The recording tells no lies. Montserrat was there too! Love him!

can imagine when he was young for people listening him live!

You are such a blessed person!!!

kzfaq.info/get/bejne/eq2IrJmXvt3JZ4k.html Is this what you're referring?

I was there too and I won’t forget it. The reaction of the audience was simply amazing, everybody in the fifth floor stood up and applauded for a very long time. I was very young then but I’ll never forget that night! Montserrat Caballe was there too and she was very kind and paid him her respect!

It is even worse than that. I dear say if a tenor sang like that today he would not get hired.

Wouldn't get hired? Really!?! Why? Maybe your not kidding... Feel free to explain. Some of the greatest singing I've ever heard. I'm all ears (no pun). I would love to know why he wouldn't get hired today, got me curious. . .

@@dsmythe5329 They'd tell him that his vibrato is too fast, that his voice isn't dark enough and that his style is too old fashioned. Among other things I guess.

Thx for the response... I got ya! If that would hold true, as I trust your judgement, that's unfortunate. So much for individuality/authentic romantic style in 2021. I wonder what Verdi would think, if he were around today!?! Hmm 🤔 Sure would be interesting if we could get his 2 cents. . . Who knows how he'd react if he could hear a contemporary performance of his work. Maybe he'd run for the hills or head for the nearest pub to tie a few on. Nonetheless, thanks for the input... Always open to discussion.

@@dsmythe5329Interesting question. I think he’d love the orchestras which are on a much higher level than in Italy in the 19th century. A performance under the strict Muti would possibly please him more than anything else as Verdi hated when his scores were altered (he said so in his letters, and most scores were altered during his lifetime). As to the singing… impossible to tell. The singing is what has changed most during the 20th Century, influenced and normalised by records made by people who sang in a style different from the one Verdi was used to…

Yes, Volpi was fantastic. Try his Bianca Al Par video from Ugonotti, A Te O Cara, and the Gugliemo Tell arias

Volpi taught Corelli actually

@@oliverdelica2289 Incorrect .LV wasn't FC's teacher .FC just visited LV in Spain in between seasons for short periods of time,to get a bit of advice .Read Zucker's interviews . FC was actually aware that his (FC's) technique wasn't good,but he wasn't prepared to take a long time off to correct it because he was already in the threading mill and was making money. So all he took from LV was a bit of advice here and there .LV never said he was FC's teacher

Sure is unbelievable nobody could touch him today or that matter I can’t remember when.

Except for The Great Mr Caruso. Anyone else, zero comparisons.

@@niamcd6604 Yes of course, but Caruso was not a high note singer proficient in Puritani, Ugonotti, Gugliemo Tell and Poliuto.

@@sugarbisti agree, my favourite note of caruso is his G4 in E lucevan le stelle. Not particulary high but his silky timbre is otherwordly. I think his g4-a4 is unmatched.

Sure...Corelli asked him for help when Franco was preparing Gli Ugonotti in la Scala. Lauri Volpi helped him during 3 travels at Burjasot, Valencia, Spain, where lauri Volpi lived with his Spanish wife. Corelli said that he never heard a more luminous and brilliant voice than Lauri Volpi's voice. kzfaq.info/get/bejne/gpldothe0c-ac2g.html

@@CotaDangelo And yet Corelli chose not to heed the advice to lighten the mid voice.

That’s essentially an airtight guarantee. And he’s completely right.

Not surprised Corelli thought so highly of him. Such beauty and power combined

Franco Corelli was one of three great tenors who came to Lauri-Volpi for vocal or interpretive help. The other two were Alfredo Kraus and Carlo Bergonzi. All three idolized him not only as a tenor who sang bel canto and verismo roles, but also as a man of culture and higher learning. While being raised in a monastery he wrote a definitive translation of Thomas Aquinas’s “Treatise on Law.” Then he began his legal studies, which were interrupted by World War One, in which he became one of Italy’s most decorated infantrymen. He served as a trial lawyer briefly, then devoted himself to a singing career that lasted over 40 years.

Aetion Και είναι για μένα πραγματικά αξιοπερίεργο πως κατάφερε να διατηρήσει και την. Ποιότητα της φωνής του και όλο το εύρος της ανέπαφο μέχρι το τελος της ζωής του! Πραγματικά δεν έχει υπάρξει τενόρος με τόσο ευρύ φάσμα ρόλων λυρικών και δραματικών που να έχει τετοια φωνητική μακροζωία!!

@@OperaMyWorld Πράγματι!! Ένα φωνητικό θαύμα!!!

Πραγματικά ένας από τους καλύτερους, τρομερός τεχνίτης, εξού και ο λόγος που διατήρησε τη φωνή του. Έχουμε και έναν τέτοιο εν ζωή ακόμα, τον Σαλβατορε Φισικελλα με τον οποίο είχα και την τύχη να μελετήσω πριν αρκετά χρόνια.

Hahahha. Bestemmia!

Absolutamente. GLV era un _verdadero_ tenor al estilo de los antiguos héroes del s.XIX, los Tamagno, Gayarre, Marconi, Viñas, etc. Lamentablemente esto ya es historia y el deplorable panorama lírico actual no hace más que confirmarlo. Por suerte nos quedan las grabaciones para deleitarnos.

Pavarotti era lírico, solo que su voz le permitía hacer de lirico ligero.