To give you an idea of how important Franco Corelli and Birgit Nilsson were to the opera world. I know this performance was NOT at the Met. However, the Met staged Turandot for the first time after a lengthy absence in 1961 for they finally had the two principals to do it justice, Birgit Nillson and Franco Corelli.
Meraviglioso. Peccato per certi strani, lagnosetti e francamente incomprensibili portamenti: è un mondo imperfetto. E' Dio che, quando serve, difende la sua perfezione e distribuisce quà e là nel mondo fesserie, assurde distrazioni della coscienza (in questo caso artistica). Grande Corelli!!! A mezzo passo dalla perfezione!
@31122051 E non si discute. Quando arriverà qualcun altro che riuscirà a calarsi meglio di lui nei panni del giovane principe persiano sarà il benvenuto; ma io, per il momento, non ne vedo. I tenori moderni, per la maggior parte, non possono neanche allacciare le scarpe di uno del calibro di Corelli.
This is from Scala 1964! This is the very best Nessun dorma of Franco. I think, I've heard him more than 6 live versions, but thi is the best. Very long phrases in one breath, fantastic colouring. If you listen it, can understand, that "vincero" has also havea sad side.
@TurandotFanatic - the nilsson/corelli turandot(s) are the the stuff of legend. clearly hearing even this small taste gives one the bridge of a realization. they had to be a thrilling and incomparable duet. i heard her but never him.
@TurandotFanatic Wrong, this one is not 1961. It's the Opening Night Turandot at La Scala, from December 7, 1964, under Gianandrea Gavazzeni. I found another upload of it at /watch?v=MQUrH9QL7Ro , where the clip is given full identification, and when I listened to it, it was absolutely identical, with one exception -- your transfer is better!! So I am deeply grateful yours is still up. It's the best "Nessun dorma" I've yet heard from the best Calaf I've yet heard.
Thank you. But you have another upload also from the MET. Is it another performance please? Because the execution of the aria is slightly different, unless I am wrong. However, both are excellent and I thank you for these uploads.
This comment has received too many negative votesshow
Mario Lanza beats this guy hands down. Opera needs to be felt and i just cannot feel this version. I would match it with Pavarotti but no better. Lanza is the best Tenor ever..
Noone is the best tenor ever it´s a matter of taste. We all have it and for the role of Calaf I can´t see anyone beating Franco Corelli but that´s an opinion, someone might say Paul Potts! But then it wouldn´t be opera anymore because they would have to use microphones.
@brunobrandy I said that not as a statement of Paul Potts being comparable to an Icon like Franco Corelli in any way, but to tell that taste or lack of taste is very personal.
For me, this is the tenor that performs this song the best. Better, at least for me, than every other tenor. He has the most powerful voice and I think his technique is better than Pavarotti, Placido Domingo, Jose Carreras, Jussi Björling, Mario Lanza, Andrea Bocelli. I think the only tenor that can challenge him on this one is Francisco Araiza
Someone told me a story once... goes something like this.
"I was driving in my car with my son, and I put in an opera mix cd, we were listening, and then Corelli started sining, and my son asked if that was the voice of god"
Corelli... is phenominal. Best interpretation... My favorite Opera Singer. followed by Jussi Bjorling.
acdcfan..."only" a high b?? Obviously you never heard Corelli live at the Met. His high Cs ringing off the back walls at the old Met were legendary. HIs voice was magnificent and the carry was off the wall literally and figuratively. One of my late tenor friends I sung with for years sang at the Met for a time and was on stage with Corelli for 24 of his performances. He did have occasional "off" nights, but this was not one of them. Vocally the best tenor of the past century.
Corelli did his own thing with tempo often-- great voice and if you don't mind his habits then you love him, I like his Calaf live better then anyone and great in Aida but on recording Jussi who did not sing it live was terrifi8c as Calaf, wrong role for a lyric spinto like him live though but for other roles other tenors appeal to me over Corelli by far but he was electric, exciting , hot etc. anyhow, all voice for sure.
hahaha as an opera singer, the michael bolton version of this song made me want to slit my wrists. why would anyone want to watch bolton when there are amazing singers like Corelli
Guys, it was absolutely perfect... Maybe you are suited to listen other interpretations, as Pavarotti, that fasten the passage you are mentioning... but it's a point of interpretation, the time and notes are perfect... and moreover, with a voice like that, he can even sing in controtempo :)
@GKFC This is probably his best version and it was certainly a very good night. "Pitchy" is a silly term made up on American Idiol by idiots that don't know anything about music. The correct term is out of tune or flat or sharp which Corelli certainly is not in this recording. "Pitchy" is used by people that don't have the ears to be able to distinguish flat from sharp, so they just say it was "pitchy". Idiots!
I just ascertained which one this is from: this is from December 7th, 1964, Opening Night at La Scala, under Gianandrea Gavazzeni. It is also uploaded with full identification of date and colleagues at watch?v=MQUrH9QL7Ro. That transfer has somewhat more treble emphasis in its sonics, but there's also a slight metallic rattle audible there that this transfer does not have. I'd say this transfer sounds slightly cleaner and more natural, if more "bassy", so I'm grateful this is still up.
Dear TurandotFanatic. Do you have any suggestion, where and when was this aria recorded? This is my most beloved Nessum dorma from my most beloved singer.
Is it 1966? True, there's a remarkably sweet one in Dec. '64 (La Scala), but the long phrasing here (very rare for Corelli to link "e di speranza" to "tremano d'amore" on one breath) suggests '66, as do very open vowels like the "do" in "quando". There's a '66 Turandot w/Nilsson/Freni, and this is more likely from that one. Come on, "TurandotFanatic", take us out of our misery:-). Is this '66? (BTW, I happen to agree: this is the finest "Nessun dorma" I've yet heard from my favorite Calaf.)
Well..now you make more sense. Wisdom is actually closely related to intelligence rather than age. And even genius people need to work hard to reach their full potential. Corelli was superbly talented all right. But I am sure he worked very hard to shape and refine his talent to the maximum extent possible. With what one is born constitutes the baseline. How far you can jump from the baseline depends on the zeal and industry of the person. Of course, starting with a high baseline helps immensely
Sorry, I used the wrong word. Where I said knowledge, I would say wisdom. Wisdom for music, the genius born with that. The genius born playing, singing, just few years of study and is made a genius. Who didn't born with that, probably will study the entire life, and won't reach the point, as well as the genius.
Turandot-Save us the BS, will ya? "Knowledge is withing the soul of people?" Did you pull that out of your rear. In case you missed it, knowledge is acquired and understood assuming the person in question is intelligent enough. It has nothing to do with soul, which itself is a vague term to begin with. At this day an age, access to information is easy. So there is no valid reason for ignorance. Ignorance originates from one's wrongful approach to life and is by no means one's destiny!
Turandot-By age 14 I was speaking 4 languages, had seen most of Europe, and has seen live operatic performances in most reputable venues, and I remember asking questions trying to learn more and trying to figure out anything and everything. Being young doesn't give one the license to be clueless and stupid. Now wonder today's youth is so messed up. They're being encouraged by people like you who say it's ok to act stupid and to be clueless. Don't project your shortcomings onto those who follow.
To be ignorant (that means: without knowledge) is not a fault of anyone, because the ignorants are the people that didn't have the opportunities you had to learn 4 languages, to
attend the great theaters, to have access to great recordings...
But becoming arrogant to have all that and think that the knowledge gained is enough to ride roughshod over others is a serious misconduct.
You should understand that knowledge is within the soul of people, and despite the fact that ignorant people don't know how to express, their intelligence, perception (musical, everything), are independent of their knowledge.
I do not disregard any comment because they are a different way of seeing the world, outside of my own eyes.
Turnadot-Nobody is suggesting such clueless young fiddlesticks to opine. But they should first acquire knowledge. Stupidity and ignorance, expecially at that age, shouldn't be tolerated.
Did you consider yourself stupid and ignorant when you were 14, 16?
The music has no age. Mozart was a genius at 8 years old. Concerning "soul", that is eternal, we started learning music many centuries ago. To be 14 means he is just few breaths behind you and me, but he can had have many musical lifes ahead.
