Corelli talks about Lauri-Volpi

Great tenor Franco Corelli talks about his friend and master Giacomo Lauri-Volpi.

[@janosvas8597]

It is amazing that 200,000 viewers saw this video. It's nice to know there are so many fans of old gold tenor singing. greetings from Vienna

[@kgeorg1979]

I love the idea of Lauri-Volpi and Corelli singing "la speranza" from Boheme at each other repeatedly and at full volume. If only we had a recording of THAT!

[@Xerxes89]

Maybe they are still doing it in heaven.

[@davegreene8588]

@@Xerxes89 - To the Eternal delight of opera fans who are There!

[@bharp4390]

I've never heard someone say a single bad thing about Corelli's character. It seems like he was a very humble and grounded person, and he certainly gave credit where credit was due with regards to Lauri-Volpi.

[@voro5527]

His wife bossed him every know and then... but nobody is perfect

[@ulisseclisse]

CORELLI,SEI UN GRANDE UOMO,NON SOLO UN GRANDE TENORE!E' BELLO SENTIRTI ELOGIARE UN'ALTRO TENORE!TI VOGLIO BENE!

[@catinaflorio2494]

Meraviglioso Corelli.... Quanto ci manchi.....

[@beatricetentindodealteriis8545]

Desiree Rancatore

[@Phaidra69]

it is not only that i adore Corelli but now , after having watched this video , i wonder , really wonder , where we will find in our days TEACHERS with BIG T , like Volpi , Corelli and others ..he speask about the vibrations of voice ...such great things ..who pays attention to so important vocal details today , when the microphones and the technology have replaced the voices ??????

[@delaware-llc]

I do

[@craigcollins6904]

Thanks for posting this video! I had the honor and privilege of studying with Franco Corelli for 4 months in the spring-summer of 1987. It was a thrill for me, and even more thrilling was that he was very complimentary of my voice. He told me that for him, Lauri-Volpi was the greatest tenor. Franco's speaking voice was much different in 1987 than in this video. It was lower and richer. Sadly, he wasn't in very good health and his wife didn't help matters much. She interrupted every lesson to scream at him on the phone or in person. What a shrew! I blame her for Franco's losing his confidence and top. She served as his ears and commented on his every performance. I believe that she convinced him that he over supported. He didn't blame her, but he said that he thought that he had over supported, and that if he could go back and redo his career, he wouldn't have supported so much. I think this is what caused him to lose his top. He was basically a natural singer, and once he lost that natural feel of the support, he was lost and it is understandable how he lost his confidence. What a tragedy that this great man and great tenor never sang the roles of Des Grieux in Manon Lescaut and Otello!! At least we have recordings of his singing the arias, but he would have been the greatest ever in those roles. RIP Franco.

[@Labienus]

+Craig Collins It's hard to challenge when you say you studied with him-uh, what happened to your career? I heard his speaking voice backstage and in dressing room-that's how I remember it sounding He was sick in 87-with what? His bio doesn't say that. Hardly defending Loretta, but I do remind people that without her I don't think he would have had a career-or as great a one. I don't understand what you mean a natural singer-from everything I know he was a real master of technique-he didn't just sing. I heard him in his great years, and at the end at the Met-the top was still there. There are all kinds of theories, but he had been making a an effort to lighten the voice and sing lighter roles. Perhaps it's a lot simpler-he was older, he had put great demands on his voice with the way he sang, the abandon, but most of all I think he was mentally exhausted-and unlike an instrumentalist (thinking of Horowitz) you can't just take a lot of time off and come back

[@craigcollins6904]

+Labienus I never really had a career for several reasons. Corelli wasn't sick that I knew of. He just said that he never felt very good and I think he had arthritis. His English wasn't very good, and my Italian was even poorer, but he gestured to his joints and said that they hurt all the time. I think you're wrong about Loretta. Why do you think he wouldn't have had a career without her? She was known as a horrible voice teacher in NYC. It is my understand that she wrecked quite a few voices. It is my understanding that Corelli was a natural singer. Based on what I read, and think he told me, he only studied for a short time. I know he worked with Lauri-Volpi some, but I don't recall ever reading that he studied with anyone else. I read somewhere that early in his career, he had a very fast vibrato, kind of like a goat bleat. He worked and changed that himself after listening to what the critics said. I believe the reason that he lost his top and thus his confidence, was that when he tried to stop "over supporting" (due to Loretta's suggestion) and "scooping" he lost his connection to his support. If he had been a master technician, he would have been able to figure it out, retain his high notes and continued to be as consistently brilliant and great as he had been earlier. In the Jerome Hines book, "Great Singers on Great Singing" Corelli said that when he sang he felt like he leaned his breath on his vocal cords. No master technician would have said that. The main reason I had to stop studying with him was that after a few months, that's how I was starting to feel, and if I had continued, think I would have wound up in vocal trouble. Corelli was still relative young when he retired from singing. His career was cut short by probably 10 years and maybe longer, I think because of the loss of reliability of his high notes and consequent loss of confidence. While he had placed great demands on his voice, there were no signs of any vocal tension in his singing, nor have I ever read of any vocal health issues that would have caused him to quit. There is a story about a performance of Romeo and Juliet later in his career that if true, is very telling. The time came for I think the second act curtain, and he was nowhere to be found. They looked for him, and he was on the floor of his dressing room crying and praying to a picture of his mother. They had to beg and convince him to go back on stage. If true, that's tragic, and showed how he had lost confidence in his ability to sing. If he was a master technician, that wouldn't have happened. He was advised to sing the lighter rep and the French rep by someone he trusted and respected, but I've never been able to find out who. He could sing it and sing it brilliantly, but that may be at the heart of the problem. To sing those roles with higher tessiturae, someone may have said that he needed to lighten his voice, not scoop, and make some changes. In my opinion he should have moved into Des Grieux in ManonLescaut and Otello. He had already performed Canio, Turridu, and Andrea Chenier. There was no reason for his not moving on to those two roles. He recorded the arias, but never performed those two roles.

[@Labienus]

