Corelli vs Pavarotti - Nessum Dorma (Reaction)
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Saw Corelli, and when you hear that voice in a huge auditorium, and witness his magnetic presentation you are left wanting more.
The role was the painter, Dorothy Kirsten was Tosca, and Tito Gobbi was the baron. Never witnessed anything close to that night.
Tito Gobbi was a force of nature as a baritone
Yeah, i use’d to put pavarotti first too. But after hearing corelli, all things has changed.
Corelli the master of this aria in Turandot, Pavarotti the master as the Duke in Rigoletto....the most sublime "La donna e mobile" ever
I was fortunate to hear both Pavarotti and Corelli as Calaf live at the MetOpera. Pavarotti only sang the role 4 times at the MetOpera. There was no comparison - Corelli owned the role. What is hard to tell from the recordings, is that Corelli's voice was much bigger. Corelli had the power, the high notes, and the emotional connection to the music. When Corelli hit a high note, you felt it up and down your spine. Him in Nilsson in the Act 2 Questa Reggia, OMG.
Regarding a comment below regarding Boheme, I also heard both in that role at the MetOpera. Corelli did a beautiful Che gelida marina, but Pavarotti was perfection in that role/act. On the other hand, the last act is more dramatic and I preferred Corelli in that act. But I am not complaining, I got to see them both.
Hai mai ascoltato dal vivo Mario del Monaco? Una spada che ti trafigge. Pagliacci, Trovatore, Otello...
The lyric Pavarotti actually sang the role of Calaf 6 times at the Met at age 61. It was not a signature role for him, but for a lyric tenor he did managed it quite well. Calaf was THEE signature role for Corelli. He sang it 53 times at the Met alone and was possibly the premier Calaf of the last 70 years or more. Keep in mind that Corelli officially retired from the Met in 1976 at age 55 after a great 25 year career and Pavarotti was still singing at age 61 and had at least a 43 year career. Just as Corelli was more suited for Turandot, Pavarotti was more suited for Lucia or Boheme. Perhaps a better comparison would be Corelli verses other spinto tenors or Pav verses other lyric tenors singing Nessun Dorma.
Your analysis is spot on. La Boheme better suited for Pavarotti’s lighter lyrical voice. More dramatic roles were not his forte. In recordings his voice was often “juiced up” on the lower register to create a much fuller sound.
Yes, I was fortunate to hear the two of them in Turandot, Tosca, Aida, and Boheme (and many other times in differing roles. The first opera I saw at the Met ("The Old House") was on 23 March 1965 and it was Ernani with Corelli, Price, Sereni, and Siepi with Thomas Schippers conducting. Ruined me, how do you ever top a cast like that. Saw him 19 times at the Met. Got to see Pavarotti in Rigoletto, Elixir, Fille du Regiment, Lucia and other operas. I still have the programs. Two of the greatest tenors ever (the two best I ever saw).
Thanks for sharing
I like Corelli, he sings this aria like no other.
Se volete ascoltare il vero Corelli dovete sentirlo in tutte le sue interpretazioni live dove lui dava il massimo, Pavarotti il suo Nessun dorma lo ascoltate sempre registrato in studio o con microfoni, provate a sentire Franco in Ugonotti, Norma Poliuto, Trovatore, Tosca, Aida Ernani, opere che Pavarotti non avrebbe mai potuto cantare, si è cimentato in Aida ed Ernani con esiti non proprio brillanti, ciò non toglie che nelle opere del suo repertorio è stato grande
Chenier, Carmen.
Nessun confronto possibile...
Corelli è Calaf !!!!!
Corelli was the greater Calaf, especially on stage.
They are both outstanding,but I would say Corelli ´s voice sounds more dramatic and he seems to be living that moment.That ´s why I must say Franco Corelli is No 1 for me.Definitely.There has never been anyone like him.
I prefer Corelli. In this example, Pavarotti seems more removed, like he's describing the music more than feeling/emoting it. Corelli sounds like he's closer to the piece and is BEING the music with his voice.
MUSICALITY. CLEARER TONE, & BEAUTIFUL VIBRATO, I only heard correlli for the first time in 75 years two weeks ago & he was the best rory , I happy to totally agree with you. robert
Salve. Non avete idea, cari ragazzi, della gioia che mi ha dato lo scoprire che dei giovani amano il “ belcanto “. Io sono innamorata di Corelli che ritengo il più grande tenore, non solo della seconda metà del secolo scorso, ma di tutti i tempi, ineguagliato e ineguagliabile. Temevo che il Suo patrimonio artistico potesse scomparire, ma grazie a Voi giovani, la speranza rinasce. Graziegraziegrazie
On ne peut comparer deux voix différentes , ceci étant celle de corellli est ici mieux adaptée au rôle de calaf et dans l'opéra moins dramatique on préférera celle de pavarotti moins impétueuse mais plus feutrée. Tout est question de goût et de sensibilité. Pour moi , i'interprétation la mieux équilibrée de ce magnifique air me paraît être celle de jussi Bjoerling , mais bien sûr vous avez droit de penser autrement. Salut à vous.
