Zulu’s-Gara was a memorable Desdemona at the Met in 1972. Her voice was like the finest vanilla cream, and her Ave Maria was sheer heaven. RIP Gracious Lady.
Histórico.Todo mundo habla del gran Franco Corelli, pero Zylis-Gara está maravillosa, la más grande Desdemona desde Tebaldi, y a la fecha, ni quien se acerque. En ese año hizo la ópera con Mc Cracken y Jon Vickers, bajo la batuta de Karl Böhm.
Bonjour merci a vous pour ce superbe duo un grand plaisir a voir comme a entendre un superbe Mr corelli incomparable bien entouré bravo aux grandes voix immortelles merci vraiment bravo
Am not sure franco thought he had the gas to sing the entire opera,it may have ruined his voice,i think maybe thats why he didnt try it,that said he really sings this duet very well indeed,alas we will never know
@@amantedellopera1681 Corelli was a notoriously nervous performer, so often lacking in confidence before going on stage. From what I have read, I suspect he had built up something of a phobia about the notoriously difficult role of Otello and just couldn't face doing it. The Operatic world's gaze on him would have just been too much as it was avidly waiting for him to tackle the role. He was offered new productions on more than one occasion, but demurred. However, I do not believe it would have ruined his voice; in his prime (the 1960's) he had a glorious vocal technique, coupled with an instrument many believe was unsurpassed by anyone singing the spinto/dramatico Italian repertoire. As you rightly say, "alas we will never know"!
Que dire et surtout entendre après le dieu de l'opéra immense franco teresa est merveilleuse merci ils sont tous les deux sublimes 😄 👍 🙏♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️💖💖💖💖💖💖💖💖💖💖
Ma perché non ha cantato Otello??? La sua voce aveva il tono giusto .Dolcezza e potenza!!!!!! Unico senza uguali!!!!!Che rammarico.....meno male che almeno qualche brano cantato in modo sublime ci è rimasto.Troppo poco per tanta bellezza però!!!!!!!Franco eri e sarai unico...!!!!!!
Corelli came from a tradition that considered Otello to be an almost sacred role, one which only a rare dramatic tenor would dare attempt. Today, of course, every bad Rodolfo takes to the stage with it. After the ‘Esultate’ the tessitura of Otello is low for him, and insofar as he thought about dramatic questions, I don’t think the part suited him temperamentally. And I wonder if he wanted so direct an invitation for critics to pit him against MDM. The issue is larger than ‘Otello’, however. Just at the point in the mid sixties where people expected him to move towards the heaviest dramatic tenor parts he did just the opposite, and added the lyrical Roméo and Werther to his repertoire. He was a unique artist, given to constant, almost neurotic self-analysis. If you look at the trajectory of his entire career it is hard to make coherent sense of it.
I don't think it was too low for him, he sang La Vestale. La Vestale is lower than Otello, it is a role that was often sung by baritones as well. Corelli thought he was baritone or trained as a baritone at one stage. The issues were more psychological.
He was ready to perform O. He sang some of it. And his 1981 O, Glory! proves he could do it. It was his demanding attitude and his notorious stage fear that prevented him to sing it. Probability there was no good offer also. He sang Werther just because Bing was after it...
@@Keatsy08 I think Lauri-Volpi, whose opinion Corelli overvalued in my estimation, had something to do with his move to the French repertoire. How he conceived the idea of singing Edgardo at the end of his career remains mysterious, to me at least.
@@ransomcoates546 Yes, I mean he admitted himself after a few years that it was a big mistake. That he should just have sung Otello which was perfect for his voice. It was a mistake to sing lighter repertoire. Lauri Volpi and Corelli did not have similar types of voices. That being said I am not sure if it was Lauri Volpi's idea or not. But someone told him that he was lyric tenor and that he should sing lyric tenor roles. Fundamentally he always had a dramatic voice, right from the start of his career.
@@achmedmohamed4708 A lot of heldentenors do not really have such big voices, it more about the tone of the voice. For example James King had a medium sized voice, his voice was smaller then Corelli's voice. Of course Corelli also regularly sang next to Nilsson, he certainly changed her far more then of the heldentenors.
The trouble is if there were an actual classification of Italian dramatic tenor, they would be limitied to the role of Otello. All other parts in the standard rep are , dramatic though they are in the situations, are SPINTO roles. The problem was temporarily sort of solves when Helden tenors began singing Wagner and Otello ( and Florestan, which I believe is better with a lighter voice. Since Wagner and heldentenors had yet to be invented. I think Corelli's career ended up being pretty well managed. Great career are built on half dozen roles. His were the great spinto roles, especially the pinnacle,AndreaChenier. The only gaping hole is he never sang Manon Lescaut, and he should have undertaken Boheme and Romeo earlier in his career, before the mannerisms became so debilitating.