+Craig Collins Oh, not implying anything about your singing, just assumed you must have had a lot of promise to study with him? I never heard of him having arthritis, but according to Segher's biography complicating the ending of his career were prostate issues including surgery. Not only did it affect him psychologically, but his ability to sustain the voice with the necessary breath support. (by the way there were still some fine performances in the early 70's-including a great Don Carlo-I think in 72-and in a rehearsal recording in 75 he still sounded good) Clearly in his later years, mostly at the Met, he consciously made a decision to lighten the voice-doing Romeo, Werther, even Lucia (at that point in his career!) all of which I attended. He himself says the voice was getting more opaque, less free, and this was an attempt to deal with that. I witnessed personally a back stage conversation in the late 60's where someone more than a fan was telling him you're a tenore robusto, and Corelli replied-no, lyrico-spinto. I think the overwhelming factor was psychological-he was burned out, and he talks of his nerves-but also aging-very few tenors(most singers) are the same in their 50's, and he had done years of hard singing of the most passionate and intense kind. As with any activity based on the body, it just didn't respond the same way, the raw material had been consumed, it comes to an end. He was probably too dignified to have one of those long fading twilight careers (to transpose, sing as a baritone) though the kind of voice remaining may have worked well for a crowning Otello-too bad. (by the way he thought Des Grieux was the hardest role-for some reason? I don't think Turiddu, Chenier, etc. have anything to do with Otello, and Canio, a heavier role, which he sang earlier in his career and then stopped singing it-which makes me think that he felt it was too heavy for him?) Look, your story about him crying in his dressing room during a Romeo-may or may not be true. It deosn't make a lot of sense since the Romeos were still when he was at his best-like or dislike him in French roles-he still was singing with great confidence. The first time I noticed real problems was with the second year of Werthers. But Corelli was often a nervous wreck, and often would throw tantrums, have anxiety attacks, have to be lured or pushed on stage. Sad but true, and nothing new there-and the astounding thing was how he generally overcame it, and gave the exact opposite impression to his audiences. Your comment that if he were " a master technician, that wouldn't have happened."-why not? that says nothing about his technique, but his nerves. He was a very nervous performer, pathologically so-we can speculate on why-but that was his temperament. Lily Pons matter of factly had mal de mer before she went on stage- Vladimir Horowitz, perhaps the greatest technician in pianistic history often had to be walked onto the stage-and reached the point where his concerts where in the afternoon because he couldn't bear waiting all day. I don't know what you mean that he was a "natural singer"-opera singing is not natural. A real example of the so-called natural singer would be di Stefano, who apparently could just sing like that, and it lasted for a few years-but because he didn't really understand technically the passaggio, we know what happened to him. Titta Ruffo was said to be a natural singer-and when he started having trouble later in his career he had no idea how to correct it. (but he too, because of the way he sang may have just spent it beyond return) Interestingly he refused to teach, because as he said, how could he teach, when he didn't really understand how he sang.( it would be interesting for you to talk about what kind of teacher Corelli was, or could he teach? Most great singers have been bad teachers-they are vocal miracles, how can they transfer that?)) Callas too, seemed incapable of making technical corrections, and there are stories with Schwarzkopf being amazed about how little Callas seemed to know technically. However, in Corelli's case he was constantly refining and improving. You mention the fast vibrato, which Lauri-Volpi had, and in an earlier era was not considered a liability-but Corelli eliminated it. His famous diminuendi were developed and honed over time, his ability to sing softly which many great tenors cannot, was refined and worked on. This was because he was an endless student of the voice and singing technique. Already a super star, his ego had no problem studying with L-V, particularly for the Hugenots-but as L-V said to him, he was not really a student, but a finished singer. Del Monaco called Corelli a fanatic about technique,like himself,You repeat again that he lost his top-but that is simply untrue. The voice was not the sound of his prime, it was more effortful, had some strain, had lost some of the bloom (all of this happens with voices) but the top was still there-unlike some tenors who just lose it. My point about Loretta is that we should not presume to know the mysteries of marriages and relationships, especially ones, with ups and downs that last over 50 years.(I always compare it-with appropriate differences-to Horowitz and Wanda-who was also thought of as a witch) I didn't say Corelli wouldn't have had a career without her, but she was essential to the career he had and the heights it reached.... recalling that they were a couple, years before they formally married, and the great years began with her. I don't know how good a voice teacher she was on her own-but whatever she did or did not do vis a vis him, it worked for most of his career, and how.

[@craigcollins6904]

+Labienus I didn't take your comments negatively. He may not have had arthritis, but that's what it sounded like based on what he said and his gestures. He seemed depressed and in pain at every lesson. I can't imagine prostate disease affecting him that early or that badly that it would affect his singing. I'll have to read that biography. I know that he still had some excellent performances in the early '70s, but everything I have ever read or heard from singers, coaches, or opera fanatics who heard him during that time was that his voice was incredibly unreliable, that he had severe flatting issues and problematic high notes. I've even heard/seen some recordings where that was true. I think the decision to try to lighten his voice is what brought about the end of his career prematurely. He was advised by someone to do that . I don't know whom, but they were wrong. As the voice ages, it gets heavier and darker. One moves from lighter roles to heavier roles. Thus the progression from Turriddu to Chenier to Canio and Otello make perfectly good sense. Trying to move to a lighter fach when he was older made no sense at all. The French fach has a higher tessitura, requires more restraint, more lightness. Where as his voice is thrilling in those roles, it was't right for them. It was too heavy, too baritonal, too big and metallic. Working to lighten his voice is what probably brought about the idea of his over supporting, and in trying to lessen his support, he undermined the very structure and nature of his singing and the strength and consistency of his high notes. That would have greatly added to whatever natural anxiety and nervousness that he had. He was trying to change the very way he had sung so successfully for years on his own, was trying to sing in a different style and sing music that sat higher in his vocal range. I performed Werther twice. It's a schizophrenic, fiendishly difficult role. It requires light, lyrical singing in "O nature pleine de grace" and other moments, then more dramatic, heavier singing in "Pouquoi me reveiller" and their big duet, then at the end when he's dying, very light, lyrical singing again. Werther was not right for his voice. He knew that at some level, and that contributed to his decline. I said that the story of his crying in his dressing room may not be true, but it fits right in with the other things you say. I totally disagree with your statement about the "raw materials of his voice had been consumed." That only happens if one sings in an unhealthy manner with throat tension. That was not the issue with Corelli during his career. It may have become the issue as he tried to lessen his breath support and lighten his voice. That could easily have caused throat tension. This is why I don't think he was a master technician, didn't really understand how to sing, and was a natural singer. I also disagree with your statement that opera singing isn't "natural," although it may just be a matter of semantics. To sing opera, one has to produce one's voice in the healthiest, most resonant and efficient manner possible. The only thing that isn't "natural" about it is that it requires people to become vocal athletes. Are professional athletes unnatural? Vocal scientists tell us that unless we are born with a speech impediment, we all are born producing our voice in that free, natural, resonant way. That's how babies can cry for hours and not become hoarse and how they can be heard in a noisy environment. Only 1% of the population in the US retains that natural, healthy way of producing our voices. The rest of us develop tension either in the jaw, the tongue, the lips and/or the throat, or all of those places. We use our jaws and the back of our tongues to produce consonants and words instead of the tip of our tongue and abdominal muscles. We speak and sing pushing in the throat rather than "on the breath." Most of the great opera singers of history were "natural" singers. They produced their voices (both speaking and singing) in that free, healthy, resonant manner (on the breath). Their native quality was there as was their full vocal range (or close to it). They worked to refine and polish their voices, discipline their voices, smooth out their passaggi, develop stamina, and maybe work out a technical issue or two, but they didn't have to work to overcome a plethora of vocal issues. That's why so many great opera singers aren't very good voice teachers, and why some lost their voices relatively early in their careers. They were focused on the singing and expression, not how they sang. Yes Corelli had a superhuman ability to decrescendo, and as far as I know, is the only tenor in history who has been able to sing "E lucevan le stelle" from Tosca exactly as Puccini wants. That is just one aspect of singing, however, and is more related to breath control and having the stamina. In one biography I read on Corelli he said that he didn't study voice for long. He developed his stamina by playing soccer and going up in the hills and shouting. He did constantly speak with other singers about how they sang and he tried to learn, but he was basically self taught. One thing that many critics and opera fans who aren't fans of Corelli didn't like was his scooping and carrying up of so much vocal weight. A refined vocal technician wouldn't have done that, at least not to the degree which he did. Listen, I'm not criticizing him. I still love him and his singing. As far as I'm concerned, Fritz Wunderlich and he had the greatest tenor voices in history. With regards to Loretta, you make a fair point that none of us really knows what goes on inside a marriage/relationship. In fairness to her, perhaps his anxieties and nervousness made her become shrewish, or perhaps there was some other factor. All I can tell you is that if you had been with me there in my lessons and seen and heard the way she went after him and yelled at him at some point during every single one of my lessons, you'd understand my perspective. Actually, you DID say that he might not have had a career without her. IMO your comments that their marriage worked is purely speculative on your part. As you said, none of us really knows. From my perspective, if she acted the same throughout their marriage, he probably would have had a longer and better career and would have been much happier. When I studied with him, he looked and acted like a brow-beaten husband and didn't seem happy at all.