@@mino7520 Dans cet air, à Jussi Bjorling, je préfère plutôt Aragall qui a une voix de tenore spinto et aussi très belle.
Tube22......je pense qu'Aragall est le meilleur ténor espagnol des quarante dernières années bien que beaucoup lui aient préféré Krauss à la voix moins brillante et moins belle. C'est un choix que d'avoir préféré Aragall dans cet air qui ressort à votre sensibilité et c'est bien, cependant je crois que Bjoerling est vraiement la référence dans cet air et dans beaucoup d'autres, et selon beaucoup de connaisseurs il a été le second caruso du siècle écoulé .
@@mino7520 Aragall était de nature timide et souffrait tellement du trac qu'il risquait d'abandonner le chant. Des problèmes qui lui ont valu des succès étonnants et des débâcles absolues !
@@iTube22100 . Il faut savoir que Pavarotti a dit qu'Aragall était le meilleur de son époque, donc meilleur que lui même. Et je suis d'accord avec cette appréciation.
Corelli has a more open throat and voice, making it real clear and convincing, while he is also believing what he is singing, like a good actor, makes all the diverence!
Hi mate, I am tenor myself and understand completely what you mean, for me Pavarotti is one of the best in history but Corelli was an animal singing in the sense that all his body, feelings, gut and testosterone was added to his voice, for me, after Caruso, the best of all time
Thank you for another of you great reactions.There is little to choose between these two great tenors,but I'll give Franko Corelli the edge with this rendition.Cheers from, Michael Jonathan Lewis, Johannesburg, South Africa.
Corelli was a heavy spinto-voice and Pav a light lyric maybe even leggiero tenor. They both sang this perfectly but Corelli had obviously more juice in his voice. He also sang with a artificial lowered larynx by training certain muscles. He said this in an interview with Stefan Zucker. It takes a lot of strength to sing this way. Physically and mentally.
Pavarotti was a Light lyric at the beginning, at the end he had a pure lyric voice
Pav had never been a leggiero tenor. Full lyric.
Light lyric tenors do not sing operas like Turandot, Tosca, Gioconda, Trovatore, Aida, Chenier, Luisa Miller, and Ernani. Corelli told Stefan Zucker that he sings with a floating larynx.
Dear pipogalli, Corelli never used the term ''artificial lower larynx''
Corelli is the best tenor of all time Is absolutely most power
I think each tenor type has his strengths no tenors sings everything better then any others depends on type of tenor voice and type of role corelli was a great tenor but so was pavarotti but there have been many more who was best well its subjective on opera and type of tenor and listeners taste
Dear Brad, I always wonder what criteria a poster uses when they state a tenor was the best of all time? Corelli's voice could fill any opera house, but it was ''NOT'' absolutely the most powerful. I usually don't get an answer, so don't worry about not responding.
+ Daniele Barioni
Mario lanza was the best of best
Franco Corelli per sempre, senza alcun dubbio. ❤
Luciano Pavarotti barely sang the role of Calaf on stage because it was too heavy for his voice while Franco Corelli sang it for almost two decades all over the world. There is no possible comparison: reality vs. studio recording.
@@Domani02corelli est biennn au dessus techniquement et des émotions qu’il procure
Correli transpire l'émotion dans sa voix mais c'est pas celle qui me procure pour autant le plus d'émotion. Tout ceci est subjectif. Comme j'aime énormément Mario Del Monaco et d'autres grand ténor
Absolutely correct I feel Franco in this role was superoir but pavarotti say in the fille of regiment was brilliant
@@andrewwalker3312
Pavarotti has cracked in Fille of regiment.
You can listen on youtube
Did Corelli do I purtani?
Thanks again, both were amazing singers, some of the best tenors of all time. The difference is that Nessun Dorma is meant for a more dramatic voice such as that of Franco Corelli. Franco Corelli had an aspect in his voice that some dramatic tenors have, tears in the voice, or just soul if you listen to blues. Pavarotti made the aria famous, but he could not sing the opera role where the aria comes from. But Pavarotti is one of the best in his own lyrical tenor repertoire, if this was Che Gelida Manina from La Boheme, then Pavarotti would have been the best. Nessun Dorma has become so popular everyone just sings it these days, but it is really part of the dramatic repertoire.