Listening to music, everybody can feel the difference between the good and the no-good, because the music resides inside the soul.
GermanOS-While I am not sure to which Rodolfo that fiddlestick was referring, Pava certainly didn't own Verismo (bad language to begin with). He sung them as gems (still marvelous work though). As well all know, Bel Canto and Lyric roles were his domain of dominance. Either way, that fiddlestick is off the mark.
Phantom-As a 14 yo kid, you should just shut the heck up! Do you even know about what you're talking? You used "verismo" and Rodolfo in the same sentence you clueless fiddlestick! If you ADD or genetic stupidity isn't a problem, try reading up on things and LEARN!
There is a little verismo singing involved in Boheme, especially in the 3rd Act, not the 'heavy' verismo like in Aida or Forza, Manon Lescaut, etc. But is it possible he was referring to Rodolfo in Luisa Miller, not Boheme? Did Pavarotti even sing that role...? Sorry, not too familiar with Pavarotti's later rep.
Phantom (& all) have their own opinion. As you say many times that freedom is important (so you are free, criticizing many singers), you should understand that when you respond at the way above, you're engaging in the same non-freedom policy of commenting that you abominate. If for any reviews posted here you search by the age and nationality of those who did, to humiliate them, vomiting your truths and "wise" comments, better you change your nick from Inquisitive to Inquisitor.
VERISMO is not Pav. at his best he was a lyric not a tenor for verismo really not a big spinto voice, Tucker, Corelli, Domingo, Vickers, Giacomini, Martinelli,Del Monaco are a few who sang Verismo well, Pav. was not a Forza, Chenier, Aida spinto he sang those late in his career but they where not his best roles.
The score of "Nessun dorma" asks for a natural B ("vin-ceeeeeeeeeee-rooooo") at the syllable "ceeeeee", not a high C. The problem is: many records has a poor quality, and sometimes the pitch goes up, distorting the natural tonality of the music. But the correct top note of "Nessun dorma" aria is a high B (natural).
¡¡¡El Calaf que el Maestro Puccini soñó!!!. *Gran Concierto tiene El Señor en los Cielos*, al Disfrutar con la Más Bella Voz de Tenor Heróico que dió éste Mundo,uno de los Tenores Más Inteligentes en como Manejar una Voz Grande y Poderosa, sabiendo Dar Matíces Exquisitos, y no siempre tutto forte. Y con uno de los Compositores Más Inolvidables de la Lírica Mundial.BENDITOS MAESTROS Fco.CORELLI-Gmo.PUCCINI!!!
Try saying something substantive instead of baseless words about MINGO and Carreras. While you're here, listen to Maestro Corelli and learn how a dramatic tenor should sound and sing. And once you're finished listening, crawl back to the crap whole in your native Georgia and hope that your nation will benefit from the benevolence of others to make it through the next winter.
For as long as the voice is unique, it'll shine through whatever media. Where do you get such BS about some voice do not sound good on record. If it doesn't, then the recording studio doesn't know what to do. Do you even have any idea about th physics of sound and how it is recorded? You make no sense whatsoever.
He tried to extend the same hyped up mediocrity with his conducting (he claims he's been conducting for 30s) and he got booed (I was there) at the Met, and he surely deserved it. I think people are fed up with the Domingo nonsense.
Transposing dozens of operas to accommodate ones shortcomings to cash on a hyped up reputation is dishonest. When you transpose, you transpose it for all artists performing in a given opera. To what "calante" are you referring. Once transposed, he's better be singing every thing well enough as the bar is already lowered.
And as I said earlier, his technique has always been poor. He sounds hooted, throaty, monochromatic and pushed; never mind the feeble upper register. The timbre of his voice nothing special either. I know he's got a large following but that doesn't mean anything. Aragall, for instance, never made to mainstream opera audiences, but I am sure Domingo would have loved to have his voice and technique or that of Kraus for that matter.
You see...a streetwalker can get many guys off in a day, but getting off doesn't equal to a remarkable lovemaking sessions. Domingo's most performances are analogous to the former. They're just good enough to get you off operatically but they're nothing exceptional.
Do you want a non-exhaustive list of the roles which were transposed for him? He spent his life pushing and yelling. The only reason he's so blatantly loved by opera houses is because he never turned down a role and pulled them off good enough to fill the house.
Domingo main scam is that TONS of operas were transposed to accommodate his shortcomings, and top notes is not the only shortcoming. As I said, stop the nonsense, and don't comment on things you do not know about. If you like Domingo's hooted, throaty, monochromatic, pushed sound...fine. But don't suggest that he's a top tenor. He's a top salesman and opera houses love him for it. And so does the press. Singing 130 roles is artistic prostitution.
Nice try Sherlock! You're repeating here what mass media has been showing down your throat for decades. In the opera world there is this good old saying..."if the instrument cannot produce, it cannot be interpreted". Domingo's instrument was flawed one day one. Corelli did the diminuendo live as well, and so did Pava in his rendition at the Wien Staats Oper in 1984. Domingo never sung anything above Ab with skill. It was more of a yell. Stop writing nonsense.
Radames? Hahaha...he sounds seriously flawed in that role. And I some renditions it is even transposed so that he can barely pull it off. Above all, he cannot do the diminuendo in Celeste Aida. You might want to check Maestro Corelli to see how Celeste Aida should be sung. This, again, is not a matter of taste. It is a matter of quality.
That diminuendo Corelli just did at studio record. I've his live record on that aria, is totally different. And... I love Corelli, but let's be fair to say the truth.
You always forget to say that Domingo is the best singer/actor at opera. Nobody interprets like him. His voice to me is ok, there's nothing wrong with his timbre, and range. He sang that natural B until 60+, his problem was just the high C, exactly as Caruso, Crimi, Zenatello, and many others. Opera is not a high C.
Sorry, but Corelli's diminuendos were live as well! Listen to the 1961 Met version of Turandot. Or even better his 'e lucevan le stelle' in the Parma performance of Tosca, 1967, a perfect diminuendo on the first A4. Domingo is like Maria Callas. The voice was great but not amazing, but he is a drama king/queen like Callas. He knows how to 'strut his stuff'. His technique is definitely faulty, Villazon learned from him and look what happened.
How Domingo has survived the barrage he has given his own voice is beyond me. He must have the 'vocal cords of steel' like people say. It really is a blessing isn't it?
You are all talking about Celeste Aida correct?Corelli did diminuendo the final Bb but he took it at forte more frequently but if you were in audience when he actually diminuendo the note,you would be astounded that such a voice(I don't have to tell you all about it's attributes)could accomplish such a feat.
"That diminuendo Corelli just did at studio". I was there a few times when Corelli did the same thing on the same note in other contexts on the stage, not in the studio. Also, a somewhat distantly recorded "live" Aida has surfaced from a year later than his studio pianissimo. The studio one is '65 to '67 (sources differ); this newly discovered "live" one is early '68. And in the latter, he does the same diminuendo/pianissimo on the final "vicino al sol". His pianissimo here was quite real.
I was almost forgetting to say: Domingo interpretation of the music is totally perfect. I'm talking about the music andamento, forte/piano, declamation, chiaro/scuro. And he sings respecting a rule I've also learned: he doesn't leave a single note "calante", all notes are important for him, as they must be. Who understand music can see that. You should search his masterclass at YouTube. To finish: 144+ operas, 10+ languages. You are blowing your wind against a house of stone. We just love him.
It is not a matter of liking. His technique is flawed. His voice does NOT have the range required for a tenor, especially top tenor. He sounds pushed. The timbre of the voice dictates taste. I may not like a given tenor's voice but if the technique is excellent I'd still acknowledge and give the credit and praise he deserves. Domingo he has been marketed as a top tenor, which he is not.
No matter what the type of presentation (live or tape), Domingo is Domingo. He doesn't have the "quality instrument-the voice" as the names you mentioned. While it is true that some sound better live than on tape, or vice versa, they always sound good. It's just that the magnitude of goodness varies. Domingo always sounds throaty, monochromatic and pushed regardless of the medium.
