Franco Corelli & Renata Tebaldi: Già nella notte densa (1973)

Franco Corelli as Otello
Renata Tebaldi as Desdemona
Listen to Corelli's "Vanara splende" at the end for the better effect instead of "Venere splende" :-)
OTELLO
Già nella notte densa
S'estingue ogni clamor.
Già il mio cor fremebondo
S'ammansa in quest'amplesso e si rinsensa.
Tuoni la guerra e s'inabissi il mondo
Se dopo l'ira immensa
Vien quest'immenso amor!
"Quando narravi"

DESDEMONA
Mio superbo guerrier! quanti tormenti,
Quanti mesti sospiri e quanta speme
Ci condusse ai soavi abbracciamenti!
Oh! com'è dolce il mormorare insieme:
Te ne rammenti!
Quando narravi l'esule tua vita
E i fieri eventi e i lunghi tuoi dolor,
Ed io t'udia coll'anima rapita
In quei spaventi e coll'estasi in cor.
OTELLO
Pingea dell'armi il fremito, la pugna
E il vol gagliardo alla breccia mortal,
L'assalto, orribil edera, coll'ugna
Al baluardo e il sibilante stral.
DESDEMONA
Poi mi guidavi ai fulgidi deserti,
All'arse arene, al tuo materno suol;
Narravi allor gli spasimi sofferti
E le catene e dello schiavo il duol.
OTELLO
Ingentilia di lagrime la storia
Il tuo bel viso e il labbro di sospir;
Scendean sulle mie tenebre la gloria,
Il paradiso e gli astri a benedir.
DESDEMONA
Ed io vedea fra le tue tempie oscure
Splender del genio l'eterea beltà.
OTELLO
E tu m'amavi per le mie sventure
Ed io t'amavo per la tua pietà.
DESDEMONA
Ed io t'amavo per le tue sventure
E tu m'amavi per la mia pietà.
"Venga la morte!"

OTELLO
Venga la morte! e mi colga nell'estasi
Di quest'amplesso
Il momento supremo!
(Il cielo si sarà tutto rasserenato: si vedranno alcune stelle e sul lembo dell'orizzonte il riflesso cerulo della nascente luna.)
Tale è il gaudio dell'anima che temo,
Temo che più non mi sarà concesso
Quest'attimo divino
Nell'ignoto avvenir del mio destino.
DESDEMONA
Disperda il ciel gli affanni
E Amor non muti col mutar degli anni.
OTELLO
A questa tua preghiera
"Amen" risponda la celeste schiera.
DESDEMONA
"Amen" risponda.
OTELLO
(appoggiandosi ad un rialzo degli spaldi)
Ah! la gioia m'innonda
Si fieramente. . .che ansante mi giacio.
Un bacio. . .
DESDEMONA
Otello! ...
OTELLO
Un bacio. . .ancora un bacio,
(alzandosi e fissando una plaga del cielo stellato)
Già la pleiade ardente al mar discende.
DESDEMONA
Tarda è la notte.
OTELLO
Vien. . .Venere splende.
(s'avviano abbracciati verso il castello)
OTHELLO
Now in the dense night
Every noise is silenced.
Now my furious heart
Is appeased in this embrace and grows calm.
Let war thunder and the world be engulfed
If after such immense wrath
Comes this immense love!
DESDEMONA
My superb warrior! How many torments,
How many sad sighs, and how much hope
Led us to these tender embraces!
Ah! How sweet it is to murmur together:
Do you remember!
When you told of your life in exile
The fierce events and your long sorrows,
And I listened to you with my soul
enthralled
In those fears and with ecstasy in my heart.
OTHELLO
I described the clang of arms, the fighting,
And the bold rush into the mortal breach,
The attack, hanging like horrible ivy on
The rampart by our nails, and the
whistling arrow.
DESDEMONA
Then you led me to the shining deserts,
The burning sands, your native land;
Then you told me of the sufferings
undergone,
The chains and the slave's sorrow.
OTHELLO
Your lovely face ennobled the story
With tears and your lip with sighs;
On my darkness descended glory,
Paradise, and the stars to give their blessing.
DESDEMONA
And at your dark temples I saw
The ethereal beauty of genius shine.
OTHELLO
And you loved me for my misfortunes
And I loved you for your pity.
DESDEMONA
And I loved you for your misfortunes
And you loved me for my pity.
OTHELLO
Let death come! Let it take me in the ecstasy
Of this embrace,
The supreme moment!
(The sky has become completely serene: some stars can be seen, and at one side of the horizon the azure reaction of the rising moon.)
Such is the joy of my soul that I am afraid,
I am afraid that I will not again be granted
This divine moment
In the unknown future of my destiny.
DESDEMONA
Let heaven dispel all sorrows
And may Love not change as the years change.
OTHELLO
To this prayer of yours
May the heavenly host answer "Amen."
DESDEMONA
May it answer "Amen."
OTHELLO
(leaning against a step of the ramparts)
Ah! Joy engulfs me
So fiercely . . . that I lie breathless.
A kiss . . .
DESDEMONA
Othello! . . .
OTHELLO
A kiss . . . another kiss,
(rising and looking at the starry sky)
The glowing Pleiades already descend to the sea.
DESDEMONA
The night is late.
OTHELLO
Come . . . Venus is shining.
Embracing, they go toward the castle.

