F. CORELLI, MASTERCLASS TORINO 1992 N.2 (WITH ENGLISH SUBTITLES)

[@ClergetMusic]

It’s kinda sad that we have to fight with students to get them away from the mentality that their voices must be dark in order to be beautiful. When this student began to allow his natural brightness into the pronunciation, his voice revealed itself and it was gorgeous. Also, the ping or ring entered the sound and his voice actually sounded larger.

[@toscadonna]

It’s really a trick, because when you sing properly, you feel like you’re not singing at all and aren’t putting out a big sound, but you are. You’re actually way louder than when you’re singing voce ingolata and swallowing all of the sound inside your own skull. The sound must go to the audience not us.

[@tenorschofield]

Bravo maestro!!!;per sempre in nostri cuori!!!!

[@guidogreco341]

L immenso Franco...

[@tenorschofield]

Grandissimo maestro fu Franco Dario Corelli Marchetti!!!,BRAVO!!!

[@pieritlyon]

MOLTE GRAZIE, E UN LUJO TENER LECCIONES COMO ESTAS DE GRANDE FRANCO CORELLI

[@oktaygozcu4799]

Amazing recording. Thanks for share 🌹

[@estherluciamorelli6105]

Siempre es un lujo escuchar esa vos tan magnifica que nunca morirá enseñando a sus alumnos

[@luigivalsesia7267]

Grandissimo anche maestro di canto

[@enricodicapri]

More, please, more!! Even without subtitles!!

[@jacksparrow5281]

Mi piace tanto la voce quando parla normale.

[@chrisrye9128]

youtube gold! Ty for posting this

[@shahramyazdani7575]

I am amazed that why didnt he (Corelli) sing it in his life?!

[@leonoradelagardie]

Who is the lucky student?

[@викторвокс]

ОДИН ИЗ УМНЫХ И ТАЛАНТЛИВЫХ ТЕНОРОВ-ПРЕДСТАВИТЕЛЬ ОДНОЙ ИЗ ВОКАЛЬНЫХ ШКОЛ УШЕДШЕЙ ЭПОХИ ТИТАНОВ

[@EliseoBarjauorfeo]

Dar clases de técnica vocal e interpretación no es cuestión de unas clases esporádicas, sino de al menos tres años seguidos de tres clases por semana o más... Y antes de comenzar con el canto habrá que construir el instrumento con la técnica vocal

[@numetutelare]

Fantastica lezione di dizione italiana...

[@alexingresss2420]

Diction lesson from Corelli who had the worst diction by far among all Italian tenors? You must be kidding. He could speak normally but his singing diction was on par with Sutherland's.

[@numetutelare]

@@alexingresss2420 bah lasciamo stare la Sutherland che non aveva dizione ma farfuglio...e comunque le indicazioni di canto e pronuncia sono giuste, poi siccome immagino che lei sia madrelingua mi inchino alla sua saccenza.

[@alexingresss2420]

@@numetutelare Yep, that's right, you should bow to me and my knowledge 😁 Corelli's diction was something between gargle and stammer, and his treatment of consonants was terrible.

[@numetutelare]

​​@@alexingresss2420 ho riletto il suo commento... che pietosa astiosita'... confonde il parlare comune in cui TUTTI abbiamo inflessioni con la dizione cantata... cmq Lauri Volpi lo considerava fra i più grandi e completi tenori ma ividentemente vostra signoria ne sa più di questi miti... si rilegga il verso di Dante dove dice " or chi se' tu che vuo' sedere a scranna...etc. etc. mah, ormai anche al bar o al pub si commenta l'arte lirica. Non si scomodi a rispondere se voglio annoiarmo lo so fare in proprio esattamente come Oscar Wilde ...

[@giulianosalvatori4126]

@@alexingresss2420 Ma chi credi di essere ?! Sei solo un chiacchierone 🤣🤣🤣🤣

[@ransomcoates546]

The student started shaky but turned out to have a lovely natural timbre.(Truth to tell, what Corelli says is enigmatic, in places self-contradictory, and in my opinion wrong about Gigli, etc.)

[@giselamarch1994]

Who is this all-knowing expert @balletjanie6978? Why don't we just ignore him and listen to the Great Corelli?

[@MrOperaTenor]

I will learn italian just to understand what he says and what his remarks are..