[@Labienus]

+Craig Collins He may well have had arthritis (also a bit young for that level of severity) but though you were an eyewitness, it does sound like you were guessing. It sounds like you haven't read the Segher's biography? which you need to do . It's serious, with footnotes, with access to a lot of material and interviews with friends and particularly family-and the prostate story has a citation from a cousin close to him, who mentions the affects it had on him. (Yes, seems a bit early, bit it happens) Also there is evidence that in those years his nerves were so bad that he was using tranquillizers, which may have calmed him, but are the worst for the voice itself, You also ignore completely the fact of his age-it happens. You also keep looking at it as an isolated technical problem when the accounts are that this was a man, all things considered was played out emotionally. Certainly vocal anxieties may have exacerbated a fragile personality,creating more insecurity, but the fact that he just had enough does seem to be a factor. He himself talks about how miserable he was, and how he enjoyed being free of the pressure. We want him, and other performers to continue for our needs, but they cannot. I agree and as I said, I think there was enough voice still there for an Otello, but he needed a break, and fell love with it. Grace Bumbry warned him that a short pause is one thing, but the more you're out of it, the easier it is to stay out, the harder it is to get back. Yes, I think he would have had a career without Loretta, but I think he needed her on many levels. Again check the biography-and other accounts-but as temperamental as they both were, there was a real relationship there, and much public affection. There are relationships-deep and lasting ones -that have big emotional blowups-especially among certain ethnic goups.Of course no one knows the details, but the fact that they stayed together for 19 years after he retired says a lot, don't you think? She was said to be a difficult person, but can you imagine what it was like living with him? Again check the bio-but it seems clear that he had a number of affairs (enough to wound a wife)-though Segher's claim of his relationship with Tebaldi in the late 60's does seem to have been challenged since the publication of the book. (however on You Tube there's a concert in this era doing the Otello duet where they can only be described as two lovers after a spat.) By the way around the time of these lessons-when she was also teaching women students-Corelli apparently had involvements with some of her students. (it appears documented.-perhaps explaining the behavior you witnessed) But this is all moot-their relationship was what it was-his legacy is what it is-what could have, should have is pure speculation.

[@marinellaercolani4239]

Buona sera a tutti.volevo solo dire che giacomo Lauri Volpi era un grande.era lo zio della mia mamma. il fratello della mia cara nonna Angela.e sono orgogliosa di ciò. Grande voce unica

[@Effe8293]

Più che grande

[@TheTuber357]

Wow, complimenti... ma non ce qualcun altro nella vostra famiglia che cante come lui?

[@gabrieleruffini4884]

Felicitazioni per essere pronipote di quello che reputo essere un grandissimo uomo e un grandissimo cantante (negli anni '30 e '40 probabilmente non è stato secondo a nessuno). Ho letto tutti i suoi libri e ammiro la sua profonda cultura e spiritualità. Profonda spiritualità che in alcuni momenti dà al canto e alla Voce di G. Lauri Volpi una dimensione metafisica. Come scriveva Bruno Barilli " I suoi « do diesis » sono dei lunghi e umani messaggi che arrivano alla luna"

[@eugeniogentili1048]

Negli anni 30 40 e' stato secondo a parecchi tenori, qualche nome Gigli Cortis Bjorling Masini Pertile Merli Rosvaenge e Fleta.

[@gabrieleruffini4884]

@@eugeniogentili1048 Questione di opinioni, non per Giacomo Puccini che in base ad una lettera di Giuseppe Adami pubbicata sulla Stampa rivelò che Puccini scrisse il ruolo di Calaf pensando alla voce di Lauri Volpi, o di Arturo Toscanini che impose il nome di Lauri Volpi per la storica ripresa di Guglielmo Tell alla Scala nel 1930 o nella tournée della Scala a Berlino. Mascagni chiese a Lauri Volpi di cantare Cavalleria al posto di Fleta nelle tournée sudamericane, Umberto Giordano disse a Lauri Volpi di non aver mai sentito nessuno interpretare Andrea Chenier in modo così emozionante (anche se pare lo abbia detto almeno anche a una mezza dozzina di altri tenori). Bruno Barilli dedicò bellissime pagine alla voce di Lauri Volpi ne "il Paese del Melodramma" e pure Rodolfo Celletti ebbe un altissima considerazione per la voce e l'arte di Giacomo Lauri Volpi. Gigli era superiore a Lauri Volpi in certo repertorio lirico, non certo nei ruoli eroici, che non ha mai posseduto né vocalmente né soprattutto psicologicamente: Merli, Cortis, Masini, a cui aggiungerei Martinelli e Lazaro furono grandi tenori, oggi sarebbero star incontrastate, all'epoca erano però un gradino sotto a sia a Lauri Volpi che a Gigli e a Pertile IMHO. Pertile fu un cantante immenso senza dubbio. Lauri Volpi ebbe però il merito di riproporre in piena epoca verista lo stile di canto del primo '800 compiendo per certi aspetti la stessa operazione che compirà Maria Callas 20 anni più tardi avendo i mezzi vocali, lo stile, l'intelligenza e la cultura per riproporre un repertorio che nessuno era in grado di cantare con le riproposte di Puritani, Guglielmo Tell, Ugonotti etc Allo stesso modo il repertorio Verdiano più eroico ebbe in Lauri Volpi uno dei massimi interpreti di tutti i tempi.

[@marklee7864]

It is very interesting to hear his speaking voice 😄

[@abbybambi578]

But when this boi sings DAAAYYYUUUYMMMMMMMMMM

[@oliverdelica2289]

@@abbybambi578 Best. Description. Ever

[@abbybambi578]

@@oliverdelica2289 Your welcome 😎

[@19olivier72]

Cavolo! Chiudete gli occhi e vi sembrerà di sentire parlare Pasolini. Non l'avevo mai notato prima. Comunque, da Lauri Volpi si diceva che aveva la voce del uomo felice. E con questo, ho detto tutto :-) Bellissima testimonianza fatta con umiltà e sincerità, da uno dei più grandi tenori.

[@eugeniogentili1048]

Che c'entra Pasolini..

[@lindoro91]

Un grande che parla di un grande.

[@Jacob-ry3lu]

Hearing only his speaking voice, you’d not expect his singing voice to be so masculine and powerful.

[@detectivefiction3701]

Yeah. When he speaks, he kind of sounds like Ray Romano.

[@KimberlyNoel-yc7dl]

Some people have said similiar about Renata Tebaldi (in her early career. In fact, This is Opera showed she sang “once like a little girl”, as opposed to later) as well as about Mario del Monaco, who you’d expect to sound like Russell Oberlin when he sang but no. He clearly was no countertenor.

[@maggiedeveney]

I’m so glad you included a translation. What an articulate and interesting man he was: and then the brilliant singing!

[@miavita95]

I think that this interview was made when he received the first Lauri Volpi Award in 1979. It is simply touching when Corelli recalls the moment LV received him at his home for the first time - he get's deeply moved.

[@tenorschofield]

Grande fu Franco Dario Corelli Marchetti...veramente un propio maestro della vocalita!!!BRAVO!!!!

[@KimberlyNoel-yc7dl]

Interesting video. Thanks!

[@shartrezlittle8952]

Wow such a great gift is this video

[@orlando098]

Around 00:50 he says that he had a voice with a great range, of a size that few others match, and more brilliant than any other voice. The translation missed out the middle, "larga come poche", part.

[@MrLucevan]

What a wonderful experience he had with L Volpi. 30 days with L Volpi the equivalent of perhaps two years of todays coaching. Sad but true.

[@grouchomarx5609]

1 month with L.-Volpi >>10 years of modern coaching

[@gerardomalzone1281]

30 day with Lauri Volpi. Today impossible to get nothing close

[@scopizzo]

to be honest, he will be alive forever, for our pleasure to listen to his interpretations

[@alexj.denton7453]

How i love hearing about this.❤

[@mayflash67]

Very interesting! And the speacking voice of great Corelli is very pleasing to the ear! Thanks for posting!