[@65attila]

What Tebaldi and Corelli lost most singers NEVER HAD..

[@g_vezz]

I AGREE....perfectly said.

[@monicaramponi2578]

Stupenda lei stupendo lui insieme somo il meglio che si potrebbe desiderare.

[@Jdtdiva]

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

[@daphnebeloved]

So agreed!!!!

[@ErfeanFalcorck]

Because they don't sing "into mask" :)

[@violettavalery857]

Grandi interpreti!! Grazie per questo video che ci fa ascoltare un inedito Corelli nell'Otello.

[@ЕвгенияМалышева-г7в]

Корелли божественен и прекрасен, как принц из сказки!

[@laoniricArte1]

Interpreti Irripetibili!!! che ci trasportano al tempo quando si "respirava" in cuore L´Opera!!! Grazie Mille!!! Carissima *phalenopsis1* per questo Indimenticabile Ricordo!!! *******Infinite******

[@vanzofaust]

Singers in their prime today don't have the technique to sing like this. Bravi.

[@ann-mariedvardsenalexis8491]

we need a revival of the old bel canto schooling

[@operabilia]

Absolutely but how? With bad teachers, ignorant agents and crazy stage directors ... What a challenge.

[@marapaltrinieri5667]

It's not only technique

[@vanzofaust]

@@marapaltrinieri5667 Of course it's not only technique but without technique, such artistry would not be possible. Technique is the foundation.

[@JavierBorja-bs1dd]

​Y público ignorante que aplaude a cualquier mediocre o, incluso, mal cantante.

[@sugarbist]

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.

[@johnoregan3494]

@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.

[@trem0lo]

LOL at their reactions to the opening cello quartet.

[@jimkeeler1488]

CAN YOU BLAME THEM...!

[@sarahaprincesa]

ahaahah

[@davidsimmons654]

trem0lo they lookin like "Jesus Christ!"

[@doperasinger]

Absolutely horrible intro...

[@amb1548]

Jajajaja qué grandes

[@MEMORIA1316]

❤️ la faccia di Corelli

[@krrainey77]

1. Love her hair 2. How awful are the orchestra 3. Thanks for sharing

[@danielakerman8241]

The orchestra is truly awful. And those two giants are champs, regardless of what aging inevitably took from them.

[@Zva26]

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.

[@Liederfreund]

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.

[@maggiedeveney]

Liederfreund well said. I applaud your balanced approach! Corelli was a gift to us...

[@TonyPartington]

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!

[@Liederfreund]

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,

[@Chilair1]

the strings are so out of tune! Their reaction in the beginning of the video is so funny!

[@matteocurtotti2635]

bell

[@chaten65]

Schade das Corelli nie Otello kompplet auf der Bühne gesungen hat.

[@nosehook324]

Er hätte bestimmt ein guter Otello abgegeben mit Tebaldi als Desdemona!

[@Pikatrix90]

''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'....

[@daphnebeloved]

So agreed, he was very self critical, perfectionist and shy...

[@stevetexon]

Bonisolli was really one of the greats, but not as well known in America. My statement about him was from personal experience with him in Geneva, Switzerland in the 70's.

[@jeanvital]

stange orchestra ... panic in Tebaldi and Corelli's eyes :) some beautifull sounds from Tebaldi, but Corelli is too nasal and very interested by his cufflink !

[@stevetexon]

See other comment. What does a Japanese audience have to do with anything!!!

[@stevetexon]

Even vocally, Otello is NOT a ruffian in this tender love duet. Mr. Corelli needs both more tenderness in the voice with more emotional involvement. He's just a stiff, and he was happy to be a stiff in this concert. It is Not a recording studio!