A heldentenor is simply a tenor with a specific German tone, they generally have darker voices. But having a dark tone does not mean the voice big, loud or dramatic. An obvious example is Rene Kolle, he had standard lyric tenor voice, yet he was heldentenor. James King had a medium sized voice. There is no reason to think that a heldentenor would be better for Otello.
O.k. er singt es phantastisch - aber was macht er, wenn er nicht dran ist, Arme bewegen, Manschettenknöpfe richten, Hand im Gesicht. Das heißt: er hält nicht die Spannung der Situation, die ihm die Partnerin gibt. Er singt total egoistisch. Ist das der wahre Grund für sein fast krankhaftes Lampenfieber?
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Zulu’s-Gara was a memorable Desdemona at the Met in 1972. Her voice was like the finest vanilla cream, and her Ave Maria was sheer heaven. RIP Gracious Lady.
Żylis-Gara*
There is only one Franco Corelli!
Fantastic Corelli & Marvelous Zylis-Gara
Как прекрасен этот дуэт!!!!
Welch Wunder: diese Interpretation. Tereza ist reinstes Silber im Ton, im Sound mit kraftvollem Schmelz!
Je oefter ich zuhoere, um so groesser wird meine Bewunderung!
Belli da guardare ed ascoltare. Franco Corelli sempre unico!!!
Самая лучшая и нежная Дездемона.... Корелли божественен! Спасибо за уникальные кадры!
Grande Corelli. Un grande Otello sarebbe stato. La sua voce unica come unico e bello lui.
❤❤❤❤❤❤❤❤❤
Ils sont réunis pour l'éternité au paradis des grandes voix merci 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕
Meravigliosi, come miele per i timpani.
OPERA WAS NEVER BETTER THAN THIS! l000 BRAVOS!!!!!
Corelli Favoloso sempre, sempre !
RIP both of them, they sang beautifully together
Deux grandes voix réunis au paradis pour l'éternité 💕💕💕💕💕💕💕💕🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹💋💋💋💋💋💋💋💋💋💋💋
Les deux plus grands au paradis des voix🌹🌹🌹🌹♥️♥️♥️♥️💖💖💞
It is such a shame he NEVER did OTELLO on stage.
Histórico.Todo mundo habla del gran Franco Corelli, pero Zylis-Gara está maravillosa, la más grande Desdemona desde Tebaldi, y a la fecha, ni quien se acerque. En ese año hizo la ópera con Mc Cracken y Jon Vickers, bajo la batuta de Karl Böhm.
Beautiful 🤩
Rien au dessus 💖💖💖💖💖💖💖💖💖💖💖💖🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹❤️❤️❤️❤️❤️❤️❤️❤️
merci pour ce partage
Grande Corelli non ce n'è per nessuno❤
Bonjour merci a vous pour ce superbe duo un grand plaisir a voir comme a entendre un superbe Mr corelli incomparable bien entouré bravo aux grandes voix immortelles merci vraiment bravo
I guess nobody could wait for the absolutely exquisite postlude.
MARAVILLOSOS
Mrs Żylis-Gara excellent soprano from Poland ❤
Great Otello
Grande Corelli ❤
The video is so clear! Thank you for this beautiful duet...
Franco would have been a great Otello, a portrayal now sadly lost to us forever!
Am not sure franco thought he had the gas to sing the entire opera,it may have ruined his voice,i think maybe thats why he didnt try it,that said he really sings this duet very well indeed,alas we will never know
@@amantedellopera1681 Corelli was a notoriously nervous performer, so often lacking in confidence before going on stage. From what I have read, I suspect he had built up something of a phobia about the notoriously difficult role of Otello and just couldn't face doing it. The Operatic world's gaze on him would have just been too much as it was avidly waiting for him to tackle the role. He was offered new productions on more than one occasion, but demurred. However, I do not believe it would have ruined his voice; in his prime (the 1960's) he had a glorious vocal technique, coupled with an instrument many believe was unsurpassed by anyone singing the spinto/dramatico Italian repertoire. As you rightly say, "alas we will never know"!
Que dire et surtout entendre après le dieu de l'opéra immense franco teresa est merveilleuse merci ils sont tous les deux sublimes 😄 👍 🙏♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️💖💖💖💖💖💖💖💖💖💖
Singing a full Otello would have worn his voice down drastically. This role is for true dramatic tenors, not spintos.
@@grahamdouglas6752 He certainly could have recorded it, wnder if EMI ever asked him?
perfection!