I really think that this is a problem of TASTE. You definitively don't like Domingo's voice, but I do, I don't feel his voice as you say. Probably because you don't like, you didn't listen to his records enough to understand. Try to listen to his Radamès, Don José, and his voice at songs. Those are his best.
I've listened all afternoon to them all, even the lady sopranos, found a beautiful voice: Rosa Ponsella. Anyway, this voice is THE VOICE when i think of Italian tenors, it is so convincing i'm thinking of the Godfather the movie. Why were there so many tenors from Italy?
I've seen him live also, as well as Carreras, Caballé and Millo. It seemed to me the inverse: his voice is more sweet and velvet live than recorded.
There are two kinds of voices: the one that is best live and worst recorded (like Corelli, Domingo, Casolla, Callas, and many others) and others that is the inverse, generally small voices, like Gedda, Florez, Matteuzzi.
You didn't comment about acting. Isn't it important to you?
Turandot Fanatic...I am afraid you're comments are divorced from reality. Opera is a business at this day an age, always was, but now it's out of control. As I said, Domingo's box office record is super for he sings anything and everything just well enough. Ask every insider in the opera world off the record, and they will tell you the same thing. Opera is foremost about singing; everything else is secondary.
Well if your ears take pleasure in a pushed voice, with nasal overtones, mediocre vibrato, and a shaky upper register, I'd indeed recommend Domingo. Studio recording -by the way- mean SQUAT. They're engineered to perfection. I have listen to Domingo live; he doesn't sound remotely as good as Big Pava. Never did, and never will. It is an inferior quality of voice by every sense of the measure.
By the way...Corelli is really fantastic in this rendition of Nessun Dorma. I doubt that Domingo or Carreras can get anywhere near this level of excellence. But Aragall can despite being a tenore lyrico as Big Pava.
The "Nessun dorma" of Domingo, with Karajan (record with Katia Ricciarelli as Turandot) is to me one of the best renditions of this aria (even with the natural B not supported for much time). That record is perfect in all aspects to me.
Well..Domingo knows music well. True. He attended a conservatory for 10 years. He'd better be good! lol. But knowing the rules of chess does not make one a fantastic chess player. In the end it is the way an aria is sung which excites us, not the person who knows the score the best. Big Pava was a son of a poor baker. He had a talent; and he perfected it, and spread lots of joy all around the world. Domingo is a talented mechanic. Pavarotti is a talented designer -making a simple analogy.
I do think you forget that, to be an opera singer is not just having a beautiful voice (like Pav) or a big voice (like Corelli). But must be a good actor/singer, must respect the music characteristics, and mainly must express (with voice, face, and body) the personage feelings. Nobody did that like Domingo.
Domingo is most versatile No doubts. He sings lots of role with equal mediocrity, and a few very well. Pavarotti was pretty much excellent whatever he sung. It's a matter of quality as well as quantity. The reason Domingo is marketed as a superb tenor by opera houses is because he sings every role good enough to sell lots of tickets. He's a remarkable poster boy.
To be fair Pavarotti sang a lot of roles(spinto and dramatic ones)which were not good for him but he,Di Stefano and Gigli were the best tenore lirico of 20th century.Domingo as i said earlier has a B grade instrument but he is a better musician than most of the greats,male or female.
I have an entire collection of Pavarotti singing verismo arias and he sounds marvellous. The term "versatility" comes to mind. No wonder he lasted 30 years at the Met, while Corelli's Met career span only 14 years.
Pavarotti was never good at verismo.Corelli's career at the Met lasted 14 years,yes but during that time his 25 year career he did things that could not be matched by any other in history.Pavarotti sad to say ruined his voice doing verismo.I loved him in early 70s doing bel canto roles but he spoiled his voice doing heavier roles.
Declarations like Pavarotti owned verismo, his Rodolfo is unrivalled are good only for proving the bias and blindness of a fan. Although Pavarotti was excelent in the verismo operas, there were other singers equally as good or better as Canio, Turridu, Calaf, Dick Johnson, Cavaradossi (if Puccini's operas are considered verismo), Don Jose, Loris, Andrea Chenier etc. As for Rodolfo Björling, Carreras were awesome in the role too, preference is only matter of taste.
Rodolfo isn't the usual spinto verismo role. While he has a few moments of real intensity, it's a matter of degree, and neither the frequency of such moments nor the textures of the orchestration while Rodolfo sings can match the density and intensity of the Puccini Des Grieux, or Dick Johnson, or Calaf, or Cavaradossi, or Luigi, or Canio, or Maurizio, or Marat, or Chenier, or Loris, or any of the other more typical verismo tenor roles that are clearly Corelli/Del Monaco territory.
If we were talking about versatility then Domingo who has done I think 126 roles would be considered the best but for me he his not because his voice was a B grade voice.One must understand that it is not how wide is your repertoire but your virtuosity in your repertoire and for that I believe Corelli is the best ever!
Yet Pavarotti sung the verismo roles as well and nobody was complaining about his performance. He sung in roles ranging from tenore leggero, lyrico, spinto, and arguably dramatic roles and but his unique touch. Even in his later years, his performance in Celeste Aida at the Vienne State Opera received high acclaim. Corelli was incredible but I differ on opinion regarding his singing. He had a remarkable voice. His diction, however, never had the clarity of Pavarotti.
if you want to listen to Pavarotti's real deal renditions try the 1960s ad 1970s. Most people use Big Pava's later years as yardstick of his talent which is wrong. When he was at his prime, he was untouchable by a mile...
In the 60s-70s, Pav was untouchable in the bel canto roles by a mile. I agree that he was the best Duke, Tonio (La fille), Nemorino, etc, not to mention a simply riveting Rodolfo in La Boheme. Those live recordings I have of him in those roles are priceless to me.
HOWEVER, the greatest renditions of verismo roles, Calaf, Manrico, Radames, Andrea Chenier, Don Jose, and many more, were undoubtedly sung by Corelli, he was unsurpassed in those and may never be.
Bjorlings 1944 was a radio concert sung at slow tempo never sung in the house that way and he never sang Calaf in the opera house, wrong role for him live but his recording was very fine with tebaldi and Nilsson. he had a great technique but was not a dramatic. (del monaco) or big spinto as Corelli was but he sang the aria very well also. That 1944 radio one was sooooooo slow! must have been murder to sing.
Well I like Jussi but his 1944 is a radio concert I believe that was that real slow one, tempo very slow but good however not sung that way in the house and he never sang Calaf live, never since he was not a large spinto or dramatic tenor. Corelli who was full spinto and Del Monaco was dramatic but Jussi had the better technique then either one of them IMO, a Nordic sound, great in more lyric roles but I like his recording very much with Tebaldi and Nilsson.
mail1280 etc etc- is correct about the original score. However how anyone could prefer the original shortened B is beyond me. Listen to Del Monaco sing the original version.....you feel so deprived when he holds the final B for barely a second. I would have the modern version any day!!!
An excellent rendition of this beautiful aria. I suppose Corelli had to sacrifice some dictation there in order to call on the full power of his voice. It really is needed when you go down to the A, the full orchestra comes in and the audience as well.
True,very true.Bjoerling actually sings a good commercial(Pavarotti type)Nessun Dorma but if you want the real thing THIS is how it's suppose to sound like!
Try to listen to "Jussi Björling's best Nessun Dorma" here on Youtube. It's a live concert from 1944. You can always discuss who has the most beautiful voice etc. but in my ears it's clear that Bjorling is a better singer, just listen to his final tone on Vincero, a fifteen seconds long unmatched climax!
I like Bjorling's live Nessun Dorma very much. Bjorling's recording of Turandot, not really. I also like a number Pavarotti's live renditions. Both are great for what they are, as v2eqi put it "commercial", or if you prefer, concert material. No comparison to the "real thing" (Corelli's).
And please, spare me the "better singer" comments.
When you say beauty of voice you mean timbre yes?Of course Bjoerling has far sweeter voice but as v2eqi and urcrebel59 have stated THIS is the only way it can truely be sung.Just read the score and the libretto to get an idea of how it should be intepreted.
