Both of them were at the end of their careers here. Tebaldi had already made her farewell appearance at the Met and Corelli had a couple of seasons to go. Their best vocal days were behind them, but what sounds they could still make! They could still deliver the goods; Tebaldi still had beauty in her voice and Corelli, though a little rough sounding, could still ring the rafters. They ended their careers so sensibly and in such a dignified manner. Aristocrats both.
While it may be that both Tebaldi and Corelli are slightly past their primes, they remain exemplars of the true Italian sound, and magnificent to hear. They are competing with their younger selves- an impossible feat. Both have the vocal stature for their roles and will remain immortal in the minds of music lovers. Thank you for this superb posting!
Мой кумир и учитель. Франко Корелли, тенор с баритональной окраской голоса. Мечта каждого исполнителя достигнуть подобного мастерства голосоведения. Не постижимо и не вероятно понять, а тем более повторить то что мы видим и слышим в этом фильме. Этот тембр однажды запомнился мне и уже десятилетия не даёт успокоиться и десятилетия помогает мне преодолевать самые сложные вокальные дерзновения, которые предлагает мне мой зритель и её величество сцена. Верю, что каждый достойный вокалист знает историю Франко Корелли. А начинающим вокалистам, просто необходимо видеть и знать как это прекрасно и духовно отдавать свой талант, данный тебе Господом Богом, всем людям, всего мира...Рената Тебальди, так - же великолепна! И за это Слава Богу!! С верой и уважением к вам, мои друзья А.М.Н.
Una sorpresa Franco Corelli in Otello. Due voci meravigliose. Penso a cosa abbiamo perso e che tesoro avremmo avuto ora. Grande Corelli. Voce unica! ❤❤❤❤❤❤
Wake up me dear friends!!! before criticizing these two gorgeous artists...listen to the crap singers of nowadays.....These are two artists that are singing after 20 years of difficult careers ...for me they are simply giving a great singing with a great passion!
Wow, the squillo in both their voices is always thrilling. I miss that today with the famous singers now a days. They rarely have moments of any squillo at all. The sound is so well placed in the mask (particlularly with Tebaldi here) and so many overtones in each sound. Exciting indeed. Tutti Bravi
So many negative comments.Ist .....Tebaldi and Corelli are not circus performers.They were singing a concert together.A concert is not an opera, or an opera workshop.If you cannot see plainly and hear clearly the interaction when they are singing together.......then you probably need to visit the docter.You need help...........Tebaldi and Corelli need no excuses.
Interpreti Irripetibili!!! che ci trasportano al tempo quando si "respirava" in cuore L´Opera!!! Grazie Mille!!! Carissima *phalenopsis1* per questo Indimenticabile Ricordo!!! *******Infinite******
Bonjour deux voix superbes un grand plaisir a écouter ce duo immortel comme ces grands de l opéra qui brillent a jamais au firmament des grandes étoiles bravo et merci a vous vraiment
imo, I think the incredible Corelli would have been a GREAT Otello. His voice had the perfect color for the Moor, and he had that driving force needed in the Esultate, Ora Per Sempre, and Si Per Ciel, as well as the soft darkness in the Nium Me Tema and the Dio Mi Potevi. There is nothing he could not do with his voice.
Simply marvelous a "master class" on stage!!!, both where among my favorite lyrical artists ever...thanks for sharing this divine video. Muchas gracias!!!, Bravo!!!
Recordemos que en el MET, apenas se ponían a la venta las localidades cuando Corelli actuaba se agotaban; desde que debut, el fue un extruendoso éxito y lo fue durante los 16 años, momento que Corelli decidió retirarse, lo explica en una entrevista a la pregunta sobre su retiro " Me encontraba muy cansado, extremadamente nervioso con todo y considere que mi voz no tenia la frescura que quería, para entregar lo mejor al publico". Durante años le solicitaron volver, solo dio algunos conciertos.
VOCALLY THATS ABOUT THE BEST YOU WILL EVER HEAR. THESE TWO GREAT ARTISTS SPINNING THEIR LEGATO OUT TO AN ENTHRALLED AUDIENCE WHO LIKE THE ORIGINAL 1ST AUDIENCE OF THIS MUSIC.......WERE ALSO HEARING FOR THE FIRST TIME THIS SPUN GOLD OF MUSICAL MAGIC NEVER HEARD BEFORE. WHEN LISTENING TO THIS IS ALWAYS AS IF COMING ACROSS SOMETHING INCREDIBLE FOR THE FIRST TIME.....THIS IS THE ART THAT HIDES THE ART!
Very interesting exchange of views and opinions on the great Franco Corelli, which remains the best of all the tenors in everything I play and the whole context of these, in voice, intepretacion power, performance and figure, all the makes the best, overall, no one has emerged as equals or surpasses it. In any case it is fair to say that in all the views are some reality, unless it was believed, they say all those who knew him really. (MY ENGLISH IS BAD)
Franco was coming towards the end of His glorious operatic career here and still singing better than any other tenor then and now.This was a concert not an opera so there was no need to do any acting here He and Renata had this duet well thought out.There was no need for any of the touchy feely stuff which seems to be the most important part of opera today hence we will never get the opportunity to hear voices like Corelli. Pertile.. Caruso.. Gigli. Lauri Volpi. or Del Monaco ever again because the emphasis is more on how they look sexually and not on the voice . That is why the tenors of today have tiny tinny voices with mikes stuck all over their bodies.Glad I got that off My chest.