Franco Corelli in this Aria
Well, having heard them both often, Corelli had twice the voice in amplitude. And in animal magnetism. LP was great, but in the theater he was not a great Calaf, while Corelli owned that role and has never been equalled
Correct. That's all there is to say. All the useless discussions always come from the uneducated who are neither able to sing that way themselves and/or have no clue about tone production.
I couldn't agree with you more🤗....
addressed to Stephen Lord
Dear stephanlord9, How would you compare Corelli to Pavarotti in Lucia and Corelli's diction to Pavarotti's?
Pavarotti had incredible diction...not quite that of diStefano but it was very clear. But the voice was much more narrow than that of Corelli. Spinto tenor vs Lyric tenor. LUCIA is for the latter.
@@stephenlord9 Dear Stephen, My question was, how do you compare Pavarotti's diction to Corelli's? But you included Di Stefano in your answer instead of Corelli. Do you know of any lyric tenor who's voice is NOT narrower than Corelli's? Yes Lucia was for Pavarotti, while Corelli did not answer the bell for the 2nd act in the 2nd performance of Lucia at the Met, after getting a poor review in the first performance. Perhaps the better comparison would be to compare Corelli to other spintos and Pav to other lyric tenors singing Nessun Dorma. Of course Corelli was the premier Calaf of the last 70 years, but it's also very interesting when a tenor takes on a role outside of his repertoire, like Pavarotti has. Chenier, Aida, Turandot. Luisa Miller, Gioconda and Ernani are much more suited for a spinto, but Pavarotti did mange these heavier roles quite well. He was also singing these heavier operas after Corelli,Tucker, and Del Monaco were gone from the Met.
I heard them both live in the theater. Corelli definitely had the more powerful voice. He was made for Turandot.
On the other hand, Pavarotti would be far better in La Boheme.
Two fabulous tenors.
Pavarotti is a lyric tenor and has a beautiful color but Corelli also had s beautiful color!
We can not compare them!
In this Aria it is Corelli to whom it fits because it is a great Spinto means bigger voice
💯🎯💥
Pavarotti a lyric tenor? First time I hear that 😅. Pavarotti was an instrument, he's the greatest of all times.
@@tampe3358 If you've never heard of it, it means you're not informed! Pavarotty tenore lirico, Corelli tenore eroico, heldentenor in German. Pavarotti's voice has a beautiful timbre and he is very good at graceful pieces. For example, he's very good singing "Bella figlia dell'amore" (Rigoletto). But when he goes up in pitch, his voice thins out and he sounds a bit like a strangled chicken! Another singer, lirico spinto, with an exceptionally beautiful voice, is Jaume Aragall. Unfortunately he is not that famous because he is very shy and suffers from stage fright. But very good at both, pieces of grace and pieces of strength. He studied with Pavarotti and Carreras and even Pavarotti said he was the best of the three.
Corelli full stop
CORELLI!
...Corelli è unico...la sua voce gigantesca veniva da lui modificata in mille sfumature ed inoltre era pastosa colma di passione e sognante....e infine bello come un semidio❤❤❤
Corelli il più grande tenore!!!
Yes Corelli is a spinto!!! Thats it what it is!😄
This is one of Pavarotti’s best recorded songs. But I agree, Corelli was just a beast. If you like the “different feel” that Corelli sings with, then you’d love Giuseppe Di Stefano. He is more lyrical, sweeter, virtuoso, with less power but perhaps with even deeper and truer feeling.
Bueno no se que desea demostrar con esta comparación la voz Pavarotti una voz lírica bonita mas no cubría los aspectos vocales para muchas óperas pero con el retiro de Corelli no se encontraban voces varoniles con esa emisión fuerte potente y segura para interpretar obras fuertes de carácter interpretativo Pavarotti no poseía esa calidad le costaba demasiado mantener esa línea El gran Corelli una belleza de voz podía dejar una impresión como al que lo escuchaba en grabaciones y los que disfrutaron verlo en el escenario una magnífica técnica vocal reunía todas las condiciones como cantante lírico una cosa muy importante Pavarotti era gran admirador de Franco Corelli
Good you search for such good singers
Much to explore about the sound of old times
"There's definitely a difference." LOL
Corelli is just the best of all time. Simple.
Wow, the best of all time!? Was Corelli the best in Elisir, La Sonabula, Rigoletto, Butterfly, Lucia, Manon Lescaut, Traviata, Boheme, and Ballo? Corelli is one of my favorites and one of the best tenor voices ever, but he was NOT the best of all time. Simple
They're both awesome. I think the audio quality favors Corelli, but I also favor Corelli on this particular song. I started listening to him in 1968.