Then you must have a modified modern score. The original score does not have a pause on the B. Furthermore, should we claim Corelli's interpretation is 'incorrect' because of his unwritten diminuedo on splendera?
Yes, the music slows down there, but that does not mean a held B. I would happily point you to a link corroborating my statement, but unfortunately Youtube doesn't let me post links. If you want to hear a more 'faithful' redition, listen to Aureliano Pertile's recording.
I'm pretty sure there's only one Pertile recording of Nessun Dorma. Pertile does seem to lower the tempo noticably as soon as the "All'alba" phrase starts. But really, does this discussion matter? There's hardly a point (nor an objective method) of arguing who's interpretation is more "faithful". As far as I'm concerned, all three reditions (Pertile, Corelli & Bjorling) are arguably the greatest.
There's no high C on "Di quella pira" (Il Trovatore - Verdi, end of 3rd act). There's no high D-bemol at the end of first act (same opera). There's no high B at "E la solita storia" (L'Arlesiana - Cilèa)... But every tenor MUST sing those high notes, because more important then the score (at opera) is the tradition.
He sang his first Calaf in the Scala in 1960 with Nilsson and A. Votto. I don't know if it was recorded. Calaf was was his last appearence in the Scala also with Nilsson. After '65 Corelli didn't sing at la Scala...
Incredible! This is the best Nessun dorma amongst the many brilliant Nessun dormas I've heard with Corelli. And the most inróteresting one. I can't believe how long phrases he sang with one breath! Very interesting the melancholical chracter of the aria. His victory makes This Calaf very considered.
This is the best on youtube,although the recording quality or is it the transfer quality of the video is not so good.Still my personal favourite is the 1966 Met broadcast with Corelli,brings back so many memories.
What a thoughtful comment, marokt. Even though he expresses confidence in his victory, I agree that there is an unusual element of something like melancholy in this rendition.
I haven't heard the '66 MET broadcast. We should collect all the Calafs of Corelli! They are so sofisticated different!To poivriere: melancholy is too simple expression, think. Not any other singer shows the ambivalent feeling of Calaf. Does anybodí has an idea how I can have the book about Corelli (M. Boango: A man, a voice?
jajaja the composer didnt have the thought to stop the music like Stokowski and I'm sure Ping,Pong and Pang's voices drowned in the applause after this.
Yeah, well if you want to know what he was about listen to the audience at the end of the aria!!!!!!!!
robertwbecker 1 week ago
To give you an idea of how important Franco Corelli and Birgit Nilsson were to the opera world. I know this performance was NOT at the Met. However, the Met staged Turandot for the first time after a lengthy absence in 1961 for they finally had the two principals to do it justice, Birgit Nillson and Franco Corelli.
frankmaiorana66 3 weeks ago
Franco Corelli had that incredible technique, the lowered larynx which allowed such power to come through.
babystinky 1 month ago
I have sung opera and studied voice for the better part of the past 50 years.
My friend and mentor who was a superb spinto tenor who I sang with for years
sung at the Met during the 60s for three years. He had the privilege to be on
stage for 24 of Franco's performances and said hands down the greatest
tenor of the past century. His dynamic voice has never been matched. He
had his occasional off nights, but generally was superb. He's missed as
he's been gone now for about 8 years.
brunobrandy 4 months ago
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Franco is the number one opera singer ever .
hazelssister 6 months ago in playlist Louise
4 people WISH they had Corelli's voice.
4cups 1 year ago
Meraviglioso. Peccato per certi strani, lagnosetti e francamente incomprensibili portamenti: è un mondo imperfetto. E' Dio che, quando serve, difende la sua perfezione e distribuisce quà e là nel mondo fesserie, assurde distrazioni della coscienza (in questo caso artistica). Grande Corelli!!! A mezzo passo dalla perfezione!
arumtriphyllum79 1 year ago
The best Nessun Dorma ...
Hunorrrr 1 year ago
IL PIU' GRANDE CALAF DI TUTTI I TEMPI.
31122051 1 year ago 3
@31122051 E non si discute. Quando arriverà qualcun altro che riuscirà a calarsi meglio di lui nei panni del giovane principe persiano sarà il benvenuto; ma io, per il momento, non ne vedo. I tenori moderni, per la maggior parte, non possono neanche allacciare le scarpe di uno del calibro di Corelli.
AFelmejo 1 year ago
Where is it this live record from, pls? Yes, Corelli mastered thiis role.
Aetion 1 year ago
@Aetion Metropolitan Opera House, 1961.
TurandotFanatic 1 year ago
@TurandotFanatic
No!
This is from Scala 1964! This is the very best Nessun dorma of Franco. I think, I've heard him more than 6 live versions, but thi is the best. Very long phrases in one breath, fantastic colouring. If you listen it, can understand, that "vincero" has also havea sad side.
marokt 1 year ago
@TurandotFanatic - the nilsson/corelli turandot(s) are the the stuff of legend. clearly hearing even this small taste gives one the bridge of a realization. they had to be a thrilling and incomparable duet. i heard her but never him.
lsauke 1 year ago
@TurandotFanatic Wrong, this one is not 1961. It's the Opening Night Turandot at La Scala, from December 7, 1964, under Gianandrea Gavazzeni. I found another upload of it at /watch?v=MQUrH9QL7Ro , where the clip is given full identification, and when I listened to it, it was absolutely identical, with one exception -- your transfer is better!! So I am deeply grateful yours is still up. It's the best "Nessun dorma" I've yet heard from the best Calaf I've yet heard.
grig035 3 months ago
@Aetion
Thank you. But you have another upload also from the MET. Is it another performance please? Because the execution of the aria is slightly different, unless I am wrong. However, both are excellent and I thank you for these uploads.
Aetion 1 year ago
One of my all time favourites. Stunning
ronaldo190172 1 year ago
jorge negrete lo haria bastante bien
SeReNaKrOsS92 2 years ago
bellissimo...
alpaone93 2 years ago
For me Nessun Dorma is for Corelli and For Pavarotti
plutao 2 years ago 5
This comment has received too many negative votes show
Mario Lanza beats this guy hands down. Opera needs to be felt and i just cannot feel this version. I would match it with Pavarotti but no better. Lanza is the best Tenor ever..
THEGORGO33 2 years ago
Noone is the best tenor ever it´s a matter of taste. We all have it and for the role of Calaf I can´t see anyone beating Franco Corelli but that´s an opinion, someone might say Paul Potts! But then it wouldn´t be opera anymore because they would have to use microphones.
Bjoerrelli 2 years ago
@Bjoerrelli Paul Potts?? OMG!
brunobrandy 4 months ago
@brunobrandy I said that not as a statement of Paul Potts being comparable to an Icon like Franco Corelli in any way, but to tell that taste or lack of taste is very personal.
Bjoerrelli 4 months ago
haha
jontew 1 year ago
@THEGORGO33
I find stupid hiding comments like this. Everybody must have the right to his opinion!
Aetion 1 year ago
Yes, this version is the best ever performance of Nessun Dorma. Corelli nailed it here.
RK831 2 years ago 3
For me, this is the tenor that performs this song the best. Better, at least for me, than every other tenor. He has the most powerful voice and I think his technique is better than Pavarotti, Placido Domingo, Jose Carreras, Jussi Björling, Mario Lanza, Andrea Bocelli. I think the only tenor that can challenge him on this one is Francisco Araiza
fierrote 2 years ago 2
Thank you! )) Great!
LHaritonov 2 years ago
Someone told me a story once... goes something like this.
"I was driving in my car with my son, and I put in an opera mix cd, we were listening, and then Corelli started sining, and my son asked if that was the voice of god"
Corelli... is phenominal. Best interpretation... My favorite Opera Singer. followed by Jussi Bjorling.