+John Oregan No one is a bigger Franco fan than me, but it is unrealistic, and foolish to say at this point he was singing better than any tenor-then or now. One could make that case in his prime. Oh come on, as i said above they look like they just had words-yes it's a concert by they look positively glacial. Compare this to the Bing Gala, with Zylis-Gara (would was a last minute substitute) Well what ever the precise reason, and I think it's complicated there certainly aren't any great tenors today. Mikes stuck all over-there used to be a guy always making that argument-but if that is the case why can't you hear these singers in the house??
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Franco Corelli was undeniably, a great, voice and one of the top Tenors of his day, or any day. He was an excting personality and one of Opera's most gorgeous men! However there was also the Great Richard Tucker who though no beauty had a voice to die for and was just as thrilling to hear as Corelli. He could fill the met with sound and the voice was as beautiful at the end as at the beginning! I thrilled to the power and emotion of that voice as much as to the Corelli voice! It was a large ,powerful, beautiful instrument, used Masterfully! One must never discount Tucker, and his importance at The Met and in Opera Internationally. No disparagement of Corelli, but Jan Peerce, James McCracken, Jussi Bjorling, Barry Morell , Franco Bonisoli ,Carlo Bergonzi and Nicolai Gedda, and John Alexander, Alfredo Kraus, were no chopped liver either. There was a wealth of exciting Tenors in the 50's 60's
Nice comment-but your point is not clear?It seems to be, Corelli was great, but you liked Tucker even more-was that it ?Which is fine but that's all you seem to be saying.Of course, it was an era of great tenors-and any one of the mentioned tenors would have been a huge star today-possibly excluding Peerce-do to his appearance, and Morell because of his voice-but both would still have had major careers. On this level it is a matter of who turned you on more-but at least in hearing them live-Corelli also looked like a god, and could act, if he wasn't too nervous-other than Canio Tucker never looked the part, and was a liability as an actor. I had the highest regard for Tucker's voice, but annoying mannerisms could creep in, and he lacked that Italiante authenticity that was Corelli's birthright. Your list of tenors of that era left out both the young Pavarotti, and Domingo, and not all are on the same level.....but its biggest missing name is the great Jon Vickers, probably one of the greatest opera performers ever
Very accurate John, but I don't believe the commitment to the art form exists today the way it did in the past. There are perhaps too many distractions today, but I'm not sure.
Merveilleuse et inégalable Renata Tebaldi !!! Splendide Desdemona !!! Sa voix de velours est unique !!! C'est la plus grande soprano lyrico-spinto du monde.
Muy interesante el intercambio de opiniones y pareceres sobre el gran Franco Corelli, que continua siendo el mejor de todos los tenores en todo lo que interpreto y en todo el contexto de éstas, en voz ,potencia intepretaciòn, actuación y figura, todo ello lo hace el mejor, en su conjunto; no ha surgido uno que lo supere ni lo iguale. En todo caso es justo reconocer que en todas las opiniones hay algo de realidad, menos de que era un creido, lo dicen todos quienes le conocieron de verdad.
What singers of today, 2013, can come even close to the magic that these two create in their vocal splendor! The answer: Not anyone I can think of! The singers of today can't hold a matchstick in comparison to these two artists!
I sincerely feel that Radvanovsky can -- and I actually saw Tebaldi, am grateful for that, and admired her. Radvanovsky strikes as every bit as special. Truly. When it comes to the part of Otello, that's a lot harder to fill, no question. The last truly great one was Vickers, in my view, although Heppner occasionally had some good nights, and I saw Skelton do a compelling assumption in recent seasons. I admit I found Domingo somewhat monochromatic, although he was certainly amazingly consistent! Corelli never did it, though we all wanted him to, and after seeing an unforgettable Alvaro in 1968, I really thought he was ready. Didn't happen.
@LABIENUS Thanks for Your response to my comment and thanks also for being such a big fan of the great Corelli.I would respectfully suggest You would watch the rest of this concert .I am sure You will see from this that there was nothing wrong going on between these two immence singers who after all went on tour together and who sang together on many more operas and concerts during their illustrious careers.Bear in mind also that Franco was still top of the roster at the Met.since 1961 Mr. Bing certainly realized how great Franco was so I do not make any apology for the statement I have already made thank You.
Beh i brividi vengono sempre per un'aria cosi' bella,pero'...le voci sono un po' sciupate...io che sono un amante della bella voce della Tebaldi,qui mi fa venire un po' di rimpianto....pero' che classe!! per Corelli vale lo stesso...
phalenopsis1 vi ringrazio molto per questo video. Due liria dà grande del mondo, soprattutto in Italia .. EL GRAN MAESTRO FRANCO CORELLI IL MEGLIO ANCORA, NON SUPERATO ANCHE voce uguale, belle e potenti abilmente applicato, le note più belle e potenti alto e il più diminuendo pefect e sostenuta, sulle prestazioni e megnifica foto sono rimaste le migliori e più completo significato. Il Renata Tebaldi Grande, SEMPRE INTERPRETAZIONI perfetto e bellissimo
hai ragione. . .in quegli anni avevano già giocato gli anni d'oro, inoltre tra loro c'era un pò di freddezza....non uno sguardo....lui ha accennato un sorriso...regnava un'atmosfera cupa....forse la direzione....non saprei
I was fortunate to hear them both in their primes. Tebaldi in concert and Corelli as Romeo. I will never forget the gasp from the audience when he made his entrance in black tights. The Italians called him 'Golden Thighs'!
Corelli and Trebaldi were both in their early 50's when this was recorded. Perhaps a bit past their prime but still excellent. The Japanese orchestra was not helpful. Two of the greatest opera singers of all time. Catch the Ed Sullivan appearance on You Tube for the greatest performance ever.