[@micol95]

+Super OperaTenor he put the subtitles!

[@aarontenor]

@@micol95 not even close to all of them.

[@giancarlopiligp]

L'allievo, di chi si tratta? Mi ricorda tanto il tenore Francesco Demuro. Evviva Corelli!

[@bernatriera5437]

El alumno tiene una voz muy bonita para mi gusto.

[@josebernardoamaoobregon2777]

Hay algún audio o video de Franco Corelli interpretando Il lamento di Federico? por favor si alguien lo tuviera, gracias.

[@monainfame]

Llegué acá buscando lo mismo :(

[@FranciscoArvizuH]

@@monainfame Según el enorme trabajo de Frank Hamilton sobre la vida activa de Franco, nunca incluyó el aria en recital o concierto a lo largo de su carrera 1951-1976. Sí interpretó Franco Corelli en concierto o en recital fragmentos de obras que no estuvieron en su repertorio, como Il Guarany, de Carlos Gomes, o Iván IV, de Georges Bizet.

[@mattiamarcedola]

Grande maestro corelli. Purtroppo oggi molti cantanti lirici tendono a iscorire troppo la voce, e a dargli troppa cavità come dici tu. La voce deve essere un po' più naturale, un po' più veritiera. Al giorno d'oggi si sentono tenori che cantano con una voce scura, ma se li senti parlare Sembrano dei tenori leggeri. C'è qualcosa che non va O no?

[@rossanomacchioni7746]

Quello che sembra drammatico in Tenori odierni. Suoni forzati e intubati , ingolati. Se parlano come dei lirici chiari è perché non lo sono veri Spinti e Drammatici naturali..Se cantano per Vent'anni è un miracolo. Oppure si fanno pagare tanto,ma non fanno molte recite...i bei tempi sono finiti da un pezzo. Non solo in Italia,ma in tutto il mondo. A mio modesto parere, l'opera è un genere morto. Scuole di canto serie e competenti , non ci sono. Abbiamo supponenti "maestri" di canto. Che in realtà non conosco la difficile tecnica del canto lirico. Chi si accontenta gode , ma non troppo.

[@inmodor3887]

E cantato questa romanza en el Lido de Venecia fundación Mario del Mónaco, non ho video, piango, tristezza

[@beniaminoson6318]

Il would have been great Honor..

[@MrOperaTenor]

can you put subtitles please?

[@micol95]

+Super OperaTenor he put them!

[@maggiedeveney]

Mic Lourenço thank you so much

[@lucianotte9446]

Chi è il tenore allievo? Che bella voce!

[@steccomax8103]

Un tenore fiorentino, ma non abbiamo altre informazioni

[@Tenorore]

Subtitulada en español.

[@steccomax8103]

LEZIONE SU RECITATIVO DE IL LAMENTO DI FEDERICO DA ARLESIANA DI F. CILEA For other videos about Corelli click here: kzbin.info/www/bejne/iKK7iKCeltqXntk kzbin.info/www/bejne/raLKnKaAbNF9aJI

[@HammondDER]

who the student? Bocelli?

[@steccomax8103]

No, he is not Bocelli, he is a florentine tenor, but in this masterclass he was also present Andrea Bocelli.

[@HammondDER]

Thanks!

[@giampierone010]

sembra così semplice cantare lirica applicando la tecnica...ma la realtà è ben diversa...un conto è dirlo,ma applicarla è complicato per voi mediocri...dice FRANCONE

[@davidstyles2762]

Vero! Ma da quel che si sente in questo video pare che lo studente si stia cantando la melodia addosso, tipo "dentro"..per questo i suoni non escono a fuoco e appoggiati e Corelli lo corregge sempre difatti..

[@paolonostini3693]

Sono più appassionato di sinfonica e musica da camera ma in casa mia erano tutti melonani, andavano in teatro e qualche volta nelle piazze a sentire i famosi concerti Martini e rossi, dove si esibivano cantanti d'opera. Mi dispiace ma devo dire che oggi le nuove promesse, lasciano il tempo che trovano, cantano, ma poi cosa lasciano a loro e a noi in eredità. Voci belle, ma non e' tutto. Quando guardo un opera in chiave moderna, mi chiedo se e' giusto che ne so ' vedere la madama Butterfly, tanto per intenderci vederla vestita in jeans piuttosto che col kymono come il musicista la concepita oppure Carmen con la biancheria intima piuttosto che da spagnola come andava allora e come doveva essere. Le scene Poi, inutile commentarle

[@Tkimba2]

@@paolonostini3693 hai totalmente ragione

[@vitocannillotenor8372]

Quanta confusione, quante imprecisioni e contraddizioni nelle sue indicazioni.