Corelli was, as still is, the king of tenors. I listen to at least one of his recordings everyday. His voice, his presentation, his emotional completeness to the music puts him in the realm of angels.
not comparable!!! absoultely Franco Corelli!!!
Maybe is necessary compare tenors with similar repertorie.
Adoro Corelli ma Luciano in quest'aria è sublime!
Team Corelli
I like being a member of Team Corelli for some challenges and of Team Gedda for others! Vive les différences!
Oops, that's "Vivent les différences" (plural).
This shown the differrent between Lyric and Dramatic tenor. Anyway Calaf role fit with the Dramatic tenor more than Lyric tenor.
Calaf l hanno cantato anche dei lirici pieni. Ma da quello che mi risulta Corelli ha cantato il ruolo circa 100 volte.Pavarotti un paio.Con Corelli c 'e' anche un film per tv del 1958.
The title is wrong - should be "Nessun" with an "n" at the end. Short for "Nessuno" in Italian = no one (sleeps), usually translated as "None shall sleep". There really isn't much in it, both are so good - Corelli has a darker, "spinto" sound with more baritonal heft, and more power; Pavarotti has a lighter, "lirico" sound - but both have what the Italians call "squillo" in their voices which is resonance in the upper pharynx - and agreed; there is more emotion in Corelli's.
its not the recording is about voices Corelli was a Spinto tenor and pavarotti liric liggero, more diferences
Corelli il più grande
I love Pavarotti, but Corelli, wow!!!!!!!!!!!! No comparison
All due respect to Mr. Pavarotti but he was not a Calaf. Corelli all the way.
I'd say Pavarotti had a lighter voice and a cleaner technique. Corelli had a more powerful, dramatic voice. Both were amazing artists, but I'm personally more moved by Pavarotti. I was fortunate enough to meet him and to hear him perform live twice, once in a solo performance and once with Domingo and Carreras (as the Three Tenors.) Unforgettable.
They actually had similar technique, although Corelli was better with diminuendo, the difference is one is is lyric tenor and one is dramatic spinto tenor.
@@ZENOBlAmusic To my ears, Pavarotti's diction was more crisp and he tended to sing intervals more cleanly (with less "scooping") than Corelli. These are characteristics I always listen for in classical singing. I'm sure there are facets of Corelli's technique that outshine Pavarotti's. It comes down to personal preference.
@@LydellC You are right Corelli did portamento, it is not really scooping but somewhat similar. It is a stylistic choice not technique. Some people don't like it. I don't mind, it is similar to what rock and blues singers or guitarist does, it creates soul in the voice. But I do understand if you don't describe it as good characteristic. All singers have their faults. Pavarotti did have good dictation but he was very loose with his tempo, he sometimes speeded up, or slowed down passages where it is not written in the score. I also don't mind this aspect from Pavarotti, I see it as a personal touch, I think these small measures are personal touches, but it is something that can be criticized by some people who like to abide by the score.
Of course I think the whole point of the video, was that these are different types of tenors. With different types of voices and skills. Nessun Dorma is meant for a dramatic tenor, but everyone just sings it these days. Pavarotti's Nessun Dorma is good, but there are many other tenors such as Corelli, Del Monaco or Giacomini who does sing it better, it is simply more suited to their voices. Franco Corelli is known as the Calaf, he played the role many times, next to Brigit Nilsson of all people, Pavarotti never performed Turandot on stage. It is a role that requires a dramatic voice, with exceptional high notes. Check out 'In questa reggia" Brigit Nilsson & Franco Corelli. Brigit Nilsson was a Wagnerian soprano she had one of the biggest voices of all time. The tenor in Turnadot has to keep up with the dramatic soprano.
Pavarotti is a fine lyric tenor, one of the best, some people will say that Björling, Wunderlich or Gigli were the best lyric tenor, I would still pick Pavarotti ahead of them.
Different tenors have their roles, Corelli and Pavarotti had completely different voices, with different expectations and different roles. Dramatic roles are more about dramatic impact and emotional content then perfect bel canto singing.
Corelli's diminuendo is actually extra ordinary, it is very rare for a tenor with such a big voice to have such a good ability with diminuendo. That is something you would expect from Pavarotti to be better at then Corelli. Of course both Pavarotti and Corelli have been accused of holding high notes for too long, or for adding unnecessary high notes. I don't mind, I think all tenors would like to be able to achieve this, everyone just doesn't have the skill.
Of course the trouble is when tenors start to perform outside of their repertoire. They are fair game, to criticize then in my opinion. But as I said practically all tenors do it from time to time.
Corelli himself often performed La Donna E Mobile in concert. He never played the Duke on stage, his voice was far to big and heavy for coloratura, so he does not perform it very well, but he did it. Of course Pavarotti was excellent at La Donna E Mobile, he had the right flexibility in the voice for that role.