What a good-looking man (apart from the superlative voice!)
Franco was very distinguished looking at 50 as well as handsome. Both were great.
Please!!!!!!!
Not applause before the finish of music!!!!!!!!!
W Verdi ❤
Ha. I wouldn't wait with these two either.
Ma perché non ha cantato Otello??? La sua voce aveva il tono giusto .Dolcezza e potenza!!!!!! Unico senza uguali!!!!!Che rammarico.....meno male che almeno qualche brano cantato in modo sublime ci è rimasto.Troppo poco per tanta bellezza però!!!!!!!Franco eri e sarai unico...!!!!!!
He certainly could have recorded it, wonder if EMI ever asked him?
Corelli came from a tradition that considered Otello to be an almost sacred role, one which only a rare dramatic tenor would dare attempt. Today, of course, every bad Rodolfo takes to the stage with it. After the ‘Esultate’ the tessitura of Otello is low for him, and insofar as he thought about dramatic questions, I don’t think the part suited him temperamentally. And I wonder if he wanted so direct an invitation for critics to pit him against MDM. The issue is larger than ‘Otello’, however. Just at the point in the mid sixties where people expected him to move towards the heaviest dramatic tenor parts he did just the opposite, and added the lyrical Roméo and Werther to his repertoire. He was a unique artist, given to constant, almost neurotic self-analysis. If you look at the trajectory of his entire career it is hard to make coherent sense of it.
I don't think it was too low for him, he sang La Vestale. La Vestale is lower than Otello, it is a role that was often sung by baritones as well. Corelli thought he was baritone or trained as a baritone at one stage. The issues were more psychological.
He was ready to perform O. He sang some of it. And his 1981 O, Glory! proves he could do it. It was his demanding attitude and his notorious stage fear that prevented him to sing it. Probability there was no good offer also. He sang Werther just because Bing was after it...
@@Keatsy08 I think Lauri-Volpi, whose opinion Corelli overvalued in my estimation, had something to do with his move to the French repertoire. How he conceived the idea of singing Edgardo at the end of his career remains mysterious, to me at least.
Che splendido Otello sarebbe stato e da queste poche arie da lui interpretate lo si può soltanto immaginare. Grandioso.
❤❤❤❤❤❤❤❤❤
@@ransomcoates546 Yes, I mean he admitted himself after a few years that it was a big mistake. That he should just have sung Otello which was perfect for his voice. It was a mistake to sing lighter repertoire. Lauri Volpi and Corelli did not have similar types of voices. That being said I am not sure if it was Lauri Volpi's idea or not. But someone told him that he was lyric tenor and that he should sing lyric tenor roles. Fundamentally he always had a dramatic voice, right from the start of his career.
💎
He puts any 'heldentenor' to shame.
Herr Bruchwald.
Corelli NEVER sung Otello!
Maybe not Rosvaenge, I love his Otello
@@achmedmohamed4708 A lot of heldentenors do not really have such big voices, it more about the tone of the voice. For example James King had a medium sized voice, his voice was smaller then Corelli's voice. Of course Corelli also regularly sang next to Nilsson, he certainly changed her far more then of the heldentenors.
Karl Bohm - Conductor.
I need a new pair of underwear
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The trouble is if there were an actual classification of Italian dramatic tenor, they would be limitied to the role of Otello. All other parts in the standard rep are , dramatic though they are in the situations, are SPINTO roles. The problem was temporarily sort of solves when Helden tenors began singing Wagner and Otello ( and Florestan, which I believe is better with a lighter voice. Since Wagner and heldentenors had yet to be invented. I think Corelli's career ended up being pretty well managed. Great career are built on half dozen roles. His were the great spinto roles, especially the pinnacle,AndreaChenier. The only gaping hole is he never sang Manon Lescaut, and he should have undertaken Boheme and Romeo earlier in his career, before the mannerisms became so debilitating.
A heldentenor is simply a tenor with a specific German tone, they generally have darker voices. But having a dark tone does not mean the voice big, loud or dramatic. An obvious example is Rene Kolle, he had standard lyric tenor voice, yet he was heldentenor. James King had a medium sized voice. There is no reason to think that a heldentenor would be better for Otello.
ПЕРЕВОДИТЬ ТОЛЬКО НА РУССКИЙ
O.k. er singt es phantastisch - aber was macht er, wenn er nicht dran ist, Arme bewegen, Manschettenknöpfe richten, Hand im Gesicht. Das heißt: er hält nicht die Spannung der Situation, die ihm die Partnerin gibt. Er singt total egoistisch. Ist das der wahre Grund für sein fast krankhaftes Lampenfieber?