SebaTooth1 2 years ago 3
haha even though this is only a high b lol. I'm not a critic though. I love this song
acdcfan94561 2 years ago
brunobrandy 2 years ago
i don't care what anyone thinks, He had more talent in one high c than any of you jealous critics will ever have period.
bosbriguy 2 years ago 12
I agree
tena2 2 years ago
Corelli did his own thing with tempo often-- great voice and if you don't mind his habits then you love him, I like his Calaf live better then anyone and great in Aida but on recording Jussi who did not sing it live was terrifi8c as Calaf, wrong role for a lyric spinto like him live though but for other roles other tenors appeal to me over Corelli by far but he was electric, exciting , hot etc. anyhow, all voice for sure.
halavey 2 years ago
hahaha as an opera singer, the michael bolton version of this song made me want to slit my wrists. why would anyone want to watch bolton when there are amazing singers like Corelli
TheaterChild1 2 years ago 4
Because there are people who like Bolton, maybe? :D
We know that he is not an opera singer, but has a unique voice with big talent.
I think listening to music is joy to us, there is no rule that ONLY opera singers sing this song :) In my opinion, that's the whole point :)
Oh and I like Corelli very much, he had a BIG BIG unique classical voice!
sunridermark 2 years ago
But this is not a "song", this is an opera aria from an opera supposed to sing by opera singers without amplification.
tehen162 2 years ago 3
Agree with you (song :))
Next to that, that doesn't mean that other type of singers can't sing it. Think of it as a tribute to classical music and/or opera singers...
sunridermark 2 years ago
@tehen162 Exactly. Others singing this is a total disservice to the aria.
brunobrandy 1 year ago
In a class with very few others!
NYYFanSince1968 2 years ago
As a tenor he was the head of the class.
Case closed.
brunobrandy 2 years ago
Really? Not doubting his talent, but he's quite pitchy in this version... and seems to be out of time in parts.
Might have been an off night?
GKFC 2 years ago
Whatever...he was the "Calaf" from most
accounts of those who knew. I don't know
what your definition of "ptichy" is as well
as out of time. Each tenor seems to do
their own thing on this aria.
brunobrandy 2 years ago
Like I said. Not doubting his talent.
Opera singers aren't robots, they have the odd bad performance. This feels like one of them.
GKFC 2 years ago
GKFC..."feels" like a bad performance?
It's a live performance in his role as
Calaf and at the end of the aria the crowd
is going wild...what exactly are you trying
to say? Corelli did have his off nights
but not many.
brunobrandy 2 years ago
Comment removed
brunobrandy 2 years ago
Guys, it was absolutely perfect... Maybe you are suited to listen other interpretations, as Pavarotti, that fasten the passage you are mentioning... but it's a point of interpretation, the time and notes are perfect... and moreover, with a voice like that, he can even sing in controtempo :)
silbaar 2 years ago
@GKFC This is probably his best version and it was certainly a very good night. "Pitchy" is a silly term made up on American Idiol by idiots that don't know anything about music. The correct term is out of tune or flat or sharp which Corelli certainly is not in this recording. "Pitchy" is used by people that don't have the ears to be able to distinguish flat from sharp, so they just say it was "pitchy". Idiots!
tdeane34 9 months ago
Comment removed
brunobrandy 2 years ago
This comment has received too many negative votes show
c'mon all....there's a Michael Bolton version of this song floating around!!!!!! life has returned!!!!
a160509 2 years ago
CORELLI ,DEL MONACO ,NIKOLOV, USUNOV, l`ultimo Calaf era......GIACOMINI !!! Grazie !
bodiloto 2 years ago
I switch off my computer. Who else could you listen after him, after this redition?
marokt 2 years ago 2
me too...after this, is there life?
elsr5 2 years ago
Ed ogni notte muore, ed ogni giorno nasce.
marokt 2 years ago
I just ascertained which one this is from: this is from December 7th, 1964, Opening Night at La Scala, under Gianandrea Gavazzeni. It is also uploaded with full identification of date and colleagues at watch?v=MQUrH9QL7Ro. That transfer has somewhat more treble emphasis in its sonics, but there's also a slight metallic rattle audible there that this transfer does not have. I'd say this transfer sounds slightly cleaner and more natural, if more "bassy", so I'm grateful this is still up.
grig035 2 years ago
you've got a good ear
johngotwalt 2 years ago
No question about it stef.
snivelinjack 2 years ago
One of the 4 or 5 greatest tenors of all time, without any doubt.
stefakamelpash 3 years ago 4
Bravo Corelli! Pavarotti rests.
Barabanych 3 years ago
I love this version. It's patient and tender. The high b at the end is one of the most beautiful B's I have ever heard.
tdeane34 3 years ago
Thanks be to God or just to nature for giving us this beautiful voice that we all have the great joy of hearing today.
Walter1950 3 years ago 10
Dear TurandotFanatic. Do you have any suggestion, where and when was this aria recorded? This is my most beloved Nessum dorma from my most beloved singer.
marokt 3 years ago
Is it 1966? True, there's a remarkably sweet one in Dec. '64 (La Scala), but the long phrasing here (very rare for Corelli to link "e di speranza" to "tremano d'amore" on one breath) suggests '66, as do very open vowels like the "do" in "quando". There's a '66 Turandot w/Nilsson/Freni, and this is more likely from that one. Come on, "TurandotFanatic", take us out of our misery:-). Is this '66? (BTW, I happen to agree: this is the finest "Nessun dorma" I've yet heard from my favorite Calaf.)
grig035 3 years ago 3
I believe this from 1965.
tdeane34 3 years ago
you go
johngotwalt 2 years ago
Well..now you make more sense. Wisdom is actually closely related to intelligence rather than age. And even genius people need to work hard to reach their full potential. Corelli was superbly talented all right. But I am sure he worked very hard to shape and refine his talent to the maximum extent possible. With what one is born constitutes the baseline. How far you can jump from the baseline depends on the zeal and industry of the person. Of course, starting with a high baseline helps immensely
TheInquisitive4Ever 3 years ago
Sorry, I used the wrong word. Where I said knowledge, I would say wisdom. Wisdom for music, the genius born with that. The genius born playing, singing, just few years of study and is made a genius. Who didn't born with that, probably will study the entire life, and won't reach the point, as well as the genius.
TurandotFanatic 3 years ago
Turandot-Save us the BS, will ya? "Knowledge is withing the soul of people?" Did you pull that out of your rear. In case you missed it, knowledge is acquired and understood assuming the person in question is intelligent enough. It has nothing to do with soul, which itself is a vague term to begin with. At this day an age, access to information is easy. So there is no valid reason for ignorance. Ignorance originates from one's wrongful approach to life and is by no means one's destiny!
TheInquisitive4Ever 3 years ago
Turandot-By age 14 I was speaking 4 languages, had seen most of Europe, and has seen live operatic performances in most reputable venues, and I remember asking questions trying to learn more and trying to figure out anything and everything. Being young doesn't give one the license to be clueless and stupid. Now wonder today's youth is so messed up. They're being encouraged by people like you who say it's ok to act stupid and to be clueless. Don't project your shortcomings onto those who follow.
TheInquisitive4Ever 3 years ago
To be ignorant (that means: without knowledge) is not a fault of anyone, because the ignorants are the people that didn't have the opportunities you had to learn 4 languages, to
attend the great theaters, to have access to great recordings...
But becoming arrogant to have all that and think that the knowledge gained is enough to ride roughshod over others is a serious misconduct.
TurandotFanatic 3 years ago 4
You should understand that knowledge is within the soul of people, and despite the fact that ignorant people don't know how to express, their intelligence, perception (musical, everything), are independent of their knowledge.
I do not disregard any comment because they are a different way of seeing the world, outside of my own eyes.
TurandotFanatic 3 years ago
Very well said!
ivansperanza 1 year ago
Turnadot-Nobody is suggesting such clueless young fiddlesticks to opine. But they should first acquire knowledge. Stupidity and ignorance, expecially at that age, shouldn't be tolerated.
TheInquisitive4Ever 3 years ago
Did you consider yourself stupid and ignorant when you were 14, 16?
The music has no age. Mozart was a genius at 8 years old. Concerning "soul", that is eternal, we started learning music many centuries ago. To be 14 means he is just few breaths behind you and me, but he can had have many musical lifes ahead.
Listening to music, everybody can feel the difference between the good and the no-good, because the music resides inside the soul.
