il do, non esiste paragone.
diciamo opinione personale?...Giusto per non far torto a nessuno
For MDM
After Mario Del Monaco!!!
Un'ottima esecuzione, ma non sono daccordo sul Pollione del secolo. Ce ne sono pochi alla sua altezza, ma almeno due migliori di lui. un saluto
Chi sono?
@@graziellalandolfo4507 Mario Filippeschi.
Mario filippeschi è decisamente migliore di del monaco in questo aria. Allo stesso livello ei Corelli
@@andreaottelli9734 forse sarà meglio perché esegue il DO??? Pollione è un'altra cosa...
BELLA VOCE DE FRANCO, PERO ASCOLTARE IL POLLIONE DI MARIO DEL MONACO DEL 67, DEFINITIVAMENTE MARIO E IL MEGLIORE POLLIONE DELLA STORIA
Non ce.del Monaco non ce nessuno che superi quel maestoso Pollione e superbo incantevole ti penetra nell'anima il suo pathos ,vibra il suo cuore quando canta non è solo una emissione di note di acuti lui è divino poi quello che non.guasta e stupendo bello virile e tutto
@@raffaelamontanari2373 It appears impressive at first glance, until you read the actual libretto. Then his singing on this aria does not make much sense. Pollione is not in a powerful position of pathos. He comes across somewhat insecure actually. Del Monaco cannot convey insecurity and vulnerability. Corelli understands the actual character he is singing about.