Franco Corelli & Joan Sutherland: Gli Ugonotti 1962 Act 2 DUET

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💖 Help us bring Corelli's art to new generations of opera-lovers by supporting the Franco Corelli Info Center: ko-fi.com/francocorelliinfo
• Gli Ugonotti (Les Hugu...
Giacomo Meyerbeer: Gli Ugonotti (Les Huguenots) - sung in Italian
Act 2: The duet between Raoul and Queen Marguerite (lamentably cut and transformed here - as to why, see my reply under the pinned comment).
🇬🇧 With English subtitles and the 🇮🇹 sung Italian text on screen.
ℹ️ Recorded at the Teatro alla Scala on June 7*, 1962. (*some editions give May 28 as the recording date)
Raoul de Nangis, a Protestant gentleman - Franco Corelli (tenor)
Marguerite de Valois, Queen of Navarre - Joan Sutherland (soprano)
Conductor: Gianandrea Gavazzeni
Chorus master: Norberto Mola
Stage director: Franco Enriquez
Sets and costume designs: Nicola Benois
Photos by Erio Piccagliani
Timestamps
00:00 Raul, la vostra fè ricompensa mertò
03:27 D'un umil cavaliere accettate l'omaggio
04:05 Ah, scender nel mio petto
#francocorelli #sutherland #supremo #stupenda
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Пікірлер: 34

@FrancoCorelliInfoCenter 9 ай бұрын

Watch the complete opera here: kzbin.info/www/bejne/aqGZYn5_hJZlsNU 💖 Help us bring Corelli's art to new generations of opera-lovers by supporting the Franco Corelli Info Center: ko-fi.com/francocorelliinfo 00:00 Raul, la vostra fè 03:27 D'un umil cavaliere accettate l'omaggio 04:05 Ah, scender nel mio petto

@FrancoCorelliInfoCenter 9 ай бұрын

There is an unfortunate "urban legend" about this oddly presented duet that stubbornly persists in popular belief: namely, that Corelli was unable/unwilling to learn the tenor part of the duet, which requires ornate singing, and so poor Sutherland was forced to sing the second half alone. Even if many people attribute this narrative to Sutherland herself (allegedly recalled by her many decades later), it has no basis in reality. Not only was not Corelli to blame here, but I would go so far as to say that if anyone here was robbed of anything by this truncated duet, it was Corelli himself (as well as his fans). Why? Here are the facts: 1. The opera in its complete form is monstrously long (it would have been well over 4+ hours), so it's practically never performed (not even nowadays) without lots of cuts, and in this 1962 production, La Scala gave the first two acts without an intermission, and as a result Act 2 suffered most of the truncating (including this duet). Gavazzeni, by the way, clearly followed the Italian tradition of the time in the cuts applied (see Serafin's 1955 Rai radio version with Lauri-Volpi, Pastori, De Cavalieri, Taddei, Zaccaria), but shortened the first 4 acts even further to allow time for an abbreviated Act 5. 2. If you listen to Serafin's 1955 version, you'll notice that this duet is even shorter there, and compared to it, Gavazzeni has extended it by turning the second half into basically a caballetta for Sutherland, allowing extra embellishments for the soprano. Whether this decision was intended to give Sutherland an opportunity to shine her virtuosity (given that Marguerite's role is quite short in the opera), and/or to spare Corelli for the rest of the opera, is a matter for speculation, but the fact remains that in this "Gavazzeni cut", the passage where the tenor should normally sing, which is the conclusion of the duet, is less than 1 minute (not counting Sutherlands extra flourishes), and doesn't require any kind of ornamentation from him: he should just accompany the soprano's lines with staccato notes. So there is clearly no sense in arguing he would not have been able to learn that short passage and sing there if the conductor had so intended. 3. "But what about the rest of the duet, especially the passages with the ornamented tenor singing that were completely cut here?" - you might ask. Well, the only passage in the duet that actually requires any kind of florid vocals from the tenor is "Preux doit vivre pour sa belle... Il me semble que c'est elle" section, which, although an integral part of the piece today, in the post-Sutherland era, was rarely performed before this revival, and is in fact completely absent from the Italian score used by Gavazzeni (ed. Ricordi, 1860) (moreover the 19th century comprehensive French edition states that this passage is skipped in the Paris Opéra too). So the most ornamented passage of the duet wasn't really cut here - it never even existed in the Italian version in the first place. 4. On the other hand, our loss is the "A vous et ma vie et mon âme!" passage, which is included in the Italian score as well, and which would have perfectly fit Corelli's voice and singing style, with a beautiful virile high Bb (if I remember correctly, that was Franco's favourite note to sing) But, as I mentioned, Gavazzeni (following Serafin's example) cut that passage as well :( In conclusion, this duet, even without cuts (in regards to the Italian edition), wouldn't have presented any challenges outside Corelli's usual style or vocal skillset that could have made him difficult to master or shy away from performing it - quite the contrary, it would have allowed him to showcase his strengths, had the circumstances made it possible.