[@mariofilippeschi4855]

The mask he's referring is the nose. DO NOT SING IN THE NOSE like Horne

[@jenspflug7473]

Yes, never sing in the nose. But nose is not the mask. The mask are the cavities behind the cheekbones , next to the nose and above i.e.forehead.

[@mariofilippeschi4855]

@@jenspflug7473 Agreed.

[@TheDesepcion]

El se refiere a cantar de pecho, no mandar la voz a la cabeza sino desde la laringe

[@arepo]

His looks had been the making of Corelli, not his technique. Looks were everything for the filming industry in the 1950-60s. His looks and the fact he spoke the language brought him the role of Cavaradossi in the Tosca movies, and the movies brought him name recognition among a larger audience, and the name recognition opened the door of La Scala and the Met. People began to associate him with verismo repertoire, which was just as well because he lacked the technique for anything else. And so he stuck with those few verismo roles he sang over and over again, and a few Verdi roles which he, unfortunately, also sang more or less regularly. His style wasn't original verismo, but people were more than happy to accept the roaring and being lachrymose for genuine verismo. In a way, it was genuine - genuine for THAT period. Taste or getting familiar with the operatic tradition was not high on the priority list, but angry young men, existential angst, and sex was. Kraus' was a similatr case. His looks and the fact he spoke the language brought him the role in the Spanish movie Gayarre, and the movie brought him name recognition, and the name recognition brought him contracts with opera houses of repute. People also began to confuse him with the movie character and associate him with the belcanto tradition. It always happens like this ;-) Lucky him Kraus' technique had perfectly adequate for a few belcanto roles so the confusion was just as well because he couldn't have done anything else without ruining his voice. And so he stuck with those few bel canto roles he sang over and over again. His style wasn't quite belcanto but I don't see how he could have done more (even assuming he had the required imagination and spirit), considering the period he sang.

[@jaxhassler9591]

But what about the excellent performances he gave us in verismo roles?

[@ilgattopardo3231]

Wow, I never knew that Romeo, Poliuto, Raoul, Gualtiero, count Bezukhov and Werther were verismo roles. They all present at once, oh, so many Miraculous revelations just to us.

[@arepo]

​@@ilgattopardo3231 Try not to buckle under the weight of the miraculous revelation. If your user name is anything to go by, I'm sure you will manage creditably. And try to distinguish between (1) roles a singer has in his REGULAR repertoire for MANY years, (2) roles he sings only once or twice in his career, dropping them faster then you would drop a hot brick, (3) roles he sings at the end of his career, in a desperate effort to salvage what could be salvaged and delay the inevitable by a few years. And keep your cheap sarcasm to yourself, it's not in demand.

[@arepo]

@@ilgattopardo3231 ..... and learn Werther is Belle Epoque, which verismo à la francaise.

[@ilgattopardo3231]

Corelli sang Poliuto and Gualtiero frequently in the beginning of 1960's. He regulary sang Gounod's Roméo in Met for almost whole decade. I hope you would agree that Pollione has nothing to do with verismo but Corelli sang it quite often throghout the career. He sang Werter on only in the last years of his career, but also in 1950's in Italy. You know why I wrote about Gualtiero from Il pirata and Raoul from Les Huguenots? Do a brief research about performance history of this operas, please. Corelli sang "a few Verdi operas"? He was one of most important interpreters of Radames, Manrico, Alvaro, Don Carlo, McDuff and Ernani in 1960's. Your didactic tone combined with such amount of factual errors is ridiculous at least.

[@spiritualrockofstrength8486]

JESUS CHRIST IS COMING BACK PEOPLE REPENT OF YOUR SINS AND ACCEPT JESUS CHRIST AS YOUR SAVIOR TODAY NOT TOMORROW PEOPLE WHICH IS PROMISED TO NOONE ON THIS EARTH AT ALL.

[@raynardi7243]

un vibrato troppo caprino

[@davidramanzini1605]

Straordinario.