[@tonneinsbillardclub1308]

pour lui... io no son la voce di otello....grande otello!!!

[@tebaldicallas]

j Tebaldi is great here not so Corelli.

[@ransomcoates546]

All this needless speculation! They knew they sounded pretty bad but were happy to cash the check. Stage deportment was certainly not a consideration.

[@resnonverba]

Corelli never dared to sing "Otello". Why not? He was supposed to be best tenor there was... Only he knew "Otello" was too much for him. I have just heard "Gia nella notte densa". In fact Corelli was right: he couldn't sing "Otello".

[@ZENOBlAmusic2]

What a load of nonsense he sang far more difficult roles then Otello, such as Polliuto and Les Huguenots , those are some of the most difficult Tenor assoluta bel canto roles. And Corelli sang this duet very well at the Met.

[@luigicorvi6668]

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.

[@A-M-Novozghilov]

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.

[@iuvil]

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!

[@g_vezz]

The greatest.....No where will you find this passion today not to mention the beauty and size.

[@antoniomartinazzo5847]

Well said, Radu. And I would like to add more than 20 years of career without sound-enhancement.

[@maggiedeveney]

antonio martinazzo just so! Excellent point!

[@DCFunBud]

Where did they get those musicians?! That screech at 0:17 would be enough to send me walking off stage.

[@craigcollins6904]

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.

[@baltoman24]

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!

[@charlesrhodes1358]

The tuning of the strings at the beginning is abysmal.

[@dlagrua]

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.

[@alexgomez2]

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."

[@matthieudegott3154]

They were looking around for help, because the cello was so false at the beginning!!! Can't you hear?

[@lukasmiller486]

7:46 They're thinking "Let's hope the orchestra doesn't flub it up at the end."

[@luigicorvi1661]

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!

[@musicapassion299]

Deux des plus grandes stars de l opera du xxeme siècle

[@lamusicadelsigloxx]

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.

[@tenorschofield]

Simply marvelous a "master class" on stage!!!, both where among my favorite lyrical artists ever...thanks for sharing this divine video. Muchas gracias!!!, Bravo!!!

[@pieritlyon]

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.

[@luisrenejuarezestevez175]

la pareja mas espectacular de la ópera...maravilloso momento...

[@jesusmunoz2400]

Que pena que nunca interpretara este papel completo. No entiendo el motivo. Hubiera sido un Otello de lujo.

[@iubanne]

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

[@marapaltrinieri5667]

It's the dark side of love

[@leonoradelagardie]

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...

[@PinaOliva-dp1ig]

Una sorpresa Franco Corelli in Otello. Due voci meravigliose. Penso a cosa abbiamo perso e che tesoro avremmo avuto ora. Grande Corelli. Voce unica! ❤❤❤❤❤❤

[@joseberenguer1916]

Gran dúo

[@johnoregan3494]

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.

[@Labienus]

+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??

[@Labienus]

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

[@johnoregan3494]

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

[@sugarbist]

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.

[@pieritlyon]

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)

[@sugarbist]

Corelli was about 52 here and passed his vocal prime.However I think he would have done a marvelous Otello.

[@jesusmunoz2400]

Pero nunca fué tan osado de pasarse a la cuerda de baritono para alargar su carrera. Como Spinto fué único.

[@sugarbist]

@@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

[@jesusmunoz2400]

@@sugarbist Totalmente de acuerdo. Además como tenor para mi fué sobrevalorado. Puro marketing.

[@sugarbist]

@@jesusmunoz2400 Tal vez, pero era un gran tenore.

[@jesusmunoz2400]

@@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.

[@Liederfreund]

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” :)

[@KatieKaboom21]

Corelli and Żylis-Gara are my favorite Otello and Desdemona!

[@sanjamarinkovic9040]

Absolutely!Awesome...

[@martinliebig8677]

Indeed! No comparison to Zylis-Gara!

[@thetenors8344]

Peccato non averli potuti ascoltare dal vivo . Due Immortali !

[@raffaelamontanari2373]

Corelli e insuperabile una dizione magistrate, fantastico la tebaldi non mi e piaciuta, troppo concentrata su gli acuti,non c'era amore nelle sue parole, un appunto2 anche a Corelli non sembravano due amanti ma due amici

[@marapaltrinieri5667]

Non hai chiara la situazione

[@Qaz999]

great voices. Corelli's last fermata is wonderful.

[@Pikatrix90]

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 ?