@@jesusmunoz2400 Yes Jesus, Corelli never went the way of becoming a baritone after he retired as a tenor. In My Opinion, Domingo was a tenor singing in a baritone key. I don't believe that there is anything in Domingo's voice that sounds like a baritone, when comparing him to great and good baritones like Guelfi, Warren, London, Merrill, Bastianini, Cappucilli, Milnes, MacNiel, Gobbi, Bardelli, and Capecche
@@sugarbist Para mi Domingo ha sido aprendiz de todo y maestro de nada. Bajador de arias, trucador de agudos en grabaciones de estudio, verismo indiscriminado en todo su repertorio, canto engolado en muchos momentos, monocorde, incapaz de hacer medias voces, corto en el agudo.
@Petter Nillson Jussi Bjoerling had one of the all time great lyric tenor voicesl and .I respect very much your liking and admiration for such a great tenor.
. UN MAGNIFICO "OTELLO" HABRÍA SIDO EL GRAN MAESTRO FRANCO CORELLI, INTERPRETO DUO Y ARIAS DE ESTA OPERA, LO HIZO EN FORMA MAGNIFICA. La grabo y dejo para después su publicación, no lo hizo nunca, quienes fueron testigos de la grabación dicen que fue sublime.Eso de que "ni se miran",, ciertamente, algo pasa, en ningún caso es vanidad de alguno de los dos,el Gran Corelli, era muy cordial y gentil, nada engreído, si un proteccionista, le preocupaba mucho entregar a la audiencia lo mejor de sí
Nasal? Please indicate what points. Corelli was everything BUT nasal. He was pure resonance. I just watched this video and found one single instance where the great Franco Corelli sang "too nasal."
On what do you base that he had such an ego? Did you know him? Ever study with him? Also, how did you know that he was arguing with his wife? I know from firsthand experience, that SHE is the one who did the arguing and hen pecking not him. I studied with Corelli. Of course he had some ego. No one could have any kind of career, much less the one he did without an ego, but I can only tell you that you are totally wrong about his having such a strong ego.
I understand what you mean by criticizing this performance, but to me it seems rather strange to attach the tenor who left the stage 30 years ago, is no longer with us, and whom we know as one of the greatestand unique tenor voices of the 20th century, i.e we esteem him today not by some of his not the best performances but by his whole and truly outstanding work on the stage and in the studio.
I would submit that these comments are not attacks but rather observations. Corelli was an absolutely amazing singer. So much of what he did was wonderful, even iconic. This just happens to be a rather poor performance of some of the greatest music Verdi ever wrote. And it is not just Corelli. Tebaldi seems ambivalent at times and I notice that neither of these singers are using any of the marvelous vocal dynamics they were each so famous for. Finally, the tempo is ridiculously fast. All this is, of course, my opinion. And happily, we are all of us allowed to have one. Ciao!
It seems to that they was not going to show any visible contact having stood one behind another. Where do you see a begging for eye contact? During the duet they both look mainly towards the auditorium. If Tebaldi would wanted him to look her in the eye, she would have to turn more than 90 degrees, but she never did it. For me it is absolutely obvious that they both wanted only to sing (as if they make a record in a studio). And it is absolutely normal for concert performances,
Qué pena que a Corelli ya le fallaba un poco la voz, por el esfuerzo de spinto tantos años. Para mí, el mejor de largo. Su Nessum dorma pone el vello de punta.
Do you really believe that the audience gathered there to see in what direction they would look? I suppose, the people were happy to listen to them live, and in this case anything besides the music and their great voices was a question of minor importance.
birgitnisson, muy interesante lo que usted informa;si era bastante engreído, en realidad sabemos que méritos para serlo los tenia de sobra, lo de desagradable no se que decir, no dudo de lo que usted dice pero en las múltiples biografía y relatos de quienes lo conocieron y lo conocían de años dicen todo lo contrario, más bien que era muy tímido muy amigo de sus amigos los que en gran medida eran desde su juventud y de la universidad, estudiaba ingeniera naval, Que suerte la suya de conocerlo,
Looks like they "love" each other in this duet so much that singing about love they are not even looking at each other...How they were able to perform together under such circumstances? Still, many-many thanks for uploading this clip.
El gran Corelli era bastante engreído y desagradable. Lo conocí y lo traté en N. York. Pero ello no le resta grandeza y enorme relieve a su brillante carrera.
We know he could act in quite a different and contacting way (see the same duet with Zylis-Gara; I like it more than this), and if he did not do so, then most probably there was a serious reason. Why not forgive him for this? I think, such blaming expressions as “what a shame” or “no excuse” are undeserved reproaches for such a hard-working perfectionist as Corelli. I would rather use “unfortunately” or “what a pity” :)
But of course ''always''. Especially since Tebaldi was always so ''relaxed'' and ''subtle'' on stage herself isn't it ? There are various recordings of Corelli in operas where he's anything but ''stiff'' but I suppose that what constitutes good acting is a subjective matter. However, if his ego was so ''enormous'', I wonder why Tebaldi sang so often with him at the Met and elsewhere. After all, was she not in position to choose ?
I admire Corelli and find him wonderful even here - all I say is the truth - he is not in his prime. I meant "not that bad" considering the state his voice was in by this time. I do not think Corelli is "not that bad" just that he does very well even when his voice is not at its best. I think that was pretty obvious from my comment. I do think that there are certain tenors' admirers who cannot face the fact that their idols might have been well advised to have retired a little earlier.