[@joseplluis9868]

Lauri-Volpi y Corelli en su residencia en Godella🎉❤

[@marjorieallworth6172]

Wonderful! The two singers singing of each others energies,learning from one to another. ✨🎶

[@Nangis123]

I'm afraid you got it wrong . They didn't learn from each other, it was FC who learned a little from LV ,full stop . There wasn't anything worth learning from FC's basic technique . What FC got from LV was a sort of "method face-lifting" ,which was all that could be done in the breaks between seasons . It lasted him a few years ,and he made use of it mainly in the recording studio .Singing live was something else entirely , live he reverted to type

[@marjorieallworth6172]

Thank you music fa

[@ZENOBlAmusic]

@@Nangis123 Franco Corelli was being nice, but he has also said he couldn't really apply Lauri Volpi method because their voices were to different.

[@marjorieallworth6172]

Wonderful I have learned much ✨🎶

[@albertus19741974]

Corelli el mejor tenor de todos los tiempos grande

[@leonoradelagardie]

Franco at his most beautiful!

[@laprimmadonna2341]

Genial lo que comenta Corelli …lo que aprendió de Lauri Volpi , la voz “teatrale”, la voz de la ópera. Gracias por compartir.

[@franco36able]

Condivido appieno quello che Franco Corelli dice del super "fuori classe" della lirica, Giacomo Lauri Volpi.

[@Cordylcoh]

Thank you for this item - this is really great. So much always gets written about some great artists like Corelli without really getting to the truth - and here we are - from the horse's mouth - it does not get any better than this - Correli talking about technique, Lauri Volpi, how they met, sang and learnt together and more.

[@user-co5eo3ow8b]

Per questo sei grande con un tale maestro 🎉

[@larmun]

Great interview with Corelli about Lauri-Volpi. Volpi helped Corelli prepare roles like Raul in Ugonotti in the early 60,s roles that had had a high tessitura, roles that require an ease of production in the upper scale that sometimes can be difficult for a big spinto dramatc voice like corellis.

[@AfroPoli]

He seems much more intelligent than one would guess listening to his recordings.

[@brunnhilde7193]

What an arrogant and ridiculous statement. Who are you, afropoli, other than a nasty little man?

[@alexingresss2420]

AfroPoli Agree. That plaintive, doleful manner never impressed me as intelligent, he sounds mostly like an immature teenager. I am glad he sounds more intelligent in real life. He probably didn't lack normal intelligence, just artistic intelligence. Brunnhilde probably can't sing her eponymous' ho-jo-to-ho on a real stage and she's trying to do this a la KZbin, jumping on people with the verbal sword. She, of course, isn't nasty, just brunnhildy 😁️

[@Labienus]

Yes, unlike many tenors he had a nice speaking voice. I heard him speak up close many times, and this video is accurate.

[@sospello]

This is a wonderful document which I have never heard or seen before. I agree with others posting here that we who admire Corelli certainly beg trovatoremanrico to post any remaining segments as few such interviews with Corelli speaking at length are available. Grazie mille!

[@pippomelodrammatico]

Wonderful!!!!!! Thank you very much!

[@PhilippeRR1]

Touching!

[@olivierkeegel]

Lovely, to hear, in times of opera madness, a professional speak.

[@ingmassimocirilli794]

Il primo maestro di Corelli fu Carlo Federico Scaravelli, negli anni sessanta già celebre, Franco iniziò ad apprendere quella tecnica da Lauri Volpi che gli avrebbe permesso di interpretare Ugonotti, Poliuto, Turandot, Trovatore ecc. Fino a quel momento aveva usato la tecnica melocchiana, insegnatagli da Scaravelli. Lauri Volpi gli fece raggiungere l'estreme vette vocali, consegnandolo alla leggenda. Franco mi confessò che questa tecnica gli aveva accorciato la vita artistica, rimpiangeva Otello

[@EllencyOfficial]

Ciao Massimo, che differenza c'è tra la tecnica melocchiana e quella di Lauri Volpi? Grazie mille. Sono un giovane tenore e sto iniziando a prendere lezioni con Carlo di Giacomo, tenore romano. Vorrei sapere di più riguardo le varie tecniche! Grazie :)

[@lucianocirillifioravantidi9130]

@@EllencyOfficial TI SCRIVO DALLA MAIL DI MIO FRATELLO. la tecnica di Melocchi era basata sull'affondo della laringe, il suono era ASSOLUTAMENTE libero e tutto veniva controllato dal diafamma, l'impegno muscolare era diaframmatico non laringeo, Molti tenori si rompevano perché lavoravano all'esatto opposto della tecnica che richiedeva forza e impegno ma diaframmatico e di respirazione , Il contrario di ciò che fa Bocelli. Il pomo d'adamo deve scendere verso il petto, così la laringe è perfettamente aperta e con il fiato sostenuto dal diaframma controlli la voce, da li escono i filati VERI non i falsetti di Kaufmann o i versi ingolati di altri tenori la tecnica di Melocchi ti consente una perfetta emissione libera e non gutturale, perché il suono non si ferma alla laringe ma va a riflettersi sugli zigomi La famosa "maschera". Il discorso è lungo e per mail è solo una indicazione di massima. Un tenore che applica questo metodo è Luciano Cirilli Fioravanti (mio fratello)ascolta il suo "E Lucevan le stelle" unico esempio di perfetta tecnica Corelliana e Melocchiana. Franco gli insegnò la tecnica del Lauri Volpi che si rifaceva al grande Garcìa. Luciano è stato allievo di Carlo Federico Scaravelli il primo e più accreditato maestro di Corelli per tecnica Melocchiana, ma quando Franco era in Ancona gli insegnava le sue due altre tecniche la tecnica Lauri Volpi e la tecnica del soprano Birgit Nilsson, altra tecnica basata su semplici parametri di dizione appoggiata che permette una emissione importantissima a "costo zero", e qui finisco. La storia sarebbe molto lunga. In bocca al lupo. Massimo

[@EllencyOfficial]

@@lucianocirillifioravantidi9130 ciao Massimo grazie mille !! credo che il mio maestro adoperi questa tecnica! quindi Corelli quale tecnica usa?

[@EllencyOfficial]

@@Luca_Sartor graziemille !

[@marcocorelli4634]