TurandotFanatic 3 years ago
GermanOS-While I am not sure to which Rodolfo that fiddlestick was referring, Pava certainly didn't own Verismo (bad language to begin with). He sung them as gems (still marvelous work though). As well all know, Bel Canto and Lyric roles were his domain of dominance. Either way, that fiddlestick is off the mark.
TheInquisitive4Ever 3 years ago
Phantom-As a 14 yo kid, you should just shut the heck up! Do you even know about what you're talking? You used "verismo" and Rodolfo in the same sentence you clueless fiddlestick! If you ADD or genetic stupidity isn't a problem, try reading up on things and LEARN!
TheInquisitive4Ever 3 years ago
There is a little verismo singing involved in Boheme, especially in the 3rd Act, not the 'heavy' verismo like in Aida or Forza, Manon Lescaut, etc. But is it possible he was referring to Rodolfo in Luisa Miller, not Boheme? Did Pavarotti even sing that role...? Sorry, not too familiar with Pavarotti's later rep.
GermanOperaSinger 3 years ago
Inquisitive,
Phantom (& all) have their own opinion. As you say many times that freedom is important (so you are free, criticizing many singers), you should understand that when you respond at the way above, you're engaging in the same non-freedom policy of commenting that you abominate. If for any reviews posted here you search by the age and nationality of those who did, to humiliate them, vomiting your truths and "wise" comments, better you change your nick from Inquisitive to Inquisitor.
TurandotFanatic 3 years ago
VERISMO is not Pav. at his best he was a lyric not a tenor for verismo really not a big spinto voice, Tucker, Corelli, Domingo, Vickers, Giacomini, Martinelli,Del Monaco are a few who sang Verismo well, Pav. was not a Forza, Chenier, Aida spinto he sang those late in his career but they where not his best roles.
pearlmuth3 3 years ago
Excuse me for my naivety...I'm a neophyte...but was the last note of this version of ND a high C, it seemed more like a B to me.
Thanks in advance for clarifying
JasonEA 3 years ago
The score of "Nessun dorma" asks for a natural B ("vin-ceeeeeeeeeee-rooooo") at the syllable "ceeeeee", not a high C. The problem is: many records has a poor quality, and sometimes the pitch goes up, distorting the natural tonality of the music. But the correct top note of "Nessun dorma" aria is a high B (natural).
TurandotFanatic 3 years ago
¡¡¡El Calaf que el Maestro Puccini soñó!!!. *Gran Concierto tiene El Señor en los Cielos*, al Disfrutar con la Más Bella Voz de Tenor Heróico que dió éste Mundo,uno de los Tenores Más Inteligentes en como Manejar una Voz Grande y Poderosa, sabiendo Dar Matíces Exquisitos, y no siempre tutto forte. Y con uno de los Compositores Más Inolvidables de la Lírica Mundial.BENDITOS MAESTROS Fco.CORELLI-Gmo.PUCCINI!!!
laonirica 3 years ago
why are the audience booing him i can hear boos i cant believe it he was pretty good!
kakahass 3 years ago
SUPERB. When was this and where? Was it at the Met? Thanks in advance.
minnie888444 3 years ago
Corelli è il principe dei tenori!
titanquest92 3 years ago 2
Through their recordings they will live forever! It's beautiful singing, beyond comparison to any other.
goldie0800 3 years ago
Try saying something substantive instead of baseless words about MINGO and Carreras. While you're here, listen to Maestro Corelli and learn how a dramatic tenor should sound and sing. And once you're finished listening, crawl back to the crap whole in your native Georgia and hope that your nation will benefit from the benevolence of others to make it through the next winter.
TheInquisitive4Ever 3 years ago
You are absolutely pathetic and insulting to your own being. Your comments are pointless and ignorant.
wowyourgaiy 3 years ago
For as long as the voice is unique, it'll shine through whatever media. Where do you get such BS about some voice do not sound good on record. If it doesn't, then the recording studio doesn't know what to do. Do you even have any idea about th physics of sound and how it is recorded? You make no sense whatsoever.
TheInquisitive4Ever 3 years ago
He tried to extend the same hyped up mediocrity with his conducting (he claims he's been conducting for 30s) and he got booed (I was there) at the Met, and he surely deserved it. I think people are fed up with the Domingo nonsense.
TheInquisitive4Ever 3 years ago
Transposing dozens of operas to accommodate ones shortcomings to cash on a hyped up reputation is dishonest. When you transpose, you transpose it for all artists performing in a given opera. To what "calante" are you referring. Once transposed, he's better be singing every thing well enough as the bar is already lowered.
TheInquisitive4Ever 3 years ago
And as I said earlier, his technique has always been poor. He sounds hooted, throaty, monochromatic and pushed; never mind the feeble upper register. The timbre of his voice nothing special either. I know he's got a large following but that doesn't mean anything. Aragall, for instance, never made to mainstream opera audiences, but I am sure Domingo would have loved to have his voice and technique or that of Kraus for that matter.
TheInquisitive4Ever 3 years ago
You see...a streetwalker can get many guys off in a day, but getting off doesn't equal to a remarkable lovemaking sessions. Domingo's most performances are analogous to the former. They're just good enough to get you off operatically but they're nothing exceptional.
TheInquisitive4Ever 3 years ago
Do you want a non-exhaustive list of the roles which were transposed for him? He spent his life pushing and yelling. The only reason he's so blatantly loved by opera houses is because he never turned down a role and pulled them off good enough to fill the house.
TheInquisitive4Ever 3 years ago
Domingo main scam is that TONS of operas were transposed to accommodate his shortcomings, and top notes is not the only shortcoming. As I said, stop the nonsense, and don't comment on things you do not know about. If you like Domingo's hooted, throaty, monochromatic, pushed sound...fine. But don't suggest that he's a top tenor. He's a top salesman and opera houses love him for it. And so does the press. Singing 130 roles is artistic prostitution.
TheInquisitive4Ever 3 years ago
As I told you thousands of your wretched lifes will not be able to demminnish Domingo's and Carreras's great deal poor idiot!
sandrik100 3 years ago
Nice try Sherlock! You're repeating here what mass media has been showing down your throat for decades. In the opera world there is this good old saying..."if the instrument cannot produce, it cannot be interpreted". Domingo's instrument was flawed one day one. Corelli did the diminuendo live as well, and so did Pava in his rendition at the Wien Staats Oper in 1984. Domingo never sung anything above Ab with skill. It was more of a yell. Stop writing nonsense.
TheInquisitive4Ever 3 years ago
Radames? Hahaha...he sounds seriously flawed in that role. And I some renditions it is even transposed so that he can barely pull it off. Above all, he cannot do the diminuendo in Celeste Aida. You might want to check Maestro Corelli to see how Celeste Aida should be sung. This, again, is not a matter of taste. It is a matter of quality.
TheInquisitive4Ever 3 years ago
That diminuendo Corelli just did at studio record. I've his live record on that aria, is totally different. And... I love Corelli, but let's be fair to say the truth.
You always forget to say that Domingo is the best singer/actor at opera. Nobody interprets like him. His voice to me is ok, there's nothing wrong with his timbre, and range. He sang that natural B until 60+, his problem was just the high C, exactly as Caruso, Crimi, Zenatello, and many others. Opera is not a high C.
TurandotFanatic 3 years ago
Sorry, but Corelli's diminuendos were live as well! Listen to the 1961 Met version of Turandot. Or even better his 'e lucevan le stelle' in the Parma performance of Tosca, 1967, a perfect diminuendo on the first A4. Domingo is like Maria Callas. The voice was great but not amazing, but he is a drama king/queen like Callas. He knows how to 'strut his stuff'. His technique is definitely faulty, Villazon learned from him and look what happened.
GermanOperaSinger 3 years ago
How Domingo has survived the barrage he has given his own voice is beyond me. He must have the 'vocal cords of steel' like people say. It really is a blessing isn't it?