I don't believe it's "nasal", but bright and open. He sang much more like this in live performances, but when you hear it in the theater, without close-miking, it sounded just right. He took much more liberties in the studio and it sounded stunning. Jan Peerce would be a good example of nasal.The stings WERE a bit frightening in the intro!
This video just show how video killed the radio star. Their voices are fine here, it is obvious that they had some fight and they don't want to stand next to each other, but the show must go on. Corelli sang his best version of Core Ngrato at this very same concert. The orchestra is also not doing a great job. People are easily manipulated by good acting instead of good singing, it explains stars such Netrebko these days.
I would hate to think that because of a language barrier with the audience, that Mr. Corelli would think he could just blast away vocally totally ignoring his partner in such a sensitive and emotional duet!!
This is a bad recording with inferior sound quality. Their "real" voices sounded much, much better. Besides, this is 1973 and they were both at the end of their careers. Try listen to a very famous coloratura at the end of her career...
I´ve loved them both, I still do. But nevertheless, I must acknowledge their voices are worn out, and they have perceeptible difficulties in breathing and sustaining notes.
Per quanto riguarda Corelli la voce era ancora intatta, anzi era molto piu calda e squillante. Lui a terminato la sua carierra con la voce splendida. Grande anche la Tebaldi, ma si vede che sono preoccupati dall'eseguzione del pezzo.
Let me relate one story from personal experiece. At a mid 60's Met matinee performance of Don Carlo, he missed his stage entrace in the big scene with the 6 deputies before King Phillip. He was arguing with his wife Laureta in his dressing room. NEVER did I see such an ego.
I misunderstood you, I'm sorry. Corelli's voice began to have problems from 1968 onwards. I have no idea why this happened but my guess is that his singing technique asked for a lot of physical force, which nearing 50, Corelli was no longer able to provide. Still, he sang wonderfully for 15 years so that all things considered, his career wasn't particularly short. Eventually, all voices have to decline at some point. IMO, he retired early enough which not all singers are able to do.
''NEVER did I see such an ego'' Melodramatic much ? I have this recording performance and his missed entrance seems to be quite inconsequential (a little moment of silence and that's all). I was more bothered by the fact Corelli was out of sorts throughout and by Rysanek's out of pitch screams. The majority of Corelli's colleagues recall an extremely shy, vulnerable and nervous man who was rarely satisfied from his performances. This doesn't really correspond to an 'enormous ego'....
Todos tenemos momentos malos, es posible que sea ese momento que paso el opinante con el Gran Maestro F. Corelli; sugiero que lean biografías de él escritas por quienes le conocieron lo suficiente para confirmar lo contrario, si era muy tímido, también, un proteccionista por su carácter, tal vez por ser ingeniero naval cuando se presento al concurso lírico mas importante de Italia, lo gano, a los meses estaba interpretando opera, su carrera fue vertiginosa, magníficamente exitosa mundial mente.
Они оба прекрасны!!!Где сейчас есть такие же голоса?Нигде.Не надо сравнивать их голоса 20 лет назад и эту запись.Они прекрасны.
What Tebaldi and Corelli lost most singers NEVER HAD..
I AGREE....perfectly said.
Both of them were at the end of their careers here. Tebaldi had already made her farewell appearance at the Met and Corelli had a couple of seasons to go. Their best vocal days were behind them, but what sounds they could still make! They could still deliver the goods; Tebaldi still had beauty in her voice and Corelli, though a little rough sounding, could still ring the rafters. They ended their careers so sensibly and in such a dignified manner. Aristocrats both.
Deux des plus grandes stars de l opera du xxeme siècle
While it may be that both Tebaldi and Corelli are slightly past their primes, they remain exemplars of the true Italian sound, and magnificent to hear. They are competing with their younger selves- an impossible feat. Both have the vocal stature for their roles and will remain immortal in the minds of music lovers. Thank you for this superb posting!
Мой кумир и учитель. Франко Корелли, тенор с баритональной окраской голоса. Мечта каждого исполнителя достигнуть подобного мастерства голосоведения. Не постижимо и не вероятно понять, а тем более повторить то что мы видим и слышим в этом фильме. Этот тембр однажды запомнился мне и уже десятилетия не даёт успокоиться и десятилетия помогает мне преодолевать самые сложные вокальные дерзновения, которые предлагает мне мой зритель и её величество сцена. Верю, что каждый достойный вокалист знает историю Франко Корелли. А начинающим вокалистам, просто необходимо видеть и знать как это прекрасно и духовно отдавать свой талант, данный тебе Господом Богом, всем людям, всего мира...Рената Тебальди, так - же великолепна! И за это Слава Богу!! С верой и уважением к вам, мои друзья А.М.Н.
Una sorpresa Franco Corelli in Otello. Due voci meravigliose. Penso a cosa abbiamo perso e che tesoro avremmo avuto ora. Grande Corelli. Voce unica! ❤❤❤❤❤❤
Wake up me dear friends!!! before criticizing these two gorgeous artists...listen to the crap singers of nowadays.....These are two artists that are singing after 20 years of difficult careers ...for me they are simply giving a great singing with a great passion!
The greatest.....No where will you find this passion today not to mention the beauty and size.
Well said, Radu. And I would like to add more than 20 years of career without sound-enhancement.
antonio martinazzo just so! Excellent point!
Stupenda lei stupendo lui insieme somo il meglio che si potrebbe desiderare.
Wow, the squillo in both their voices is always thrilling. I miss that today with the famous singers now a days. They rarely have moments of any squillo at all. The sound is so well placed in the mask (particlularly with Tebaldi here) and so many overtones in each sound. Exciting indeed. Tutti Bravi
So agreed!!!!