@trifonovfan9819 6 ай бұрын

@@FrancoCorelliInfoCenter Bravissima, Sutherland!

@UYTRELLO 9 ай бұрын

Corelli & Sutherland!, a perfect lyrical match!

@renepaccard7914 2 ай бұрын

Bonjour merci pour cette vidéo mr corelli superbe comme toujours ici tres bien entouré des voix sublimes incomparables qui manquent beaucoup de nos jours heureusement les enfegistrements nous les rendent presents pour toujours bravos au etoiles immortelles ❤❤

@user-tx9lz7ri6e 9 ай бұрын

Удивительно, что за границей такие сайты собирают тысячи подписчиков, а у нас... Что с нами не так? Ведь эти певцы, эта музыка - подлинное чудо.

@user-ll4ks1ui5k 19 күн бұрын

О себе говорите. Что с вами не так???

@christianroider118 11 күн бұрын

❤this couple Never was in my radar!!🎉❤ trank you

@user-ms7kg9uc5b 9 ай бұрын

Absolutely amazing singing! Unsurpassable technique! Thank you!

@olgas9747 9 ай бұрын

Божественные голоса...Браво!!!

@crisha721 9 ай бұрын

wow!! this is incredibly beautiful. Both were powerhouses

@mirjamdevries9376 9 ай бұрын

Anche se tagliato questo duetto rimane molto bello. La Sutherland infatti è estremamente agile nei trilli, staccati, fioriture. Corelli esegue perfettamente la sua versione ridotta : meglio così, visto che l'opera intera dura veramente troppo a lungo, e Corelli ha modo di mostrare la sua bravura vocale in molti altri punti successivi ed antecedenti a questo duetto. ❤🌹👏👏👏

@chiaroscuroculture 9 ай бұрын

Legends!

@Eugenio_Kartashov. 9 ай бұрын

Брависсимо

@IrinaRozaGofman 9 ай бұрын

Bravi❤

@lidiyag7812 9 ай бұрын

Корелли можно слушать бесконечно!❤

@SpecialtyHorseTraining 7 ай бұрын

I saw Corelli 4 times and Sutherland 3 times. Fantastic voices. The first opera I saw was Sutherland in Lucia. Then Corelli in Fanciulla.

@user-qo8zi4ks9r 9 ай бұрын

Потрясающе !!!

@user-fi7ox8vp1g 9 ай бұрын

Красота! ❤

@user-uy1fk3gt9p 9 ай бұрын

Великолепно!

@luigimaffei9132 Ай бұрын

Che spettacolo!!!!!!! Entranbi divini. Dopo CORELLI chi può sostenere la parte di Raoul con la stessa intensita vocale ed interpretativa?? Non credo sia possibile, ha posto l'asticella troppo in alto. Per fortuna abbiamo queste registrazioni che ci fanno ricordare il periodo d'oro delle voci liriche..

@janosvas8597 8 ай бұрын

Thanks to Franco Corelli Info Center bringing also clips, so these clips we are able hearing before going sleeping. And we are sleeping excellent with this wonderful music with Franco Corelli, and we dream in heaven.