GermanOperaSinger 3 years ago
You are all talking about Celeste Aida correct?Corelli did diminuendo the final Bb but he took it at forte more frequently but if you were in audience when he actually diminuendo the note,you would be astounded that such a voice(I don't have to tell you all about it's attributes)could accomplish such a feat.
v2eqi 3 years ago 2
"That diminuendo Corelli just did at studio". I was there a few times when Corelli did the same thing on the same note in other contexts on the stage, not in the studio. Also, a somewhat distantly recorded "live" Aida has surfaced from a year later than his studio pianissimo. The studio one is '65 to '67 (sources differ); this newly discovered "live" one is early '68. And in the latter, he does the same diminuendo/pianissimo on the final "vicino al sol". His pianissimo here was quite real.
grig035 3 years ago
There is a live Aida recording from 1966 (with Price and Zubin Mehta) with the diminuendo on the end of 'vicino al sol" as well.
tehen162 3 years ago
I was almost forgetting to say: Domingo interpretation of the music is totally perfect. I'm talking about the music andamento, forte/piano, declamation, chiaro/scuro. And he sings respecting a rule I've also learned: he doesn't leave a single note "calante", all notes are important for him, as they must be. Who understand music can see that. You should search his masterclass at YouTube. To finish: 144+ operas, 10+ languages. You are blowing your wind against a house of stone. We just love him.
TurandotFanatic 3 years ago
It is not a matter of liking. His technique is flawed. His voice does NOT have the range required for a tenor, especially top tenor. He sounds pushed. The timbre of the voice dictates taste. I may not like a given tenor's voice but if the technique is excellent I'd still acknowledge and give the credit and praise he deserves. Domingo he has been marketed as a top tenor, which he is not.
TheInquisitive4Ever 3 years ago
No matter what the type of presentation (live or tape), Domingo is Domingo. He doesn't have the "quality instrument-the voice" as the names you mentioned. While it is true that some sound better live than on tape, or vice versa, they always sound good. It's just that the magnitude of goodness varies. Domingo always sounds throaty, monochromatic and pushed regardless of the medium.
TheInquisitive4Ever 3 years ago
I really think that this is a problem of TASTE. You definitively don't like Domingo's voice, but I do, I don't feel his voice as you say. Probably because you don't like, you didn't listen to his records enough to understand. Try to listen to his Radamès, Don José, and his voice at songs. Those are his best.
TurandotFanatic 3 years ago
I've listened all afternoon to them all, even the lady sopranos, found a beautiful voice: Rosa Ponsella. Anyway, this voice is THE VOICE when i think of Italian tenors, it is so convincing i'm thinking of the Godfather the movie. Why were there so many tenors from Italy?
kcnccarolina 3 years ago 2
I've seen him live also, as well as Carreras, Caballé and Millo. It seemed to me the inverse: his voice is more sweet and velvet live than recorded.
There are two kinds of voices: the one that is best live and worst recorded (like Corelli, Domingo, Casolla, Callas, and many others) and others that is the inverse, generally small voices, like Gedda, Florez, Matteuzzi.
You didn't comment about acting. Isn't it important to you?
TurandotFanatic 3 years ago
Turandot Fanatic...I am afraid you're comments are divorced from reality. Opera is a business at this day an age, always was, but now it's out of control. As I said, Domingo's box office record is super for he sings anything and everything just well enough. Ask every insider in the opera world off the record, and they will tell you the same thing. Opera is foremost about singing; everything else is secondary.
TheInquisitive4Ever 3 years ago
Well if your ears take pleasure in a pushed voice, with nasal overtones, mediocre vibrato, and a shaky upper register, I'd indeed recommend Domingo. Studio recording -by the way- mean SQUAT. They're engineered to perfection. I have listen to Domingo live; he doesn't sound remotely as good as Big Pava. Never did, and never will. It is an inferior quality of voice by every sense of the measure.
TheInquisitive4Ever 3 years ago 2
By the way...Corelli is really fantastic in this rendition of Nessun Dorma. I doubt that Domingo or Carreras can get anywhere near this level of excellence. But Aragall can despite being a tenore lyrico as Big Pava.
TheInquisitive4Ever 3 years ago
The "Nessun dorma" of Domingo, with Karajan (record with Katia Ricciarelli as Turandot) is to me one of the best renditions of this aria (even with the natural B not supported for much time). That record is perfect in all aspects to me.
TurandotFanatic 3 years ago
Well..Domingo knows music well. True. He attended a conservatory for 10 years. He'd better be good! lol. But knowing the rules of chess does not make one a fantastic chess player. In the end it is the way an aria is sung which excites us, not the person who knows the score the best. Big Pava was a son of a poor baker. He had a talent; and he perfected it, and spread lots of joy all around the world. Domingo is a talented mechanic. Pavarotti is a talented designer -making a simple analogy.
TheInquisitive4Ever 3 years ago
I do think you forget that, to be an opera singer is not just having a beautiful voice (like Pav) or a big voice (like Corelli). But must be a good actor/singer, must respect the music characteristics, and mainly must express (with voice, face, and body) the personage feelings. Nobody did that like Domingo.
TurandotFanatic 3 years ago
Domingo is most versatile No doubts. He sings lots of role with equal mediocrity, and a few very well. Pavarotti was pretty much excellent whatever he sung. It's a matter of quality as well as quantity. The reason Domingo is marketed as a superb tenor by opera houses is because he sings every role good enough to sell lots of tickets. He's a remarkable poster boy.
TheInquisitive4Ever 3 years ago
To be fair Pavarotti sang a lot of roles(spinto and dramatic ones)which were not good for him but he,Di Stefano and Gigli were the best tenore lirico of 20th century.Domingo as i said earlier has a B grade instrument but he is a better musician than most of the greats,male or female.
lascala123 3 years ago
I have an entire collection of Pavarotti singing verismo arias and he sounds marvellous. The term "versatility" comes to mind. No wonder he lasted 30 years at the Met, while Corelli's Met career span only 14 years.
TheInquisitive4Ever 3 years ago
Pavarotti was never good at verismo.Corelli's career at the Met lasted 14 years,yes but during that time his 25 year career he did things that could not be matched by any other in history.Pavarotti sad to say ruined his voice doing verismo.I loved him in early 70s doing bel canto roles but he spoiled his voice doing heavier roles.
lascala123 3 years ago
This comment has received too many negative votes show
Pavarotti practically owned verismo. Have you listened to his Rodolfo. It's almost unrivalled.
phantom4087 3 years ago
Declarations like Pavarotti owned verismo, his Rodolfo is unrivalled are good only for proving the bias and blindness of a fan. Although Pavarotti was excelent in the verismo operas, there were other singers equally as good or better as Canio, Turridu, Calaf, Dick Johnson, Cavaradossi (if Puccini's operas are considered verismo), Don Jose, Loris, Andrea Chenier etc. As for Rodolfo Björling, Carreras were awesome in the role too, preference is only matter of taste.
neduddki21 3 years ago
I know that Corelli and Bjorling far surpassed Pavarotti on many occasions.
phantom4087 3 years ago
Rodolfo isn't the usual spinto verismo role. While he has a few moments of real intensity, it's a matter of degree, and neither the frequency of such moments nor the textures of the orchestration while Rodolfo sings can match the density and intensity of the Puccini Des Grieux, or Dick Johnson, or Calaf, or Cavaradossi, or Luigi, or Canio, or Maurizio, or Marat, or Chenier, or Loris, or any of the other more typical verismo tenor roles that are clearly Corelli/Del Monaco territory.
grig035 3 years ago
If we were talking about versatility then Domingo who has done I think 126 roles would be considered the best but for me he his not because his voice was a B grade voice.One must understand that it is not how wide is your repertoire but your virtuosity in your repertoire and for that I believe Corelli is the best ever!
lascala123 3 years ago
Yet Pavarotti sung the verismo roles as well and nobody was complaining about his performance. He sung in roles ranging from tenore leggero, lyrico, spinto, and arguably dramatic roles and but his unique touch. Even in his later years, his performance in Celeste Aida at the Vienne State Opera received high acclaim. Corelli was incredible but I differ on opinion regarding his singing. He had a remarkable voice. His diction, however, never had the clarity of Pavarotti.