Penso che qualcuno ha le idee molto confuse sulla Storia della Biografia di Franco Corelli, oppure cerchi di di fare confusione per strumentalizzare a proprio uso e consumo , per cercare a tutti i costi di fare l'originale. raccontando delle inesattezze strumentali. Per prima cosa quando Franco Corelli ha incontrato Carlo Scaravelli a casa di una maestra ripassatrice al piano forte, già studiava in casa , con gli zii Tenori e da Autodidatta e cantava da almeno 5 anni , difatti era stato chiamato improvvisamente a sostituire il tenore indisposto per esibirsi all'addio delle Truppe Alleate a Falconara M:ma , riscuotendo un lusinghiero successo. Quindi questa é una prova che Scaravelli che stava iniziando , a distanza di 2 anni non poteva assolutamente venire considerato il suo maestro ! Fino a quel momento la sua preparazione si era maturata sia con gli insegnamenti appresi in casa e sia scambiandosi le notizie che apprendeva in casa , con quelle di altri amici che erano appassionati di canto e di Lirica , che gli invidiavano l'ambiente Lirico nel quale viveva, cioè quello della Famiglia Corelli, che per tradizione fra i suoi elementi aveva diversi ottimi cantanti Tenori, tanto é vero che nostro nonno Augusto classe 1858 era un ottimo Tenore che non solo aveva iniziato a cantare nelle Corali Professionistiche, ne era divenuto anche il Capo Coro, ma andava anche in viaggio per il Mondo in Tournée , per far conoscere le Opere Liriche e la Tecnica del Canto Lirico, perché allora non esisteva You Tube. Franco Corelli come tutti i suoi amici era molto curioso e desideroso di imparare sempre di più, E quando incontrò Carlo Scaravelli che conosceva di vista perchè avevano frequentato lo stesso Istituto per Geom. ma in sezioni diverse, che era diametralmente il suo opposto come carattere, Franco molto timido l'altro noh, aveva anche una buona parlantina che ostentava più sicurezza, gli raccontò, che anche lui andava a ripassare per prepararsi per le lezioni da Baritono che prendeva al Conservatorio Rossini di Pesaro nella classe del M° Arturo Melocchi , che dopo avere insegnato per molti decenni in una cattedra di Canto dai primi del 900, , era stato allontanato dal Compositore Umberto Giordano, l'Autore di Andrea Chenièer e di tante belle Opere Liriche, poiché essendo stato nominato Commissario di Governo alla Pubblica Istruzione ed ai Conservatori. dopo una Ispezione al Conservatorio Rossini di Pesaro , studiando le carte ed il suo metodo di insegnamento, rilevò che in circa 40 anni di insegnamento, questo suo metodo, non aveva prodotto un certo numero di allievi , che dopo aver studiato con lui , avevano intrapreso nel tempo, una Carriera soddisfacente , quindi lo licenziò per scarso rendimento ! ! E sino a prova contraria Umberto Giordano era molto preparato e poteva essere ritenuto Credibile ! Ma passata la Guerra , Arturo Melocchi, anche aiutato dalle testimonianze di qualche suo allievo , che sera riuscito a mantenersi , anche dopo l'allontanamento, intentò causa al Conservatorio ed il suo avvocato, non potendo contestare i risultati, da professionista scaltro , ha impostato la causa dal punto di Vista Politico , asserendo che il suo assistito era stato allontanato perché di idee opposte al Fascismo , e siccome nel dopo guerra , tutti che prima portavano la Camicia nera, per cavalcare l'onda del vittimismo adoperarono questi mezzi per cercare di riabilitarsi. E questo lo si riesce a comprendere come fenomeno storico e sociale, vedendo prima le piazze tutte gremite osannanti i discorsi del Duce, e poi nessuno era più stato c'accordo, Tutti erano divenuti partigiani, che invece purtroppo erano stati molto pochi. Comunque Melocchi viene riammesso ad insegnare al Conservatorio .per un paio di anni, poi verrà allontanato definitivamente. E proprio in quegli anni capitò Carlo Scaravelli alle sue Lezioni da Baritono. Franco incuriosito da come potevano essere le Lezioni in un Conservatorio, iniziò ad andare a prendere questo ormai divenuto amico , alla stazione, e poi entrambi si recavano a casa sua agli Archi, danneggiata della guerra, per cercare di ripassare ciò che aveva imparato alla lezione Carlo. Solo che Franco Corelli dai suoi zii , mentre suo fratello era stato ritenuto Baritono ed era stato indirizzato per conseguire un Diploma al Conservatorio Santa Cecilia di Roma , era stato ritenuto Tenore, e difatti aveva cantato anche da tenore quando si era sporadicamente anche esibito in pubblico. quindi a queste lezioni da Baritono, non ci si trovava, allora Carlo parlava con Melocchi, e chiedeva se poteva ascoltare e sare qualche consiglio a questo suo amico, che stava studiando per interposta persona, le sue lezioni. E fu proprio al 3° oà incontro , che mentre Franco Corelli in una stanza del Conservatorio Rossini, stava facendo ascoltare a Melocchi, dove non si trovava, , un altro insegnante che era entrato per caso in conservatorio passando per il corridoio e sentendo , questo giovane che stava cercando di eseguire una romanza per baritono, non potrà fare a meno di aprire la porta e di gridare a Melocchi, : " Ma non senti che questo ragazzo é Tenore ? Perché lo vuoi far cantare da Baritono ? E così terminarono gli studi di Franco Corelli da baritono , riportati dal suo amico , e per ritrovare l'imposto da tenore, si recò da un altra insegnante sempre del Conservatorio a prendere le lezioni private, ma anche questa insegnante , non gli fu di molto aiuto , quindi venne via e ritornò a chiedere consigli agli zii, per ritornare apposto , ed a farsi ascoltare confrontarsi con altri suoi amici. Poi nel 50 partì la scommessa per recarsi al Concorso per voci nuove di Firenze, nonostante arrivò in ritardo per accompagnare una ragazza una volta arrivato a Firenze con Rolando Giacchetti, davide Barbone in treno , Scaravelli non andò a partecipare , perché non si sentiva pronto., mentre gli altri 2 vennero bocciati da Ildebrando Pizzetti e dalla Commissione, Franco che era arrivato in ritardo , e Pizzetti lo voleva bocciare , perchè non era stato disciplinato, per intercessione di diversi membri della giuria tra i quali il M° Ottavio Ziino, che aveva scoperto in Corelli Grandi doti e qualità, solo da affinare, vinse una borsa di studio del Valore della Metà del Premio , che avrebbe dovuto utilizzare per un Corso di Perfezionamento al Teatro Comunale di Firenze, E Franco tutto contendo, ritornò a casa , e poi si recò a questo corso di Perfezionamento , , l'alloggio economico glielo trovò il Teatro , che aveva, fatto una specie di convenzione con una pensione , nella quale avevano sistemato anche altri registri che dovevano perfezionarsi e tra questi giovani , Franco conobbe anche Ettore Bastianini, che stando in una stanza accanto alla sua, al mattino, quando si faceva la barba, con grande sorpresa di Franco , cantava sempre Non piangere Liù o ch'ella mi creda , due romanze da Tenore e non da basso o da baritono. come era lui..! Però poi mentre stava frequentando questo corso lo dovette abbandonare per la improvvisa morte di sua madre, che precedentemente era stata operata di un Tumore Femminile, e quindi abbandonò il Corso. Caduto in profonda depressione non voleva saperne più di cantare , perchè proprio quella passione lo aveva allontanato da sua madre, proprio quando poteva avere bisogno. E fu per i parenti e sua sorella che non lo poteva vedere in quello stato di prostrazione , che contattato il M° Ottavio Ziino , attraverso appunti di Franco, su indirizzi , che scrisse una lettera , il M° gli rispose, si accordarono per far fare la domanda al Concorso di Spoleto a Franco nel 50 e Franco partecipò ancora distrutto dal dolore e poco convinto, difatti venne bocciato. Ricadde in crisi, ancor di più, e smepre sua sorella l'anno successivo, per cercare di salvare suo fratello, ripropose al M° Ziino di riammetterlo al Concorso , rifacendo di nuovo la domanda a nome di Franco , firmando al suo posto, perché sapeva imitare molto bene la sua firma. Facendo finta che veniva chiamato perché era risultato interessante. A questo punto anche a causa di un Evento Personale , aiutato dagli zii a prepararsi bene 4/5 brani, partecipò e vinse il Concorso di Spoleto, con la febbre alta , che il mattino prima della partenza gli era venuta, e sempre sua sorella, dandogli la tachipirina per abbassare la febbre, partì contro voglia per Spoleto e nel 51 vinse il Concorso per Voci nuove al Teatro nuovo di Spoleto. In tutta questa Storia , Scaravelli non c'entra proprio nulla, perché tra l'altro stava studiando da baritono e non da Tenore e poi quando lo aveva incontrato , Franco già cantava in pubblico , anche se si vergognava perché era timido.

