I can't believe Zucker talking to Corelli, one of the greatest tenors ever, and telling Corelli that he had used cortisone and that it made him wound "worse." I would have given a fortune to have seen the expression on Corelli's face when he heard Zucker, "the highest tenor in the world." OMG
@@sugarbist He Probably did not surprise Corelli by anything Zucker said, I finally found this, I forgot that Jerry Hines was in on this interview with Corelli, the interview heading does not mention the Bass Jerome Hines, being a guest in the interview here with Corelli by host Zucker. I enjoyed this with Corelli and Hines, Corelli has a rather high speaking voice compared to his singing voice, in fact dramatic tenor Del Monaco also had a rather high speaking voice in interviews, and it was somewhat similar to Corelli's speaking voice. Tucker's speaking voice was somewhat lower then both Corelli and Del Monaco, yet in his especially early years he was apt and sang many lyric roles like Traviata, Butterfly , Boheme, Rigoletto, and even Mozart like Cosi and early Magic Flute ,also Martha but the speaking voice was not light and high pitched, so speaking and singing voice is two different things.,
@@shicoff1398 Lauri Volpi wrote in his book, that Del Monaco's voice was built or fabricated to sing Otello, but when the day comes that Otello has deflated his voice, MDM could sing as a soprano with a different timber of voice and an extension up to E-Flat. Strange, but interesting.
He asked FC are you a dramatic tenor, that he wasn't going to say, yes I'm dramatic tenor? No FC didn't say he was a dramatic tenor, I think he had dramatic color and was a spinto but could sing both dramatic and spinto roles well.
Well Hines either didn't sing with Tucker in the roles when he sang the High C live or didn't remember it, but he did sing high C and live in Ballo, Lescaut and in Turandot and on studio records in both Ballo and Boheme, anyhow in 1966 at age 52 Tucker sang a 6 second interpolated solo high C in an Aida Met. radio Brdcst with Price and Merrill (at the end of the triumphal scene) and I have the tape complete of that Brdcst. I taped at the time, and have it to prove it, when he is talking about his high B getting hard, well of course he was then 60 Years also, and in fact most nights it was still excellent up top, Tucker died at age 61 and had just sung Canio a few weeks before he suddenly died and with success, see his archive Met. reviews for it.
It’s interesting that Hines considered Tucker a dramatic tenor. I’m sure the voice was huge, but Tucker did start out quite lyric. His voice was not necessarily light, and I’m sure it carried, but it was slender. It’s quite amazing how thick it got by the late 60s/early 70s. Steady growth.
I quite like Hines though. He is knowledgeable about technique and history, and he is eloquent. I would have liked to have talked singing with him. But interestingly, he wasn’t a pedagogue. Probably to his credit.
it was strong up top even early as a lyric in the 1949 Aida live on TV with Toscanini, see and hear that that last high B in the aria on you tube, and he made a debut in Gioconda as a lyric tenor with success but by the Mid 1950's was spinto not dramatic as Merrill said also later he was dramatic but no he/Tucker told me he was a spinto and early a lyric, anyhow Hines thought that cause Tucker sang Samson later and Juive later, so did Hines and tucker well he sang high C;s in Ballo, and Lescaut live and even once or twice in Aida as interpolated live, also even at age 60 six months before he died i heard a Calaf live with the high C in the duet with Ross but he was not a high C tenor though BTW i saw Jussi in 1958 and the voice was smaller in house then the records, as was Morell and as Hines said saw JB and he was more a lyric then spinto and he also said here Jussi on records, it sounded like 3 Caruso's but not in the house
@@ER1CwC Tucker in his prime was a spinto, powerful but not dramatic and even said so himself, early a lyric with a strong top even in 1945 at his opera debut, as Enzo, at the old Met., Tucker him self said that he was a spinto later and early was a lyric, yes Hines and Merrill both said he was later a dramatic but that maybe said that because Tucker sang Samson and Juive live, but only later in his career.
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Still would love to hear the rest of this interview. In any case the is very valuable. Thank you for posting!
I can't believe Zucker talking to Corelli, one of the greatest tenors ever, and telling Corelli that he had used cortisone and that it made him wound "worse." I would have given a fortune to have seen the expression on Corelli's face when he heard Zucker, "the highest tenor in the world." OMG
Corelli and his wife Loretta used to baby sit Zucker. They became very friendly, so I don't think anything that Zucker stated surprised Corelli.