TheInquisitive4Ever 3 years ago
if you want to listen to Pavarotti's real deal renditions try the 1960s ad 1970s. Most people use Big Pava's later years as yardstick of his talent which is wrong. When he was at his prime, he was untouchable by a mile...
TheInquisitive4Ever 3 years ago
In the 60s-70s, Pav was untouchable in the bel canto roles by a mile. I agree that he was the best Duke, Tonio (La fille), Nemorino, etc, not to mention a simply riveting Rodolfo in La Boheme. Those live recordings I have of him in those roles are priceless to me.
HOWEVER, the greatest renditions of verismo roles, Calaf, Manrico, Radames, Andrea Chenier, Don Jose, and many more, were undoubtedly sung by Corelli, he was unsurpassed in those and may never be.
GermanOperaSinger 3 years ago
Bjorlings 1944 was a radio concert sung at slow tempo never sung in the house that way and he never sang Calaf in the opera house, wrong role for him live but his recording was very fine with tebaldi and Nilsson. he had a great technique but was not a dramatic. (del monaco) or big spinto as Corelli was but he sang the aria very well also. That 1944 radio one was sooooooo slow! must have been murder to sing.
pearlmuth3 4 years ago
Well I like Jussi but his 1944 is a radio concert I believe that was that real slow one, tempo very slow but good however not sung that way in the house and he never sang Calaf live, never since he was not a large spinto or dramatic tenor. Corelli who was full spinto and Del Monaco was dramatic but Jussi had the better technique then either one of them IMO, a Nordic sound, great in more lyric roles but I like his recording very much with Tebaldi and Nilsson.
pearlmuth3 4 years ago
mail1280 etc etc- is correct about the original score. However how anyone could prefer the original shortened B is beyond me. Listen to Del Monaco sing the original version.....you feel so deprived when he holds the final B for barely a second. I would have the modern version any day!!!
karlobarlo 4 years ago
i put this voice at the top with caruso bjzorling and frit wunderlich.
pavy456 4 years ago 2
An excellent rendition of this beautiful aria. I suppose Corelli had to sacrifice some dictation there in order to call on the full power of his voice. It really is needed when you go down to the A, the full orchestra comes in and the audience as well.
erialm 4 years ago 3
Bravo! To all the Bjorling fans out there, take note, this is how nessun dorma is suppose to be sung! And remember, this is LIVE!
ucrebel59 4 years ago 11
True,very true.Bjoerling actually sings a good commercial(Pavarotti type)Nessun Dorma but if you want the real thing THIS is how it's suppose to sound like!
v2eqi 4 years ago 4
Try to listen to "Jussi Björling's best Nessun Dorma" here on Youtube. It's a live concert from 1944. You can always discuss who has the most beautiful voice etc. but in my ears it's clear that Bjorling is a better singer, just listen to his final tone on Vincero, a fifteen seconds long unmatched climax!
spinto60 4 years ago
Do we need to get into the whole thing about a lyric tenor vs a dramatic/spinto tenor? Do I or lascala123, have to educate you on this?
ucrebel59 4 years ago
I like Bjorling's live Nessun Dorma very much. Bjorling's recording of Turandot, not really. I also like a number Pavarotti's live renditions. Both are great for what they are, as v2eqi put it "commercial", or if you prefer, concert material. No comparison to the "real thing" (Corelli's).
And please, spare me the "better singer" comments.
salomenet 4 years ago
When you say beauty of voice you mean timbre yes?Of course Bjoerling has far sweeter voice but as v2eqi and urcrebel59 have stated THIS is the only way it can truely be sung.Just read the score and the libretto to get an idea of how it should be intepreted.
lascala123 4 years ago 2
This comment has received too many negative votes show
This is the "only" way it can "truely" be sung? Well, allow me to point out that the score doesn't have held B.
mail1280257 4 years ago
The score states, however, that the tenor may hold the B for any amount of time the tenor wants; the orchestra will wait for him.
erialm 4 years ago
Then you must have a modified modern score. The original score does not have a pause on the B. Furthermore, should we claim Corelli's interpretation is 'incorrect' because of his unwritten diminuedo on splendera?
mail1280257 4 years ago
My score has "allarg." before the si after already two "rit." before each "tramontate", this for you does not mean held si?
Kallistono 4 years ago
Yes, the music slows down there, but that does not mean a held B. I would happily point you to a link corroborating my statement, but unfortunately Youtube doesn't let me post links. If you want to hear a more 'faithful' redition, listen to Aureliano Pertile's recording.
mail1280257 4 years ago
Pertile is one of the voices I love so much, I cant even be always objective about him!
But in the rec. of Nessun Dorma I have he completely omits the "allarg.", in my opinion this is less faithful to the score than Corelli.
Kallistono 4 years ago
I'm pretty sure there's only one Pertile recording of Nessun Dorma. Pertile does seem to lower the tempo noticably as soon as the "All'alba" phrase starts. But really, does this discussion matter? There's hardly a point (nor an objective method) of arguing who's interpretation is more "faithful". As far as I'm concerned, all three reditions (Pertile, Corelli & Bjorling) are arguably the greatest.
mail1280257 4 years ago
Right it doesnt matter and to be honest I even hate this nitpicking.
Kallistono 4 years ago 2
... and if he holds it very very very long, the orchestra will wait him in the buffet.
marokt 3 years ago
There's no high C on "Di quella pira" (Il Trovatore - Verdi, end of 3rd act). There's no high D-bemol at the end of first act (same opera). There's no high B at "E la solita storia" (L'Arlesiana - Cilèa)... But every tenor MUST sing those high notes, because more important then the score (at opera) is the tradition.
TurandotFanatic 4 years ago
THIS is how Nessun Dorma must be sung!Brillante!
lascala123 4 years ago 6
He sang his first Calaf in the Scala in 1960 with Nilsson and A. Votto. I don't know if it was recorded. Calaf was was his last appearence in the Scala also with Nilsson. After '65 Corelli didn't sing at la Scala...
marokt 4 years ago
Incredible! This is the best Nessun dorma amongst the many brilliant Nessun dormas I've heard with Corelli. And the most inróteresting one. I can't believe how long phrases he sang with one breath! Very interesting the melancholical chracter of the aria. His victory makes This Calaf very considered.
marokt 4 years ago 2
This is the best on youtube,although the recording quality or is it the transfer quality of the video is not so good.Still my personal favourite is the 1966 Met broadcast with Corelli,brings back so many memories.
v2eqi 4 years ago
What a thoughtful comment, marokt. Even though he expresses confidence in his victory, I agree that there is an unusual element of something like melancholy in this rendition.
poivriere 4 years ago
I haven't heard the '66 MET broadcast. We should collect all the Calafs of Corelli! They are so sofisticated different!To poivriere: melancholy is too simple expression, think. Not any other singer shows the ambivalent feeling of Calaf. Does anybodí has an idea how I can have the book about Corelli (M. Boango: A man, a voice?
marokt 4 years ago
The 1966 one is the best on record,of course I wished there are bootleg recordings because Corelli performed many better Nessun Dorma renditions.
v2eqi 4 years ago
You can order it from Amazon via internet.
tehen162 4 years ago
milano, 1961, the first turandot of franco at la scala!!!!!! God bless you Franco!!!!!!!
katiafeodorovna 4 years ago
Yes? You know who was the rest of cast and conductor? Is it available on CD?
Kallistono 4 years ago
macciboma,
I am not sure but I think this one was recorded at the same year as the other one.
Kallistono,
Stokowski stoped the other record I posted. This one he keeps (tries to) the orchestra playing...
TurandotFanatic 4 years ago
jajaja the composer didnt have the thought to stop the music like Stokowski and I'm sure Ping,Pong and Pang's voices drowned in the applause after this.
Es genial Corelli, ¡fantástico!
Kallistono 4 years ago 5
He is sensational, dazzling! This is THE voice of Calaf!
Turandotfanatic, do you know when this was recorded?
salomenet 4 years ago 4
Grazie (Turandotfanatic) del nuovo video, che lo
trovo fantastico, superiore al primo per la
voce più matura, che lo rende così bello.
Corelli il migliore tenore drammatico.
Il lirico Wunderlich.
macciboma 4 years ago 3