[@pekkak.2724]

Great video! Thanks!

[@MarkCexplorer]

Theatre is what makes a good technical voice great... Bottom line it's true in this HD digital world... #thegreatesttenorfrancocorelli

[@lcfbb1233]

Hay que reconocer que Corelli era grande en todo o casi todo. Pero, yo me pregunto, ¿llegó a saber el grandísimo Franco lo que Lauri-Volpi hablaba del gran Fleta? Creo que sí, pero en esta ocasión Franco homenajea a Lauri-Volpi y obvia cualquier otro pensamiento o desarrollo sobre cualquier otro cantante. La cuestión es, ¿podría haber sobrevivido Corelli a la gran generación de tenores españoles-Fleta, Lázaro, Cortis, sin ser arrollado por estos como lo hizo Volpi?

[@MrGer2295]

WONDERFUL ! Thank you for posting !

[@estrogiovanile]

@Labienus I think has been made in the lately 70's... grazie per aver condiviso questo bel tributo!!

[@millonety123]

Igual que Lauri Volpi, MDM, GDS, Gigli, Schipa, (Caruso es un caso aparte por muchos motivos), y tantisimos tenores italianos fantasticos, Corelli fue grande entre los grandes. Mi admiración siempre!

[@giulioamitrano3503]

Concordo in pieno

[@MadonnaImperia]

Thank you.

[@joshron99]

Reading the comments especially from Craig Collins and Labienus is like taking a masterclass for free. What knowledge and insights these two people have! (valuable also were the thoughts shared by Cathy Wood and some others). Thanks.

[@ditogam]

Thank you very much for this great video!!!

[@FrancoMFT8]

Belo vídeo, muito interessante a entrevista, principalmente para os músicos e os admiradores da música lírica, e do grande tenor Franco Corelli. Laonirica, obrigada por me enviar este vídeo. TrovadorManrique, thanks to share it.

[@carlinoaltoviti6736]

If the first meeting was in Rome, in the Lauri Volpi's house in Via Nomentana, how says Corelli, it was in 1963, before Lauri Volpi went to Burjassot.

[@ChristosStasinopoulos]

Thank you for uploading this amazing video!

[@scopizzo]

verissimo...

[@mpiarosati]

La solita e bella onesta intellettuale di Franco Corelli, lui che ha surclassato Lauri Volpi, Caruso ed alri ed altri.....!!!

[@giulioamitrano3503]

Non esagerare

[@Phaidra69]

Caro TrovadorManrique , i beg you to upload more parts from that interview with Corelli or from other his interviews !! We need to hear and to learn ...Thanks in advance !

[@miavita95]

I beg your pardon TrovadorManrique but I just want to try if I can post a comment here. Corelliavoice has been so gentle and kind to block any access of mine under his videos because he just can't stand that sombody critizises the "biography" for which he still makes an unacceptable publicity campaign on youtube and because nor he nor Mr Seghers can't stand truth! Sorry again!

[@TrovadorManrique]

Thank you very much for your interesting comment. I didn't know anything about this award...

[@Fede842]

Finalmente un video in ITALIANO. peccato i sottotitoli. Pavarotti le interviste le faceva in inglese

[@flaze3]

Perché peccato? Mica lo vuoi solo per gli italiani xD

[@cherubim4452]

He learned Garcia's method from his wife who studied with a relative of Garcia? Surely, a music historian would have never thought of a connection like this.

[@Labienus]

Thanks for offering this. I'v seen most things Corelli, but this is new to me. When is it actually from? and where? As in other interviews you see what a thoughtful and articulate guy he really was.

[@miavita95]

The place must be Rome because Corelli says "QUI in via Nomentana" when Lauri-Volpi received him. ("HERE in Nomentana-Street").

[@vilabreze]

Franco Corelli's speaking voice is a bit cold and dry, unlike his singing voice--which, as we all know, is extremely sonorous and succulent., and full of passion.

[@TrovadorManrique]

Sorry, I don't know about other interviews. If I find something else, I'll upload it quickly.

[@Labienus]

Sorry-does that mean that you do not know the year of the interview?-and how it came about, to be filmed?

[@tehen162]

What a fantastic, rare, unknown video! When was this interview made? Many, many thanks for it.

[@TrovadorManrique]

Sorry, I still ignore the date and the place of the interview. :(

[@Nangis123]

@ZENOBlAmusic FC took lessons with LV for thirteen years ,visiting him in Spain in the summer in between the Met seasons . Did he need thirteen to realize he couldn't apply LV's method?! What a slow thinker. But you know ,I don't believe FC was a slow thinker ,I believe you are making this up

[@johnblasiak607]

Wow a God talking about a God I found it interesting to find out Volpi was the creator of Calaf Puccini of course but said Jan Kiepura was the best in this role Check him out a wonderful tenor legendary in fact he made many films and was the highest paid singer in the world in 1936 Some works he sings are unequivocally better than anybody else Flower song from Carmen just one example

[@lucianocirillifioravantidi9130]

Giacomo Puccini wanted the young Italian tenor Beniamino Gigli for the role of Calaf, but after his death the role was entrusted to the Spanish tenor Miguel Fleta

[@Nangis123]

​@@lucianocirillifioravantidi9130 Nope .There's no serious evidence whatever for this tale .After Puccini's death two sopranos ,Jeritza and Raisa ,said Puccini intended for them to sing the title character at the premier . In the end Raisa sang the La Scala premier and Jeritza the Met premier. Three tenors , LV, Martinelli , and Gigli ,said Puccini had intended for them to sing Calaf at the premier .Adami ,Puccini's librettist ,said Puccini had written the role with LV's voice in mind .At the time of the La Scala premier all three tenors were under contract with the Met and Gatti ,the Met manager ,wouldn't let any of them go . Fleta was under contract too but less intelligent than the others and risked his contract for the sake of singing the La Scala premier .Risking the Met contract wasn't worth to Martinelli and even less to Gigli who had no intention of singing the role ever because it didn't suit his voce ,and it was worth nothing whatever to LV who got to sing the Rio de Janeiro,Buenos Aires , and Met premieres anyway . Fleta was sued by the Met for leaving in the middle of the spring season ,had to pay a huge fine for breach of contract ,and that was the end of him in North America and pretty much everywhere else with the exception of Spain where he turned to singing zarzuellas.

[@Nangis123]

@John Blasiak Lauri Volpi never ever said Kiepura was the best Calaf ,nor did anybody else .What's this weird tale? Where's your proof?

[@XPRT10R]

Many inaccuracies in the English translation/subtitles

[@tya1912]

Could someone add Italian translation?

[@jsierra88]

When was this interview recorded?

[@donaldfuck]

1978

[@MadonnaImperia]

Does anyone know what year Corelli studied with Lauri-Volpi?

[@gabrieleruffini4884]

If I am not wrong from 1963

[@hibyeeee2]

Who had a bigger voice Mario Del Monaco or Giacomo Lauri Volpi?

[@JamesSmith-mw7ps]

Lol Corelli’s speaking voice is a lot higher than I expected.

[@Muttonchop_USA]

Why? He was a tenor.

[@saa82vik]

"larga come poche" : mi ricorda la mia ex ragazza.

[@jraketa]

Which year is it?

[@Thisisopera]

Interesting to read between the lines here. This is Corelli trying to make sure he doesn't offend, but also there are subtle indications he had to set boundaries with Lauri-Volpi, who was envious of Corelli's power. If Lauri-Volpi had been as intelligent as he was proud, he might have realized that Corelli was using some vocal coordinations Lauri-Volpi could have also used to make a more powerful sound than he did. To do so he would have had to break many of Garcia's stated rules of proper singing, like not showing the teeth or avoiding extreme jaw opening. Corelli is careful about saying it, but he was the wiser of the two men, and while he improved his singing with the encounter, Lauri-Volpi wasted the opportunity entertaining his ego.

