Words fail me,tears in my eyes LA Scala the holy Grail of opera houses and Franco Corelli ,Italy what you have given to the world is immeasurable thank you

I'm glad you like it. If you haven't already, be sure to check out the complete opera (illustrated with photos throughout): kzfaq.info/get/bejne/qtlmZ8al1Li5pZ8.html

Did you ever get to see him on stage?

SI naturale...vale a dire mezzo tono più basso!!! Ma non è una novità...molti suoi colleghi abbassavano la "PIRA"...

@@radames5855 Sì lo so, ma perché lo facevano? Era forse il direttore d'orchestra che decideva? Io l'ho scritto perchè comunque a me sembra immenso ugualmente.

This. Yes.

Never, ever , you can bring back such an unique artist!! Just Emotion and ??? 🥰🥰

E la Cossotto?

Che fortuna. Penso che sia stata davvero emozionante....unica

Bellissima davvero l'esecuzione dell' " Ah sì ben mio ", ma la cabaletta in tonalità di SI maggiore, non si può sentire da nessun tenore, figuriamoci dall' immenso Corelli che, tra l' altro, disponeva di sovracuti fantastici !!!

@@stefanoferrari8781 si può sentire...si può sentire...visto e sentito le schifezze che poi abbiamo ascoltato e ancora ascoltiamo...Corelli era comunque credibile....

@@ritapapiri Io dicevo che MUSICALMENTE non si può sentire !!! E' un peccato che molti direttori avallino o abbiano avallato le richieste dei tenori... Penno, Domingo e Cura la volevano cantare solo abbassata di un tono... Il povero Verdi che, obtorto collo, aveva accettato anche le puntature sul DO di Boucardé, si rigirerà spesso nella tomba !!!

@@stefanoferrari8781 concordo....

@@stefanoferrari8781 Ascolta la versione in do maggiore di Lauri Volpi o Rosvaenge.

Thank you so much ❤

According to René Segers once he sang Manrico in Pisa, nearby his hometown, Ancona. And he relearned this aria in the origilnal key, in C major, and sang it with high Cs. A know a lot of live Trovatore with him. He always sings great high D flat at the end of trio in the 1st Act, but never try high Cs is "Pira".

So many tenors sing it down the half step-mostly because it's so well known and anticipated, not just his nerves-but in some cases they do because they didn't have a C or a reliable one-we know Franco had one-I think you're right Franco never sang it live. But it's not just the note, it's often the particular approach to it. Certainly he sang a C live in Turandot, routinely-Boheme-often in Romeo which was immense-the D flat/C sharp in Don Carlo etc. Don't you think the Salzburg Trovatore is better?

In the past, composers oftentimes allowed the singer to transpose their piece up or down if it was a better vocal fit. It serves no one for a singer to strangle out an aria or to be so worried about one note that the entire opera suffers for their anxiety.

So many performers suffer terribly from nerves before going on, but once on stage the "stage frights" disappears. Corelli could not have sung with such total composure as he did ( yes I heard him in the house on several occasions.) had his unfortunate nervousness continued while performing. But most tenors, including Tucker and Bergonzi, among many others transposed their arias down a half step. What is important is the quality of the sound, not the key. Corelli's high B's conveyed so much more vocal impact and excitement that a very few tenors did with their high C's. I can assure you that when Corelli sang one of his startlingly big, bright high B's the audience was not about to complain about the transposition.

Is it your hobby to write negative comments about Corelli? Shame I couldn't find any clips of you singing this aria, I would have liked to compare it.

In live performances he usually (always?) sang it transposed. As most tenors did of the time.

explain?

The audience doesn't agree with you - I don't agree with you and nor do thousands and thousands of others....

@@puppetoz I think he was talking about the actual baritone. I hope…

@@tenoremodernotecnicavecchi2151 Alas...

@@puppetoz a fanatics, a deaf blind audience, your words arenothing

@@Monnarchmonnarchy as are yours

You gave your opinion with a lot of grace and respect. I can understand that you don't like portamento. It comes from an earlier age, other tenors such as Pertile also used it a lot, and even Caruso. It adds dynamics and emotional expression. Interestingly it is sometimes used in blues or rock singing to add more soul to the voice, and even guitarist use it. But it seems to have fallen out of fashion in opera, Corelli learned a lot of his singing singing along to older vocalist. Corelli style especially live is all about raw passion. This was obviously quite popular at the time, if you look at contemporaries such as Di Stefano and Del Monaco. But all singers do have their positive and negative sides. Corelli sang with a lot of dynamics and expression, he used a lot of different colours in the voice, to covey emotion. I do think people sometimes forget that he had a dramatic voice, he did not have a lyric voice. Whatever voice category he is placed in, he fundamentally had a dramatic voice. Dramatic voices do have certain characteristics., it is always a less flexile, very big and heavy voice. But I would say he had some of the most refinement you can find in a dramatic voice. He had very good legato for having such a big voice, and of course the diminuendo. And something that is almost never discussed was his phrasing. he had incredible phrasing. That is how he was able (along with secure high notes), to sing some of those most difficult bel canto roles such as Les Huguenots. Bianca Al Par kzfaq.info/get/bejne/qNCnhLh92qiZiIk.html On papier he should not have been able to sing a role such as this. Corelli did suffer from an accident in his teenage years where he broke his jaw and some teeth, and this always influenced his dictation. But I don't think his dictation was always bad, it was inconsistent., sometimes it was fine and at other times it wasn't good. But overall for having a dramatic voice, he achieved the maxim level of skill you can expect from this type of voice. His phrasing should receive far more critical appreciation. But of course his voice is just never going to be quite the same as a tenor with a lyrical voice. Tenors will lyrical voices will naturally have better dictation and smoothness of line. The opposite is also true a tenor with a lyrical voice will never have as much power in the voice. People do like and appreciate different aspects of singing, we don't all have to enjoy the same singers, and we don't all connect with singers in the same way, and that is a good thing.

​@@ZENOBlAmusicse facciamo le "pulci" a tutti nessuno sarà mai all'altezza....😂

...mezzo tono...!! Una sventola che gli altri se la sognano anche se la abbassano di 2 toni!!! 🙂