@@ZENOBlAmusic Dear Zenobia, Pavarotti sang Turandot 6 times at the Met in 1996. Other than not being able to climb the steps, he received decent to good reviews at age 61. He was not the greatest choice for the role of Calaf, but the other big name options at that time were Domingo, Carreras or a young Alagna and of course Corelli was long gone. I don't think the excessive portamento was a stylistic choice, but a crutch when Corelli appeared live. Even though I enjoy his live recordings more, where the pulsation is different and more exciting, Corelli stated to Zucker that he liked the studio more, rather than appearing live. When Zucker asked him why? Corelli stated '' there's less moving around" Zucker just grunted. Corelli also stated that he used portamento''to be sure''. Scooping is a term that is used loosely at times. Corelli occasionally scooped, for example when interpolating a C in Poliuto, where he uses portamento to come up to the note before the C and then hits his great high C'' Io Solo Addio Lo Rendero'' . But, who the hell really cares if he scooped or not hearing the beautiful way he sang the aria and hit the exhilarating last high note. I was humming and whistling the aria for days and couldn't get it out of my head. I think you may have touched on this before, but it's not so important as for a tenor to sing perfectly, but more so how a tenor or singer reaches you emotionally. Corelli had that innate ability. As much as I like Pavarotti, he at times sang some arias and songs as seemingly a vocal exercise, but when he did apply himself emotionally, he was also fantastic. Enjoy
Gli intenditori non posseggono il “ Verbo rivelato” , non sta scritto da nessuna parte e comunque credo che ciascuno abbia diritto di preferire chi vuole😉 aurevoir
Pavarotti tenía una voz más ligera y clara,creo que era tenor ligero lírico y Corelli era tenor dramático.
Dear medardofranco, light lyric tenors do not sing Calaf, Radames, Tosca Luisa Miller, I Lombardi, Trovatore, Chenier, and I Pagliacci.
Yes Corelli is way more powerful and dynamic/dramatic than Pavarotti. If you listen to some live recordings of these two, the difference in terms of power is apparant. But Pavarotti is more suited to lyric roles, Corelli's voice only suited to lyric roles when he is young.
Corelli always did dramatic roles, right from the very start of his career, he was born dramatic which is quite rare. One of his first roles was Pollione in Norma, that is an extremely dramatic role. He actually did a few more lyrical roles at the ned of his career.
Oh, Corelli, with his exceedingly certain and rock-solid vocal technic, could sing all kinds of roles, including coloratura and lyric roles, and handle them quite well, but his voice was really most at home in heavier, dramatic parts that exceeded lighter tenors' capacities. Both classes of tenors could triumph in spinto roles about equally well.
Corelli is fabulous, my favorite tenor. His voice is very powerful and strong, is torrential!
Corelli
you might wanna see Turandot 1958, Nessun dorma part and compare to how Pavarotti sings it. there you will notice the difference
In my opinion you should have compared Corelli with Del Monaco who has two comparable voice types, even if Corelli has a clearer voice less baritone than Del Monaco.
Corelli had a warmer voice than Del Monaco, but not clearer. MDM had impeccable diction where Corelli was not known for his diction as was Pavarotti, Di Stefano and MDM
Pavarotti is stradivarius and Corelli is guarneri.
Some voices touch us more than others, 2 incomparable tenors, Corelli has a more struck voice and Pavarotti a more solar and brilliant voice, he could reach high notes more than other lyrical tenors, for this and for all his work ,for me it's Pavarotti !
Most lyric tenors can all sing the same high notes. They all have to sing the same roles.
@@ZENOBlAmusicIt's a matter of feeling, Pavarotti's voice affects me more. It is the power that certain singers have on us and at this level it is no longer a question of technique,Just emotion
Choose between Ferrari and Lamborghini...are you?
Corelli is de best
Pavarotti’s a lyrical tenor & Corelli a dramatic spinto. This music was written for the latter type of tenor voice. He also has a much fuller richer sound on the lower notes than Pavarotti. Corelli owns this aria & opera.
Dramatic tenors usually have Otello as part of their repertoire. But, you don't have to be a dramatic tenor to sing Otello.
Corelli!
It's comparing excellence to perfection. Corelli OWNS this.
All I know is, my wife has heard both. She weeps to Corelli.
I agree, I take Corelli❤
I prefer Cordell now you have to listen to The most famous duet in opera au fond du temple saint by Swedish tenor music bjorling and American baritone Robert Merrill.
corelli is the best of all tine
Corelli was a dramatic,Pav a lyric......no comparison!