Dommage que ce ne soit pas traduit en français 🤔💖💖🎼🎼🎼🎼🎼
@@sugarbist He Probably did not surprise Corelli by anything Zucker said, I finally found this, I forgot that Jerry Hines was in on this interview with Corelli, the interview heading does not mention the Bass Jerome Hines, being a guest in the interview here with Corelli by host Zucker. I enjoyed this with Corelli and Hines, Corelli has a rather high speaking voice compared to his singing voice, in fact dramatic tenor Del Monaco also had a rather high speaking voice in interviews, and it was somewhat similar to Corelli's speaking voice. Tucker's speaking voice was somewhat lower then both Corelli and Del Monaco, yet in his especially early years he was apt and sang many lyric roles like Traviata, Butterfly , Boheme, Rigoletto, and even Mozart like Cosi and early Magic Flute ,also Martha but the speaking voice was not light and high pitched, so speaking and singing voice is two different things.,
@@shicoff1398 Lauri Volpi wrote in his book, that Del Monaco's voice was built or fabricated to sing Otello, but when the day comes that Otello has deflated his voice, MDM could sing as a soprano with a different timber of voice and an extension up to E-Flat. Strange, but interesting.
@@sugarbist Wow!
#56:10 and #56:37 they are talking about Gino Penno and Caruso, both Corelli and Hines mention them.
He asked FC are you a dramatic tenor, that he wasn't going to say, yes I'm dramatic tenor? No FC didn't say he was a dramatic tenor, I think he had dramatic color and was a spinto but could sing both dramatic and spinto roles well.
#47:16 he talks here about the teacher Douglas Stanley , Hines not keen on him or knowing much about him.
Well Hines either didn't sing with Tucker in the roles when he sang the High C live or didn't remember it, but he did sing high C and live in Ballo, Lescaut and in Turandot and on studio records in both Ballo and Boheme, anyhow in 1966 at age 52 Tucker sang a 6 second interpolated solo high C in an Aida Met. radio Brdcst with Price and Merrill (at the end of the triumphal scene) and I have the tape complete of that Brdcst. I taped at the time, and have it to prove it, when he is talking about his high B getting hard, well of course he was then 60 Years also, and in fact most nights it was still excellent up top, Tucker died at age 61 and had just sung Canio a few weeks before he suddenly died and with success, see his archive Met. reviews for it.
It’s interesting that Hines considered Tucker a dramatic tenor. I’m sure the voice was huge, but Tucker did start out quite lyric. His voice was not necessarily light, and I’m sure it carried, but it was slender. It’s quite amazing how thick it got by the late 60s/early 70s. Steady growth.
I quite like Hines though. He is knowledgeable about technique and history, and he is eloquent. I would have liked to have talked singing with him. But interestingly, he wasn’t a pedagogue. Probably to his credit.
it was strong up top even early as a lyric in the 1949 Aida live on TV with Toscanini, see and hear that that last high B in the aria on you tube, and he made a debut in Gioconda as a lyric tenor with success but by the Mid 1950's was spinto not dramatic as Merrill said also later he was dramatic but no he/Tucker told me he was a spinto and early a lyric, anyhow Hines thought that cause Tucker sang Samson later and Juive later, so did Hines and tucker well he sang high C;s in Ballo, and Lescaut live and even once or twice in Aida as interpolated live, also even at age 60 six months before he died i heard a Calaf live with the high C in the duet with Ross but he was not a high C tenor though BTW i saw Jussi in 1958 and the voice was smaller in house then the records, as was Morell and as Hines said saw JB and he was more a lyric then spinto and he also said here Jussi on records, it sounded like 3 Caruso's but not in the house
@@ER1CwC yes, me too! I like him.
@@ER1CwC Tucker in his prime was a spinto, powerful but not dramatic and even said so himself, early a lyric with a strong top even in 1945 at his opera debut, as Enzo, at the old Met., Tucker him self said that he was a spinto later and early was a lyric, yes Hines and Merrill both said he was later a dramatic but that maybe said that because Tucker sang Samson and Juive live, but only later in his career.
Hines here speaks also.
Where do I find the other parts of this interview?
Hy. I have it all but didnt make it to published the videos. I Will do it in avgust. Thank you 💫🌟⭐🌈
Thank you!!! 🤩✨
Who is Becci or Becky that they are taking about?
@@delaware-llc A popular excellent past Italian Baritone.
@@delaware-llcGino Becchi. If you have heard the Callas Nabucco, he is the baritone.