Because they don't sing "into mask" :)
So many negative comments.Ist .....Tebaldi and Corelli are not circus performers.They were singing a concert together.A concert is not an opera, or an opera workshop.If you cannot see plainly and hear clearly the interaction when they are singing together.......then you probably need to visit the docter.You need help...........Tebaldi and Corelli need no excuses.
la pareja mas espectacular de la ópera...maravilloso momento...
Interpreti Irripetibili!!!
che ci trasportano
al tempo
quando si "respirava" in cuore
L´Opera!!!
Grazie Mille!!! Carissima *phalenopsis1*
per questo Indimenticabile Ricordo!!!
*******Infinite******
Singers in their prime today don't have the technique to sing like this. Bravi.
we need a revival of the old bel canto schooling
Absolutely but how? With bad teachers, ignorant agents and crazy stage directors ... What a challenge.
It's not only technique
@@marapaltrinieri5667 Of course it's not only technique but without technique, such artistry would not be possible. Technique is the foundation.
Y público ignorante que aplaude a cualquier mediocre o, incluso, mal cantante.
Bonjour deux voix superbes un grand plaisir a écouter ce duo immortel comme ces grands de l opéra qui brillent a jamais au firmament des grandes étoiles bravo et merci a vous vraiment
В 52 года голос Корелли...Спасибо за видео..
Gran dúo
Una meraviglia! Immortali
imo, I think the incredible Corelli would have been a GREAT Otello. His voice had the perfect color for the Moor, and he had that driving force needed in the Esultate, Ora Per Sempre, and Si Per Ciel, as well as the soft darkness in the Nium Me Tema and the Dio Mi Potevi. There is nothing he could not do with his voice.
Peccato non averli potuti ascoltare dal vivo . Due Immortali !
Simply marvelous a "master class" on stage!!!, both where among my favorite lyrical artists ever...thanks for sharing this divine video. Muchas gracias!!!, Bravo!!!
Grandi interpreti!! Grazie per questo video che ci fa ascoltare un inedito Corelli nell'Otello.
Корелли божественен и прекрасен, как принц из сказки!
LOL at their reactions to the opening cello quartet.
CAN YOU BLAME THEM...!
ahaahah
trem0lo they lookin like "Jesus Christ!"
Absolutely horrible intro...
Jajajaja qué grandes
Recordemos que en el MET, apenas se ponían a la venta las localidades cuando Corelli actuaba se agotaban; desde que debut, el fue un extruendoso éxito y lo fue durante los 16 años, momento que Corelli decidió retirarse, lo explica en una entrevista a la pregunta sobre su retiro " Me encontraba muy cansado, extremadamente nervioso con todo y considere que mi voz no tenia la frescura que quería, para entregar lo mejor al publico". Durante años le solicitaron volver, solo dio algunos conciertos.
VOCALLY THATS ABOUT THE BEST YOU WILL EVER HEAR. THESE TWO GREAT ARTISTS SPINNING THEIR LEGATO OUT TO AN ENTHRALLED AUDIENCE WHO LIKE THE ORIGINAL 1ST AUDIENCE OF THIS MUSIC.......WERE ALSO HEARING FOR THE FIRST TIME THIS SPUN GOLD OF MUSICAL MAGIC NEVER HEARD BEFORE.
WHEN LISTENING TO THIS IS ALWAYS AS IF COMING ACROSS SOMETHING INCREDIBLE FOR THE FIRST TIME.....THIS IS THE ART THAT HIDES THE ART!
great voices. Corelli's last fermata is wonderful.
stunning and extraordinary energy and technique and quality.
Where did they get those musicians?! That screech at 0:17 would be enough to send me walking off stage.
Спасибо за возможность увидеть моих любимых, гениальных певцов.
Corelli and Żylis-Gara are my favorite Otello and Desdemona!
Absolutely!Awesome...
Indeed! No comparison to Zylis-Gara!
1. Love her hair 2. How awful are the orchestra 3. Thanks for sharing
The orchestra is truly awful. And those two giants are champs, regardless of what aging inevitably took from them.
Maravillosas voces inolvidables..¡¡
Very interesting exchange of views and opinions on the great Franco Corelli, which remains the best of all the tenors in everything I play and the whole context of these, in voice, intepretacion power, performance and figure, all the makes the best, overall, no one has emerged as equals or surpasses it. In any case it is fair to say that in all the views are some reality, unless it was believed, they say all those who knew him really. (MY ENGLISH IS BAD)
Franco was coming towards the end of His glorious operatic career here and still singing better than any other tenor then and now.This was a concert not an opera so there was no need to do any acting here He and Renata had this duet well thought out.There was no need for any of the touchy feely stuff which seems to be the most important part of opera today hence we will never get the opportunity to hear voices like Corelli. Pertile.. Caruso.. Gigli. Lauri Volpi. or Del Monaco ever again because the emphasis is more on how they look sexually and not on the voice . That is why the tenors of today have tiny tinny voices with mikes stuck all over their bodies.Glad I got that off My chest.
+John Oregan No one is a bigger Franco fan than me, but it is unrealistic, and foolish to say at this point he was singing better than any tenor-then or now. One could make that case in his prime. Oh come on, as i said above they look like they just had words-yes it's a concert by they look positively glacial. Compare this to the Bing Gala, with Zylis-Gara (would was a last minute substitute)
Well what ever the precise reason, and I think it's complicated there certainly aren't any great tenors today. Mikes stuck all over-there used to be a guy always making that argument-but if that is the case why can't you hear these singers in the house??