Pavarotti voice is big but Corelli invented the surround system... 😂 The something more Correli has is testosterone, which reflects in his vocal cords and more opened throat 👌
They are two completely different Tenor Voices.. Pavarotti has Ping and Corelli has Power.. Franco Corelli was a Spinto-Dramatic Tenor which is very rare and Luciano Pavarotti is a Lyric tenor which is far more common..
Corelli has more power yes.. but i always choose Pavarotti. He is the best for me.
Coraelli the best, but do you have listen Mario del Monaco?
La differenza fra un tenore bravissimo e un fenomeno del 900
And Mario Lanza did an amazing rendition of this aria too.
Pavarotti’s diction is clearer and his tone is just lighter. Corelli is good but harder to understand
Listen to Bjorling, slow version. Nobody gets close to him in this aria.
Totally agree. I'm not an expert in Opera and Corelli takes some beating, but Bjorlings slow version pushes him very close. I call it a tie.
Every time somebody compares the two, I simply State they were the two best tenors to ever exist in the 20th century, Corelli a spinto and Pavarotti a lyric.
Corelli the Best of universo, and kraus second.
Corelli indetronable ❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Well, lad, I am old enough and have been an active opera-goer, critic, and enthusiast to have seen BOTH of these tenors live on stage and in concert, and let me tell you, Corelli lights one afire in a way that Pavarotti just was not able to do. Franco Corelli was leagues ahead of Pavarotti, despite how good in his own more limited way Luciano Pavarotti doubtless was. Corelli conquers the listener, Pavarotti merely pleases him or her.
Your comment is a little strange. My brother preferred Di Stefano, Bjorling,Gigli and Pavarotti, while I prefer the heavier voices of Corelli, Del Monaco and Tucker. It's obvious that Pavarotti does light a fire for the people who preferred him. Neither tenor was truly limited as both did sing operas outside of their repertory. Perhaps Pavarotti more so than Corelli, singing Errnani, Aida, Chenier, Turandot, Luisa Miller, I Lombardi, La Gioconda. Corelli did Boheme, Romeo, Don Carlo and Lucia. I would say that Pavarotti also conquers his listeners in Ideale, La Rondine Al Nido, Boheme, Lucia, Rigoletto, Daughter, Elisire, La Sonnabula, Puritani and the crossover concerts that attracted millions of listeners world wide. Enjoy
Pavarotti for me. I don't like Corelli's vibrato as much. It's too pronounced. Luciano seems more controlled.
One word to express the difference. FLUID between notes. Luciano is the exceptional.
I see it in your eyes and your face you hear the smoothness for Luciano vs the words that Franco tried to express. You hear it just like me.
I' am the expert because I've been listening to music for 35 years. You have to have the ear for it.
Luciano perfected the words of Franco, BOTH are exceptional and no one has to choose.
This is my video clip. I created it! Delete it!
Hey Rory. Could you do 2 reactions to Metallicas 2 new tracks?
Metallica - screaming suicide and
Metallica - if darkness had a son? I think you’d really enjoy both. They’re better the Lux Eterna in my opinion.
Pavarotti himself admired Corelli hugely and said in one of his interviews “Corelli has lungs of steel”. He was an amazing and extraordinary singer. I heard him live several times in his prime and I have to say that I have to agree with Pavarotti. He must have had the nearest thing to lungs of steel. I have never heard any other tenor with such a voice and rock solid technique.Pavarotti in my view comes second and everybody else is miles behind.
Yes, Pavarotti did say that about Corelli, but Pavarotti's favorite tenor was Giuseppe Di Stefano.
@@sugarbist Yes Pavarotti did admire di Stefano. However Corelli was a spinto tenor which means he had a more powerful voice with a lot of “squillo” and could sing more dramatic roles eg Calaf in Turandot and other similar roles. Di Stefano on the other hand was a lyric tenor. He was known for his “golden voice” and sang with a beautifully open throat which produced that wonderful easy natural sound which is very rare and most tenors envied. As I am rather old I had the good fortune to hear both of them. Sadly none of the modern tenors can compare with either of them.
@@Ariadne-cg4cq Yes, you are correct. Of course Corelli had the more powerful voice but Di Stefano did sing all the spinto dramatic roles as well. Trovatore, Turandot Forza Carmen Gioconda Cavalleria I Pagliacci Tosca Chenier and Manon L However, Corelli's voice was more suitable for the heavier roles. I also heard Corelli in his debut in Trovatore at the Met in 1961and Di Stefano at Carnegie Hall circa 1962. Both terrific. GDS could have had the most beautiful voice I ever heard.