[@juandelacruzlopezgomez4619]

Extraordinarios Cantantes de Opera, nada que envidiar a nadie

[@orion8835]

stunning and extraordinary energy and technique and quality.

[@renepaccard7914]

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

[@hazelssister]

Renata is 51 here and Franco is 52

[@Liederfreund]

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.

[@rozalyan4923]

В 52 года голос Корелли...Спасибо за видео..

[@130575Elena]

Спасибо за возможность увидеть моих любимых, гениальных певцов.

[@DCFunBud]

The Great Corelli has had better performances. Tebaldi was wonderful.

[@birgitnilsson]

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.

[@gabrielgabriel8096]

Míticas voces y míticos cantantes, por supuesto. No obstante, la introducción a cargo de los chelos y violas antes de comenzar el canto..., simplemente Espantosa. Catastrófica. No se puede desafinar más. Es imposible. Un atentado musical de primer orden. Verdi no se molestó en escribir de manera tan esmerada y depurada para algo así... Vergogna.

[@fernandopinheirobb]

GIÀ NELLA NOTTE DENSA Na noite densa, Vênus brilha no céu, vista Pelo casal Otelo e Desdemona, em dueto Que marca encontro de júbilo, ela ativista Do amor, poeticamente em tempo allegreto. Otelo revela: já na noite densa, todo clamor Se extingue, já meu coração está tremendo, Domesticado no abraço, fortalecido no amor. A guerra tinha trovejado, o mundo vendo Horrores e o casal valorizam os sentimentos. Ocasião idêntica com o momento planetário São sinais mostrados pela rosa dos ventos. A pandemia espalhando ao mundo a chance De fazer brilhar a luz, saindo do imaginário Mundo em que foi destruído, sem alcance. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - GIÀ NELLA NOTTE DENSA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.

[@leontyne2]

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!

[@grig035]

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.

[@ZENOBlAmusic2]

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.

[@pieritlyon]

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.

[@Nicla64]

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...

[@ТатьянаСоловьева-б6м]

Ничто не вечно. Умные личности уходят вовремя. Спасибо за талант.♥️

[@ТамараМакаровп]

Они оба прекрасны!!!Где сейчас есть такие же голоса?Нигде.Не надо сравнивать их голоса 20 лет назад и эту запись.Они прекрасны.

[@bellagola]

Cantano bravissimi ma la musica troppo veloce e non capisco perché non vedono insieme?

[@pieritlyon]

. 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

[@FranciscoFerrerGaliana1930]

Maravillosas voces inolvidables..¡¡

[@johnoregan3494]

@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.

[@itob.9231]

Una meraviglia! Immortali

[@marapaltrinieri5667]

Due voci innamorate l'una dell'altra

[@wolframg1]

SUBLIME VERDI,OTELO,TEBALDI UND CORELLI UND THE TOKYO ORCHESTRA AND DIRECTION

[@Pikatrix90]

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.

[@TheDaiwafishing]

QUESTA SI PUO' CHIAMARE LIRICA!!!

[@Fede842]

Corelli il più grande in assoluto.

[@christianlibrul]

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?

[@FranciscoFerrerGaliana1930]

magnifico Dúo

[@эльмирахусаинова-х3е]

Fantastici!!!

[@filrofi]

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.

[@pieritlyon]

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,

[@henrifrombarcelona]

they look very preocupated by the way the music starts!!!

[@matteocurtotti2635]

che coppia vincente!

[@orfeopecci]

Franco Corelli, Otello de lujo...

[@portaix]

Orfeo Pecci j

[@zoltanneszeri345]

Callas és Di Stefano 1971 évi Párizsi koncertjéhez hasonlitva az Ő párosuk még mindig őrzi a régi formáját.Szép.

[@stevetexon]

YES, sensitive, tender and loving duet. Otello in this duet has no suspicion at all of Desdemona's alleged infidelity!!!

[@mpiarosati]

All'inizio si sono girati verso il sassofonista che ha stonato tremendamente, loro bravissimi non si sono scomposti!

[@enzocardinale5028]

Sassofonista?! 😂

[@Liederfreund]

It could have to do with non-understanding of the Italian language, for example. I don't know, it was only a hypothesis.

[@vanmusician]

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'!

[@panpypoo225]

Grandissimi!! (meno male che oggi traducono meglio....nel sottotitolo ci sono molti errorei...)

[@tonneinsbillardclub1308]

fabuleux.....

[@stevetexon]

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.

[@stephpwall]

This level of artistry has vanished from the face of the earth