[@Tkimba2]

AHAHAHAHAHAHAH Girl, please

[@KimberlyNoel-yc7dl]

@@Tkimba2LOL! You ignorant trolls are hilarious!

[@laoniricArte1]

Credo che la sua voce parlata era una voce parlata situata nella zona dei risuonatori in un modo naturale e rafforzata dalla quotidianità del canto, rafforzata per l`esercizio del canto!

[@Ignasimp]

His speaking voice sounds so light and bright compared to his singin voice

[@miguelpereira9859]

He could sing incredibly light when he wanted to

[@Ignasimp]

@@miguelpereira9859 yes, but he was a spinto.

[@miguelpereira9859]

@@Ignasimp Yes but his head voice could sound really light

[@Monnarchmonnarchy]

Singing and speaking another

[@JavierBorja-bs1dd]

No los he escuchado en teatro pero, para mi, es mejor Corelli que Lauri-Volpi. La voz de Corelli es mas bonita y canta mejor. Supongo que habra discrepancias pero no creo que haya muchas personas que hayan escuchado en teatro al mejot Lauri-Volpi y al mejor Corelli. Por lo que he podido escuchar, en teatro y en grabacion ( metodo poco valido para evaluar a cantantes) ha habido cuatro tenores que destacan sobre el resto: Kraus (para mi el mejor) y despues Di Stefano, Corelli y Del Monaco. Podria añadir a Aragall en dia bueno.

[@HellasItalia4]

Corelli parla di Del Monaco, Melocchi, carriera. Serata alla Scala di Milano kzbin.info/www/bejne/rnXGnXSHapp2js0

[@TrovadorManrique]

That's right. Sorry again.

[@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 everything 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 this mannerisms 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 similar 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 been 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.

[@craigcollins6904]

Were you alive then? Did you see performances of his at the Met or elsewhere? I'd be willing to bet not. I never got to hear him sing live, but have talked with many people who did whose opinions I respect, and they said that he was amazing. I have many, many recordings of his and he was phenomenal. For someone who had "no technique" as you claim, how is it that he was one of the few tenors ever to be able to sing the dynamics that Puccini wrote in "E lucevan le stelle"? Most tenors don't even try. His technique was not perfect, and he lost his confidence and what technique he had, when he got that hair-brained idea that he over supported towards the end of his career. He was basically a self-taught singer. Early in his career, he had a very fast vibrato, and when he received some criticism about it, he figured out how to change his technique to eliminate the fast vibrator. His placement didn't stay the same, and he carried a lot of weight up. Something that few other tenors could even dream of getting away with. It made his high notes even more powerful. He scooped, but many singers did during that era. Audiences loved him. He was great on stage, a very expressive singer, charismatic and had thrilling high notes, that he could hold for days. Callas' technique was far from perfect as well, and that didn't exactly hold her back, did it? He didn't get Cavaradossi or any other roles because he was good looking and spoke the language. That's one of the most asinine things I've ever heard. Corelli was a great Cavaradossi, Manrico, Radames, Don Alvaro, Calaf, Andrea Chenier, Dick Johnson, Turriddu, Canio, and Enzo Grimaldi, and would have made a phenomenal Des Grieux in Manon Lescaut and would have been the greatest Otello ever. You really have no clue what you're talking about, and should stick to ballet, Janie.

[@arepo]

@@craigcollins6904 The things fans are willing to bet... sure you are willing to bet when your point can't be proved. Safest bet ever. Secondly, how about reading my comment carefully before replying? I said his looks brought him the role in the movies and the movies opened the La Scala and Met doors for him. I didn't say anything whatever about his Met performances. Yes, Corelli did get Cavaradossi *in the movies* because he was good looking, like it or not. Did it not occur to you they used an actress for Tosca in one of the movies? They used the actress because the singer's looks weren't good enough. Corelli wasn't singing at La Scala before 1957, which is AFTER the Tosca movie. "verismo repertoire... he lacked the technique for *anything else* " Hint, hint, anything else than verismo, but perhaps you consider Puccini to be a bel canto composer? You seem to reduce singing technique to the ability of doing a diminuendo. Errr... are you serious? And if Puccini wrote the diminuendo on "disciogliea" in E lucevan le stelle he must have been a different Puccini, not Giacomo, because there isn't any in the score. I'm not saying a diminuendo on "disciogliea" isn't a good idea, just that Puccini didn't write it, and I know many tenors doing the diminuendo, long before Corelli did even consider taking singing lessons. You would know them too if you would consider listening to other singers, not only to Corelli. The difference between them and Corelli is that their diminuendo is more resonant and they don't hold on it for far too many bars. And if you consider the ability to hold on high notes for days a good thing, suit yourself. I consider it lack of musicality and poor taste. Holding on high notes for the duration given in the score, perhaps a bar or two longer, is thrilling, holding on for days is the opposite in my book, and I don't see why I should adopt your questionable taste in the matter. If you believe Corelli would have made a good Otello with that poor diction of his, or was good in belcanto roles like Manrico, suit yourself again. I am sure Verdi would have loved Corelli's with his lack of agility and overwhelming tendency to being lachrymose. Not. But good to know many people who you respect consider him amazing. Pity the composer wouldn't. I bet with myself you are going to ask if I were alive in Verdi's time ::grin:: Please do, that would lead to a merry discussion. Don't, if you don't know music history. So you are all over the moon about him and tell me you talked to people who said he was amazing. In other words, you linked to the first anonymous "evidence" that agrees with you on an emotional level. Craig, you should stick to... well I don't know to what but not to music history, singing technique, or argumentation because you aren't good at any of them. Stick to singing Corelli's praise and thinking the world about his ability to hold on high notes for days ::smile:: Only one half of my first comment is about Corelli, the other is about Kraus. You did not protest the Kraus half, best proof you are just a member of the Corelli-fanclub, they always throw a fit when someone does not write worshiping things about their darling Corelli.

[@craigcollins6904]

@@arepo ROFLMAO!!! You aren't worth responding to any further.

[@arepo]

@@craigcollins6904 Thanks heaven. I don't know why you did reply in the first place. Probably just to tell people he would have been the GREATEST EVER in a role he did not have the guts to sing. Next you are going to tell us he would have been the greatest Almaviva too, had he only bothered to study the role. And of course there are few people on youtube who have more true enjoyment of music than yourself, or a better natural taste. Are you Lady Catherine in disguise?

[@Nangis123]

@@arepo Music is of all subjects my delight . I must have my share in the conversation if you are speaking of music .If I had ever learnt ,I should have been a great proficient . And so would FC ,if his nerves/health had allowed him to apply.I am confident that he would have performed delightfully Almaviva , Arturo,Duca di Mantova,Verdi's Otello , nay, both Otello's , Puccini's Des Grieux,nay,both Des Grieux , and both Rodolfo's too into the bargain , all in addition to his great "Turriddu" whoever this character with a surfeit of double consonants in his name may be.Would have been even more interesting if rechristened "TTurriddu" instead of "Turriddu" ;-)

[@jraketa]

Sorry, found it

[@paolo38021]

A me Lauri Volpi no piace particolarmente, preferisco Corelli!

[@bodiloto]

+paolo olianas tutti e due erano due leoni della lirica. ognuno fra di loro aveva la propria bellezza unica,la propria personalità. come le stelle,brillavano con la loro bellezza unica. due fenomeni .