Corelli was a Dramatic Tenor that means a stronger voice with a deeper sound
Sono due cantanti diversi: pavarotti è un tenore leggero che canta da tenore lirico; corelli è un tenore lirico spinto/drammatico/eroico. Quest'opera sta nel repertorio del tenore lirico spinto, quindi si attaglia a corelli che è stato in assoluto il miglior interprete di questo repertorio (turandot; tosca; aida; trovatore; andrea chenier; ugonotti; pirata; cavalleria; pagliacci ecc. ). Pavarotti ne cantava le arie nei recital, come ogni buon tenore riuscirebbe a fare durante un concerto o in uno studio di registrazione. Pavarotti è stato un eccellente interprete del repertorio lirico, in particolare in bhoeme, rigoletto e figlia del reggimento. Nel suo periodo iniziale, meglio di lui c'erano tanti bravi tenori lirici, (di stefano, bergonzi, alfredo kraus su tutti). Lui più che per la sua voce ha il merito di essere ricordato per aver diffuso la musica lirica negli anni 90 ad un ampio pubblico. Fino agli anni 70 c'erano in attività almeno 50 tenori migliori di pavarotti. Corelli invece è stato il numero uno assieme a del monaco, fillipeschi e pochi altri. Paragonare corelli a pavarotti e come mettere a confronto una palla da tennis con la luna! 😂
Stavo per mandarti a quel paese finché non ho letto il magico nome di Del Monaco. Pavarotti era un grande interprete ed aveva una voce bellissima ed "unica". Naturalmente, a livello di drammaticità, non può paragonarsi a Corelli o Del Monaco. Io, personalmente, preferisco il secondo perché ( spero mi si perdoni l'espressione ) non si piangeva mai addosso. Vedi "vesti la giubba" o classici della canzone napoletana come "core ingrato". In ogni caso, a questi livelli, ogni preferenza è giustificata. Cordiali saluti
Il canto impostato sul pianto e ' un modo di trovare ed esprimere dolcezza , morbidezza, legare, modulare e sfumare i suoni trovando il p ed il PP o anche pianissimo. Corelli sapeva essere virile e dolce insieme oltre a sapere fare una differenza fra " ti amo" e " ti odio". Si avvicinava di più al Belcanto ( come faceva più di lui Bergonzi) Sapeva trovare e diversificare intenzioni ed interpretazione fra i vari atti dell' opera che cantava. Non spianava tutte le dinamiche dell' autore . L ' acuto non lo affrontava mai( spingere ?di fibra?) ma lo " portava " quasi accarezzandolo, poi aveva voce lunga e larga con ppppp come Miguel Fleta. In Corelli , a mio gusto, c' era Anima. In del Monaco più Ego. Due fenomeni del 1900. Del Monaco mi stupisce. Corelli mi coinvolge emozionandomi. Poi a teatro ,non so......
@@massimocassano2545 si può essere dolci, tristi, modulare, eseguire un pp anche senza piagnucolare. Comunque stiamo parlando di grandissimi e ad ognuno di loro va il mio grandissimo applauso
You need to compare a later recording of Pavarotti to Corelli; Luciano matured like fine wine. But the greatest tenor in my mind was Jussi Bjoerling.
O Rodger! Perhaps Bjorling was the best tenor in your mind, but he never sang Turandot ''LIVE'' Chenier, Forza, Gioconda, Carmen, Ernani, Luisa Miller, I Lombardi, and Samson. He failed in Aida in Chicago in 1958 and received poor reviews in his early Cavaradossi at the Met and Trovatore as well. But Bjorling was great in the lyric repertoire of Boheme, Rigoletto, Faust, Romeo, Don Carlo and Ballo. But, perhaps in your mind is what counts
If there could be judges here Pavarotti wins...correli scoops his notes, listen to 'dile qua notte' pavarotti's voice is something else. Its like a bmw sound😅. Correli sounds like Mario Lanza in this Aria. Pavarotti's approach is different, he sounds more natural to me. Benjiamino Gigli was also a great tenor. Mike tyson, usain bolt and pavarotti are the greatest in their fields. They'll never be forgotten
Corelli does not scoop on dilegua O notte. Do you know what a scoop is? Corelli sounds nothing like Mario Lanza. Pavarotti sang 6 performances of Turandot at age 61 at the Met. Corelli sang 54 performances at the Met alone. Mike Tyson? wow!
You need to hear Mario Lanza's version. It's better than both.
No,no Mario Lanza no Please
The only tenor that came anywhere near Franco Corelli was Mario Delmonaco,Delmonaco had the power but Corelli had power and finesse.Corelli the greatest tenor of all time.
To a degree, it comes down to personal preference.