Franco Corelli was undeniably, a great, voice and one of the top Tenors of his day, or any day. He was an excting personality and one of Opera's most gorgeous men! However there was also the Great Richard Tucker who though no beauty had a voice to die for and was just as thrilling to hear as Corelli. He could fill the met with sound and the voice was as beautiful at the end as at the beginning! I thrilled to the power and emotion of that voice as much as to the Corelli voice! It was a large ,powerful, beautiful instrument, used Masterfully! One must never discount Tucker, and his importance at The Met and in Opera Internationally. No disparagement of Corelli, but Jan Peerce, James McCracken, Jussi Bjorling, Barry Morell , Franco Bonisoli ,Carlo Bergonzi and Nicolai Gedda, and John Alexander, Alfredo Kraus, were no chopped liver either. There was a wealth of exciting Tenors in the 50's 60's
Nice comment-but your point is not clear?It seems to be, Corelli was great, but you liked Tucker even more-was that it ?Which is fine but that's all you seem to be saying.Of course, it was an era of great tenors-and any one of the mentioned tenors would have been a huge star today-possibly excluding Peerce-do to his appearance, and Morell because of his voice-but both would still have had major careers.
On this level it is a matter of who turned you on more-but at least in hearing them live-Corelli also looked like a god, and could act, if he wasn't too nervous-other than Canio Tucker never looked the part, and was a liability as an actor. I had the highest regard for Tucker's voice, but annoying mannerisms could creep in, and he lacked that Italiante authenticity that was Corelli's birthright.
Your list of tenors of that era left out both the young Pavarotti, and Domingo, and not all are on the same level.....but its biggest missing name is the great Jon Vickers, probably one of the greatest opera performers ever
I sincerely hope that Arthur Diggs will learn from those very wise comments of Yours all of which I am in total agreement Thank You
Very accurate John, but I don't believe the commitment to the art form exists today the way it did in the past. There are perhaps too many distractions today, but I'm not sure.
Ничто не вечно. Умные личности уходят вовремя. Спасибо за талант.♥️
Merveilleuse et inégalable Renata Tebaldi !!!
Splendide Desdemona !!!
Sa voix de velours est unique !!!
C'est la plus grande soprano lyrico-spinto du monde.
Fantastici!!!
Due voci innamorate l'una dell'altra
Muy interesante el intercambio de opiniones y pareceres sobre el gran Franco Corelli, que continua siendo el mejor de todos los tenores en todo lo que interpreto y en todo el contexto de éstas, en voz ,potencia intepretaciòn, actuación y figura, todo ello lo hace el mejor, en su conjunto; no ha surgido uno que lo supere ni lo iguale. En todo caso es justo reconocer que en todas las opiniones hay algo de realidad, menos de que era un creido, lo dicen todos quienes le conocieron de verdad.
What singers of today, 2013, can come even close to the magic that these two create in their vocal splendor! The answer: Not anyone I can think of! The singers of today can't hold a matchstick in comparison to these two artists!
I sincerely feel that Radvanovsky can -- and I actually saw Tebaldi, am grateful for that, and admired her. Radvanovsky strikes as every bit as special. Truly.
When it comes to the part of Otello, that's a lot harder to fill, no question. The last truly great one was Vickers, in my view, although Heppner occasionally had some good nights, and I saw Skelton do a compelling assumption in recent seasons. I admit I found Domingo somewhat monochromatic, although he was certainly amazingly consistent! Corelli never did it, though we all wanted him to, and after seeing an unforgettable Alvaro in 1968, I really thought he was ready. Didn't happen.
@LABIENUS Thanks for Your response to my comment and thanks also for being such a big fan of the great Corelli.I would respectfully suggest You would watch the rest of this concert .I am sure You will see from this that there was nothing wrong going on between these two immence singers who after all went on tour together and who sang together on many more operas and concerts during their illustrious careers.Bear in mind also that Franco was still top of the roster at the Met.since 1961 Mr. Bing certainly realized how great Franco was so I do not make any apology for the statement I have already made thank You.
Extraordinarios Cantantes de Opera, nada que envidiar a nadie
Beh i brividi vengono sempre per un'aria cosi' bella,pero'...le voci sono un po' sciupate...io che sono un amante della bella voce della Tebaldi,qui mi fa venire un po' di rimpianto....pero' che classe!! per Corelli vale lo stesso...
phalenopsis1 vi ringrazio molto per questo video. Due liria dà grande del mondo, soprattutto in Italia .. EL GRAN MAESTRO FRANCO CORELLI IL MEGLIO ANCORA, NON SUPERATO ANCHE voce uguale, belle e potenti abilmente applicato, le note più belle e potenti alto e il più diminuendo pefect e sostenuta, sulle prestazioni e megnifica foto sono rimaste le migliori e più completo significato. Il Renata Tebaldi Grande, SEMPRE INTERPRETAZIONI perfetto e bellissimo
Meravigliosi.
magnifico Dúo
Non ho mai ascoltato un'interpretazione più bella di questo brano. Grande commozione
Franco Corelli, Otello de lujo...
Orfeo Pecci j
fabuleux.....
SUBLIME VERDI,OTELO,TEBALDI UND CORELLI UND THE TOKYO ORCHESTRA AND DIRECTION
hai ragione. . .in quegli anni avevano già giocato gli anni d'oro, inoltre tra loro c'era un pò di freddezza....non uno sguardo....lui ha accennato un sorriso...regnava un'atmosfera cupa....forse la direzione....non saprei
It's the dark side of love
❤️ la faccia di Corelli
I was fortunate to hear them both in their primes. Tebaldi in concert and Corelli as Romeo. I will never forget the gasp from the audience when he made his entrance in black tights. The Italians called him 'Golden Thighs'!
