FRANCO CORELLI & Renata Tebaldi "Vicino a te s'acqueta..." June 26.1960

The World's Greatest Tenor FRANCO CORELLI sings Umberto Giordano's
- Andrea Chénier -
Wien, Staatsoper, ore: 1930
maestro del coro Roberto Benaglio; Inszenierung Paul Hager; Bühnenbild und Kostüme Robert Kautsky; Technische Einrichtung Hans Felkel; Beleuchtung Albin Rotter
- FINALE Act IV -
Andrea Chénier - FRANCO CORELLI
Carlo Gérard - Ettore Bastianini
Maddalena di Coigny - Renata Tebaldi
La mulatta Bersi - Margareta Sjöstedt
La contessa di Coigny - Elisabeth Höngen
La vecchia Madelon - Hilde Konetzni
Roucher - Edmond Hurshell
Il romanziere, Pietro Fléville - Kostas Paskalis
Fouquier-Tinville - Ludwig Welter
Il sanculotto Mathieu detto «Populus» - Alois Pernerstorfer
Un «Incredibile» - Renato Ercolani
L'abate - Fritz Sperlbauer
Il maestro di casa - Harald Pröglhöf
Schmidt - Endre Koréh
Dumas - Franz Bierbach
Conductor - Lovro von Matacic
June 26.1960

René Seghers " FRANCO CORELLI -- Prince of Tenors

April 26 -- July 07.1960 -- (I)
Following the Monte Carlo and Milan TURANDOTS, CORELLI participated in a (for him) fairly routine run of CARMENS at LA SCALA in April featuring GLORIA LANE in the title role. From there he went on to LA FENICE in VENICE for a May series if FORZA DEL DESTINOS and more TURANDOTS, one of which was broadcast over the radio. Regrettably, copies of the broadcast never materialized, although the earlier one from MONTE CARLO largely compensates for this loss (in spite of the missing first few minutes of the performance). More celebrated moments of his early 1960 schedule that can be relived today by way of a recording came in his two June performances of ANDREA CHÉNIER in VIENNA under LOVRA VON MATACIC, a disciple of HERBERT VON KARAJAN'S. The record performance of June 26. ranks very high on the list of CORELLI'S recorded portrayals of CHÉNIER, and there is the added attraction of TEBALDI, who is more imaginative than STELLA was in the NAPLES recording from November 1958. CORELLI'S impact on this particular night
is perhaps best illustrated by a story of a spectator, MARTINA ARROYO, then in VIENNA for her upcoming audition with KARAJAN himself: "TEBALDI was singing, BASTIANINI, and a gentleman I didn't know, Mr. CORELLI. The performance was so great, and I was so floored by this gentleman, Mr. CORELLI, that we screamed and we yelled and the next day I couldn't sing the audition because I was hoarse". ARROYO, famous for her wit, went on to thank CORELLI for having thus saved her career, a clear reference to KARAJAN'S reputation as a throat wrecker. [...]

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Wonderful art!