[@monomonomono5333]

Y Corelli prefiere a Lauri Volpi

[@meyerbeer13]

I have a lot of respect for Franco Corelli, but I don't think he really channeled Lauri-Volpi. Can you really learn about technique in that amount of time? No. There's a video of Lauri-Volpi singing "Nessun dorma" in teatro del liceu" at the age of 80. He's better than Franco Corelli was in his prime, sorry that's just the way it is. But opera today is a creature of amplification and HD etc. I don't suppose the glory days will ever come back! It's sad, but vocalism exists in the moment, not in a video or recording.

[@hiyadroogs]

+meyerbeer13 I'm not a particular fan of Franco's musicality, nor his latter career vocalism, where he unquestionably over supported his head register, making the upper timbre white, & even plaintive at times, until the voice eventually succumbed to very close to a wobble. Certainly there are plenty of examples from him of scooping & slurring musical phrases. He wasn't the first & certainly wasn't the last tenor or baritone of prodigious stature to succumb to pushing & overdriving the voice. I have seen the Lauri-Volpi excerpt you cited singing Nessun Dorma at 80, & frankly, it is hugely embarrassing, both for the audience, & for Giacomo himself. As a light hearted example that his voice could still carry the tessitura, & succeed in hitting the high B, then fair enough. But to even take the rendition seriously, & compare it unfavourably to Corelli's voice in its decline, let alone its stupendous youthful prime, is simply absurd, & demeans both tenors. Lauri-Volpi in the 1923 to 1934 period, was arguably the finest tenor voice ever recorded from the standpoint of free resonance & head register development. It was enormous & beautiful. But he too began to push for power early on, - a consequence & pitfall deriving from true functional freedom, - until his technique became unbalanced between the 2 registers, & his vibrato became a wobble with weak unfocused low notes, due to a weakened chest register balance. Almost no singers get to the end of their career without allowing bad vocal habits to change the delicate & precise register balance at which they made their debut. So, in that respect, vocalism has always been in decline for as long as there have been singers. Greed for power, & athleticism, especially at the top, is extremely bad practice vocally, & only the vocal muscular stamina of youth helps the vocal cords survive the abuse for a short while. But vocal abusers always pay the price in the end, long before the end of their career. The dramatic tenors Francesco Tamagno & Lauritz Melchior both retained their voices to the end of their careers, precisely because they never pushed nor strived for power, but simply floated their voices, & allowed the natural resonance of functional freedom do the rest. Technically, they were better vocalists than either tenor in this video. In fact, at 54 & dying of angina when he made the recordings, which would profoundly affect the voice, Tamagno STILL sounds like a 20 year old at his debut.

[@author7027]

@@hiyadroogs kzbin.info/www/bejne/Z4XYmKmQlLqSq6M Francesco Tamagno two times he sings high C there because he can and wants.

[@arepo]

@meyerbeer13 Of course you can't. Corelli avoided belcanto repertoire as much as he could. If he had learned the technique he would have sung belcanto, and he would have sung Verdi properly, not like verismo.

[@arepo]

@@hiyadroogs Your saying Tamagno does sound like a 20 year old in his recordings is as absurd as saying Lauri Volpi sounds better at 80 than Corelli at 35. Tamagno doesn't sound good in many of his recordings and certainly nothing like a 20 years old. His singing into the early acoustic horn may sound like floating sometimes but he didn't use to float his voice in live performance. In performance he used to hurl his notes like grenades, was considered THE Italian belter of the late XIX century in Italian non-verismo repertoire, and no one, including Verdi, ever commended his mezza voce or the subtlety of his singing. Tamagno also had the good fortune to retire from full performances at 50, this being the threshold age after which many tenors go downhill, some faster than others. We don't know how good Melchior was at the end of his career, I don't know of any live recordings, just a few excerpts recorded in studio after 1940. Perhaps you should refresh your memory with Melchior's singing a bit of the Nile scene in the Aida movie - a nice firm voice in the middle to be sure, but no agility, and he transposes down. His notes are anything but floated, the Ab on "talamo" sounds more like toothpaste squeezed out of a jammed tube. To say he was a better vocalist than a bel canto singer is ridiculous. Did he sing Rossini, Bellini, Donizetti, Meyerbeer, early and middle Verdi? Singing monumental & monotonous Wagner in a language full of consonants does not make one a vocalist.

[@arepo]

@@hiyadroogs I know opinions are subjective, but I don't consider Corelli's vocal prime as being stupendous. I remember his aspirates and lack of agility. I remember how lachrymose he was when he wasn't loud, and with what dogged determination he used to hang on his high Bb's and B's for far too many bars. Nice Bb's and B's as a rule but distressingly unmusical, there is much more to a singer's technique than his B's, and there is more to singing than just technique. He tried to impress but not to please with his singing. I can hear Lauri Volpi's wobble in the Aida duet excerpt from the 1954 concert, and again in some arias late 1957, but I can't hear it in any other recording of the 1950's including live recordings. I can't hear any weak low notes either, if anything I can hear low notes like canon balls in 1951. I can hear he needed to take more breaths from 1951 onward. re Vocal abusers. Some tenors were vocal abusers without reason but not all of them. XX century tenors singing heavier repertoire have to sing louder more often than their XIX century tenors because of larger orchestras. Sometimes it was politicians demanding aggressive orchestral brilliance. Singers do not deserve to be called vocal abusers because of that. Lauri-Volpi wasn't greedy for power and athleticism, there is an interview from the year 1974 on youtube, in which he speaks against athleticism for the sake of athleticism. He used to sing sul fiato and didn't strive for power in the middle because Cotogni had told him not to.

[@franzlorenz8638]

Corelli hat Lauri Volpi grundsätzlich verstanden aber nicht WIRKLICH verstanden

[@raynardi7243]

Peccato che non ci dice cosa volevo migliorare tecnicamente con lauri volpi

[@flaze3]

Credo che di Volpe gli ha insegnato come fare i diminuendo sugli acuti

[@TrovadorManrique]

Sorry, that's all.

[@EmilyGloeggler7984]

I disagree with Corelli’s opinion, as well as Lauri-Volpi.

[@arepo]

Should we care? Are you an opera singer at all? All proof we have about your abilities are a few halfheartedly murmured lullabies on your channel.

[@hiyadroogs]

But unless you elaborate as to why you disagree, Emily, what conclusion should we draw? Corelli & Lauri Volpi were among the very greatest vocalists ever to have recorded. Your opinion & vocal tastes are your prerogative, but of no relevance whatsoever to anyone but you.

[@Nangis123]

She's just an attention-seeker ,I have seen her on other vids too ,always the same .Drops a generic dissenting comment ,never comes back .And what's in this video to disagree with ,actually? Or to agree with for that matter . Unlike so many other utube vids ,the title is ,for a change, correct . "Corelli talks about Lauri-Volpi" ,NOT "Corelli talks about his or Lauri-Volpi's TECHNIQUE" , there's mostly FC talking about LV and his visit in Spain but very little talk about technique .This is like me talking what great time I had on my hols 20 years ago in my pal's home and what a great fellow said pal was ,and somebody who doesn't know me and hadn't been there saying they disagree with me ,and ,to be on the safe side ,disagree with my pal too .Totally ridiculous .She can disagree with FC's recollections as much as she wants but her disagreement has zero value because she hadn't been there ,and she can't disagree with LV's opinion because he doesn't express any in this video

[@hiyadroogs]

@@Nangis123 I disagree with the holiday you had 20 years ago.. 🤪😂

[@eugeniogentili1048]

1 Franco Corelli= 10 Lauri Volpi.

[@adrian984.]

Quando i talenti si rispettavano e prendevano esempio l'uno dall'altro

[@giovannipadula519]

Grandissimo tenore Lauri Volpe ogni voce ha il più e meno Enrico Caruso aveva il colore che ha fronte di altri era il mitico oltre alla tecnica tutto qui