Corelli and Trebaldi were both in their early 50's when this was recorded. Perhaps a bit past their prime but still excellent. The Japanese orchestra was not helpful. Two of the greatest opera singers of all time. Catch the Ed Sullivan appearance on You Tube for the greatest performance ever.
All'inizio si sono girati verso il sassofonista che ha stonato tremendamente, loro bravissimi non si sono scomposti!
Sassofonista?! 😂
Corelli was about 52 here and passed his vocal prime.However I think he would have done a marvelous Otello.
Pero nunca fué tan osado de pasarse a la cuerda de baritono para alargar su carrera. Como Spinto fué único.
@@jesusmunoz2400 Yes Jesus, Corelli never went the way of becoming a baritone after he retired as a tenor. In My Opinion, Domingo was a tenor singing in a baritone key. I don't believe that there is anything in Domingo's voice that sounds like a baritone, when comparing him to great and good baritones like Guelfi, Warren, London, Merrill, Bastianini, Cappucilli, Milnes, MacNiel, Gobbi, Bardelli, and Capecche
@@sugarbist Totalmente de acuerdo. Además como tenor para mi fué sobrevalorado. Puro marketing.
@@jesusmunoz2400 Tal vez, pero era un gran tenore.
@@sugarbist Para mi Domingo ha sido aprendiz de todo y maestro de nada. Bajador de arias, trucador de agudos en grabaciones de estudio, verismo indiscriminado en todo su repertorio, canto engolado en muchos momentos, monocorde, incapaz de hacer medias voces, corto en el agudo.
the strings are so out of tune! Their reaction in the beginning of the video is so funny!
@Petter Nillson Jussi Bjoerling had one of the all time great lyric tenor voicesl and .I respect very much your liking and admiration for such a great tenor.
7:46 They're thinking "Let's hope the orchestra doesn't flub it up at the end."
che coppia vincente!
This level of artistry has vanished from the face of the earth
. UN MAGNIFICO "OTELLO" HABRÍA SIDO EL GRAN MAESTRO FRANCO CORELLI, INTERPRETO DUO Y ARIAS DE ESTA OPERA, LO HIZO EN FORMA MAGNIFICA. La grabo y dejo para después su publicación, no lo hizo nunca, quienes fueron testigos de la grabación dicen que fue sublime.Eso de que "ni se miran",, ciertamente, algo pasa, en ningún caso es vanidad de alguno de los dos,el Gran Corelli, era muy cordial y gentil, nada engreído, si un proteccionista, le preocupaba mucho entregar a la audiencia lo mejor de sí
Callas és Di Stefano 1971 évi Párizsi koncertjéhez hasonlitva az Ő párosuk még mindig őrzi a régi formáját.Szép.
Nasal? Please indicate what points. Corelli was everything BUT nasal. He was pure resonance. I just watched this video and found one single instance where the great Franco Corelli sang "too nasal."
The tuning of the strings at the beginning is abysmal.
Que pena que nunca interpretara este papel completo. No entiendo el motivo. Hubiera sido un Otello de lujo.
On what do you base that he had such an ego? Did you know him? Ever study with him? Also, how did you know that he was arguing with his wife? I know from firsthand experience, that SHE is the one who did the arguing and hen pecking not him. I studied with Corelli. Of course he had some ego. No one could have any kind of career, much less the one he did without an ego, but I can only tell you that you are totally wrong about his having such a strong ego.
I understand what you mean by criticizing this performance, but to me it seems rather strange to attach the tenor who left the stage 30 years ago, is no longer with us, and whom we know as one of the greatestand unique tenor voices of the 20th century, i.e we esteem him today not by some of his not the best performances but by his whole and truly outstanding work on the stage and in the studio.
Liederfreund well said. I applaud your balanced approach! Corelli was a gift to us...
I would submit that these comments are not attacks but rather observations. Corelli was an absolutely amazing singer. So much of what he did was wonderful, even iconic. This just happens to be a rather poor performance of some of the greatest music Verdi ever wrote. And it is not just Corelli. Tebaldi seems ambivalent at times and I notice that neither of these singers are using any of the marvelous vocal dynamics they were each so famous for. Finally, the tempo is ridiculously fast. All this is, of course, my opinion. And happily, we are all of us allowed to have one. Ciao!
It seems to that they was not going to show any visible contact having stood one behind another. Where do you see a begging for eye contact? During the duet they both look mainly towards the auditorium. If Tebaldi would wanted him to look her in the eye, she would have to turn more than 90 degrees, but she never did it. For me it is absolutely obvious that they both wanted only to sing (as if they make a record in a studio). And it is absolutely normal for concert performances,
Qué pena que a Corelli ya le fallaba un poco la voz, por el esfuerzo de spinto tantos años. Para mí, el mejor de largo. Su Nessum dorma pone el vello de punta.
They were looking around for help, because the cello was so false at the beginning!!! Can't you hear?
bell
YES, sensitive, tender and loving duet. Otello in this duet has no suspicion at all of Desdemona's alleged infidelity!!!
