Mario Zanasi "Tutto è deserto...Il balen del suo sorriso" Jan.01.1961

Giuseppe Verdi's
- Il Trovatore -
Parma, Teatro Regio: regìa di Carlo Piccinato; coreografa Giuliana Barabaschi; impresa: direzione artistica E.T. I.
- Act II -
Il conte di Luna - Mario Zanasi
Leonora - Ilva Ligabue
Azucena - Adriana Lazzarini
Manrico - FRANCO CORELLI
Ferrando - Salvatore Catania
Ines - Eugenia Vaiani
Ruiz - Virginio Assandri
Un vecchio zingaro - Giulio Sandri
Un messaggero - Pasquale Tommasi
Interpreta del ballo - prima ballerina Giuliana Barabaschi
maestro del coro - Lido Nistri
Conductor - Arturo Basile
January 01.1961

René Seghers "FRANCO CORELLI -- Prince of Tenors"

January 18.- 19.1961: IL MATRIMONIO SEGRETO (I.)

[...] If we are to die, we will at least die married!
FRANCO to LORETTA a few days before embarking on his first-ever airplane trip to go to the United States and the MET; interviews with LORETTA CORELLI, Milan. January 27.2007, and MARCO CORELLI, Ancona, August 16.-17.2004.

The year 1961 began with CORELLI'S inauguration of the PARMA season with VERDI'S IL TROVATORE. There CORELLI fever reached new heights: one ardent female admirer, CAMILLA MERZI, presented him with a carnation she had managed to pick up during a 1957 performance in the ARENA DI VERONA. It was the very carnation that CORELLI had caressed that night, as a reminder of his beloved CARMEN; if he would please sign one of the leaves? Touched, CORELLI readily complied. This endearing PARMA TROVATORE interlude left only one professional obligation between FRANCO and his upcoming METROPOLITAN OPERA DEBUT: a final POLIUTO at LA SCALA opposite LEYLA GENCER. CORELLI would have preferred sailing to NEW YORK right after his PARMA performances, but GHIRINGHELLI'S insistence that he sing this last POLIUTO forced him to book a transatlantic flight-and his fear of flying was real and severe. CORELLI'S worry over the upcoming trip may have made him more tense than usual; at any rate, he was very much on edge when he encountered LA SCALA'S substitute chorus master, ROMANO GANDOLFI, in the corridor. The unfortunate maestro had recently dared to comment on the PARAMA TROVATORES in a newspaper interview where he judged BERGONZI'S MANRICO superior to CORELLI'S, and this public pronouncement had become a fishbone in CORELLI'S throat .Impulsively, he seized the opportunity to settle the score: "Maestro, are you still convinced that BERGONZI'S TROVATORE is better than mine?" When GANDOLFI answered, "Certainly, you know that very well," the tenor grabbed him by the throat. The encounter might have turned out very badly if bystanders hadn't intervened. The scandal was such that it reached the SOVIET UNION, where IZVESTIA published an account of it.
CORELLI'S remaining obstacle was finding a way to assuage his fear of flying, especially now that LORETTA suddenly refused to accompany him because they were not married (it is said that she had no desire to face the AMERICANS as his mistress). The prospect of having to fly alone and to survive in NEW YORK CITY all by himself was simply too much for FRANCO. In fact, his nightmares over the idea leaving terra firma were such that he himself ultimately insisted on marrying LORETTA before they left: "If we are to die, we will at least die married!" [...]

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[abracadabranque]

@RoyKa2010 Tu entends et comprends bien.

[RoyKa2010]

@abracadabranque Un peu plus de nuance aurait été bienvenu, je suis d'accord. Mais j'e crois avoir saisi votre point sur la projection vocale. Et j'entends une qualité métallique qui est peu présente chez le Roumain.

[abracadabranque]

Correct.Pas vraiment dans la nuance,mais très acceptable.