For me, Pavarotti has the more pure and technically sound voice. Corelli is emotionally driven and seems to me to waver all over the place, as a result. I prefer Pavarotti, but I recognise my choice, between these two, is no more valid than anyone else's. Both are remarkable.
This is not baroque, and Pavarotti had no business singing this role calling for a spinto - and being "emotionally driven". He tries to fatten up to make up for it, but ends up pretty thin at the higher notes, where Corelli punches through the ceiling like it's butter, with consistently round voice. Pavarotti's attempt is not technically more sound, how can you call this inconsistent mess "pure", of all things? One can hear a (prematurely, unhealthy living) aging singer singing a way too heavy role. Which is why his thin, chalkboard-scratchy, substance-less high notes here (although used to be "king of high C's") pale in comparison to Corelli's sound that's full-bodied from bottom to top sound.
You can claim all is preference like you will, but Pavarotti's (here) broken technique is not "more sound" in any way, it is "past prime guy singing too heavy material".
Pavarotti's "Ingemisco" from 1967 or so, that's where he was good. Fille du regiment with a bunch of high Cs in a row, in the 70s, total ace. Later, like so many, he got pushed or was eager to go into ever heaver roles, strting deterioration.
AH here it is - listen very closely to the quality of the voice from top to bottom - what he does there is a lot more similar to what Corelli does, technically, in the above video we are commenting under, than what Pavarotti does there. Just that his voice is naturally lighter. Hear how strong and not-scratchy almost all his high notes are:
th-cam.com/video/L1A0b1rWwTg/w-d-xo.html
@@tinkerwithstuff - So, you prefer Corelli's rendition. Can't fault that.
Scusi mai pare che vacilli lei!!!!
@@vittoriopreti7412 - I certainly wouldn't describe it as "faltering". I agree.
@@tinkerwithstuff Pavarotti was 61 years old in 1996 when he sang Calaf at the Met 6 times. Of Course he wasn't suited for the role, but unfortunately Corelli who officially retired in 1976 was not available. It's always interesting when a tenor challenges himself singing something outside of his repertoire. Di Stefano, Gigli, and Bjorling, did this, but were not always successful. Surprisingly, Pavarotti received a decent review. The only negative was that he could not climb the steps. He also managed Chenier, Aida, Luisa Miller, Ernani and Gioconda.
Is it going to sound weird if i say w-Corelli i'm hearing some notes that are a little "off" & that he's not totally on key. This is what i'm picking up. Besides that, for me it's the emotion i hear coming from Pavarotti. While they all may be good & have strong voices, i don't get that emotion coming from anyone like i always do from Pavarotti. And the same w-Andrea Bocelli in Time To Say Goodbye or Pavarotti & Bocelli together doing Notte 'e piscatore -- it's at th-cam.com/video/B2Iu3Up8TLQ/w-d-xo.html if you want to listen to them together. I just hear something a little more special w-Pavarotti that i don't get from Bocelli. This was very enjoyable - thank you.
Corelli, una grande voce ma una dizione improponibile. Da incompetente preferisco Pavarotti.
Cioè un Aria è una dizione ,solo quello La sua è una tipica osservazione non musicale
Franco Corelli vale 20 Pavarotti, Corelli aveva il doppio della voce di Pavarotti che cantava spesso e volentieri microfonato.
Nessun Dorma is solely for Corelli, ot for alyric tenor like Ppav. As compared to Corelli , Pav . sounds loke a " bathroom singer "
Pavarotti sounds more pure. Corelli is more powerful but also more ragged.
Absolute ridiculous comparison..one is a Lyric Tenor,the other a Spinto/Dramatic. That being said, Corelli is more suited for this type of role. Stop comparing apples and oranges.
Well they both sang Nessun Dorma so it's okay to compare :)
No,,its not..
@@sophocles1198
@@sophocles1198 Yes but actually no :-)) Pavarotti sang Nessun Dorma in concerts, had some studio recordings like the one presented here, I don't think he's ever performed the role on stage (which would be kinda ridiculous, given he's tenore di grazia). Corelli on the other hand was a personification of Calaf, he owned this role, performed it countless times (which is not surprising with him being powerful spinto tenor). So you can compare, but there's no comparison, this aria is not for Pavarotti's voice
@@alexmashkin863 Thanks for the explanation. I am "discovering" opera late in life.
@@sophocles1198 Then I have to warn you :-) It's a huge rabbit hole and there are a lot of very opinionated people online :-) Opera is a very precise art, that's why there are a lot of categories for everything. I loved listening to opera since my twenties, but really started hearing it closing to my forties :-) Now I take lessons of academic vocals, and that really deepened my understanding of what's going on :-) Anyway, welcome to the club, now you get to be an insufferable musical snob :-)))
Pavarotti più naturale. Nr.1