Do you really believe that the audience gathered there to see in what direction they would look? I suppose, the people were happy to listen to them live, and in this case anything besides the music and their great voices was a question of minor importance.
birgitnisson, muy interesante lo que usted informa;si era bastante engreído, en realidad sabemos que méritos para serlo los tenia de sobra, lo de desagradable no se que decir, no dudo de lo que usted dice pero en las múltiples biografía y relatos de quienes lo conocieron y lo conocían de años dicen todo lo contrario, más bien que era muy tímido muy amigo de sus amigos los que en gran medida eran desde su juventud y de la universidad, estudiaba ingeniera naval, Que suerte la suya de conocerlo,
Looks like they "love" each other in this duet so much that singing about love they are not even looking at each other...How they were able to perform together under such circumstances? Still, many-many thanks for uploading this clip.
Yes
El gran Corelli era bastante engreído y desagradable. Lo conocí y lo traté en N. York. Pero ello no le resta grandeza y enorme relieve a su brillante carrera.
QUESTA SI PUO' CHIAMARE LIRICA!!!
Corelli il più grande in assoluto.
What a shame Corelli never did a studio recording of OTELLO. (At least we do have McCracken's.) How great would he have been without the stage fright?
Cantano bravissimi ma la musica troppo veloce e non capisco perché non vedono insieme?
Grandissimi!!
(meno male che oggi traducono meglio....nel sottotitolo ci sono molti errorei...)
We know he could act in quite a different and contacting way (see the same duet with Zylis-Gara; I like it more than this), and if he did not do so, then most probably there was a serious reason. Why not forgive him for this? I think, such blaming expressions as “what a shame” or “no excuse” are undeserved reproaches for such a hard-working perfectionist as Corelli. I would rather use “unfortunately” or “what a pity” :)
But of course ''always''. Especially since Tebaldi was always so ''relaxed'' and ''subtle'' on stage herself isn't it ? There are various recordings of Corelli in operas where he's anything but ''stiff'' but I suppose that what constitutes good acting is a subjective matter.
However, if his ego was so ''enormous'', I wonder why Tebaldi sang so often with him at the Met and elsewhere. After all, was she not in position to choose ?
I use to think we would have them forever...xo
I admire Corelli and find him wonderful even here - all I say is the truth - he is not in his prime. I meant "not that bad" considering the state his voice was in by this time. I do not think Corelli is "not that bad" just that he does very well even when his voice is not at its best. I think that was pretty obvious from my comment. I do think that there are certain tenors' admirers who cannot face the fact that their idols might have been well advised to have retired a little earlier.
I don't believe it's "nasal", but bright and open. He sang much more like this in live performances, but when you hear it in the theater, without close-miking, it sounded just right. He took much more liberties in the studio and it sounded stunning. Jan Peerce would be a good example of nasal.The stings WERE a bit frightening in the intro!
This video just show how video killed the radio star. Their voices are fine here, it is obvious that they had some fight and they don't want to stand next to each other, but the show must go on. Corelli sang his best version of Core Ngrato at this very same concert. The orchestra is also not doing a great job. People are easily manipulated by good acting instead of good singing, it explains stars such Netrebko these days.
I would hate to think that because of a language barrier with the audience, that Mr. Corelli would think he could just blast away vocally totally ignoring his partner in such a sensitive and emotional duet!!
This is a bad recording with inferior sound quality. Their "real" voices sounded much, much better. Besides, this is 1973 and they were both at the end of their careers. Try listen to a very famous coloratura at the end of her career...
I´ve loved them both, I still do. But nevertheless, I must acknowledge their voices are worn out, and they have perceeptible difficulties in breathing and sustaining notes.
Per quanto riguarda Corelli la voce era ancora intatta, anzi era molto piu calda e squillante. Lui a terminato la sua carierra con la voce splendida.
Grande anche la Tebaldi, ma si vede che sono preoccupati dall'eseguzione del pezzo.
The Great Corelli has had better performances. Tebaldi was wonderful.
Let me relate one story from personal experiece. At a mid 60's Met matinee performance of Don Carlo, he missed his stage entrace in the big scene with the 6 deputies before King Phillip. He was arguing with his wife Laureta in his dressing room. NEVER did I see such an ego.
CSODÁS DUÓ!
Renata is 51 here and Franco is 52
Такую Ренату мне лучше не слушать уже. Но законам жизни надо подчитяться. Никому не удалось их переписать.🕰
I misunderstood you, I'm sorry.
Corelli's voice began to have problems from 1968 onwards. I have no idea why this happened but my guess is that his singing technique asked for a lot of physical force, which nearing 50, Corelli was no longer able to provide. Still, he sang wonderfully for 15 years so that all things considered, his career wasn't particularly short. Eventually, all voices have to decline at some point.
IMO, he retired early enough which not all singers are able to do.
''NEVER did I see such an ego''
Melodramatic much ? I have this recording performance and his missed entrance seems to be quite inconsequential (a little moment of silence and that's all). I was more bothered by the fact Corelli was out of sorts throughout and by Rysanek's out of pitch screams.
The majority of Corelli's colleagues recall an extremely shy, vulnerable and nervous man who was rarely satisfied from his performances. This doesn't really correspond to an 'enormous ego'....
So agreed, he was very self critical, perfectionist and shy...
Singer of today don't have this kind of technique breath control
Todos tenemos momentos malos, es posible que sea ese momento que paso el opinante con el Gran Maestro F. Corelli; sugiero que lean biografías de él escritas por quienes le conocieron lo suficiente para confirmar lo contrario, si era muy tímido, también, un proteccionista por su carácter, tal vez por ser ingeniero naval cuando se presento al concurso lírico mas importante de Italia, lo gano, a los meses estaba interpretando opera, su carrera fue vertiginosa, magníficamente exitosa mundial mente.