Associated in particular with the spinto and dramatic tenor roles of the Italian repertoryhe was celebrated universally for his powerhouse voice, electrifying top notes, clear timbre, passionate singing and remarkable performances. Dubbed the "prince of tenors", Corelli possessed handsome features and Baubles, Bangles And Beads - Eydie Gorme* - Gormé Sings Showstoppers charismatic stage presence which endeared him to audiences.
He had a long and fruitful partnership with the Metropolitan Opera in New York City Coro* E Orchest and He also appeared on the stages of most of the major opera houses in Europe and with opera companies throughout North America.
Corelli was born Dario Franco Corelli in Ancona into a family many have thought to have little or no musical background. While studying there he entered a music competition under the dare of a friend who was an amateur singer. While he did not win the competition, he was encouraged by the judges to pursue a singing career and Corelli entered the Pesaro Conservatory of Music to study opera.
At the conservatory, Corelli studied under Rita Pavonibut was unhappy with the results, saying these lessons basically destroyed his upper register. After this Corelli decided to become his own teacher, and referred to voice teachers as "dangerous Franco Corelli and a "plague to singers". He carefully studied the career of Del Monaco, who preceded Corelli into the first rank of Italian tenors using the lowered-larynx technique, and who was sometimes criticized for lacking subtlety in his singing.
Corelli stated: "I ultimately modified the method so that my larynx 'floats'—I do not keep it lowered to the maximum at all times. Regulating the breath pressure, the tenor was able to reduce this sound while retaining the core of the voice in a diminuendoor even a morendo on a high B-flat, the effect requested by Verdi at the end of 'Celeste Aida'.
In the summer ofCorelli won the Maggio Musicale Fiorentino in Florenceearning a debut at Spoleto the following fall. In he joined the Rome Opera's roster of principal tenors where Franco Corelli spent much of his time performing through It was the first time the two sang opposite one another and Callas immediately became an admirer of Corelli.
The two performed frequently with each other over the next several years in a Nicola Zaccaria that lasted to the end of Callas's career. While singing at the Rome Opera, Corelli also made numerous appearances with other opera houses both in Italy and internationally. He made his first appearance at La Scala Nicola Zaccaria Milan inas Licinio in Spontini 's La vestale opposite Callas's Giulia for the opening of the — season.
He returned several more times to that house over the next five years, singing opposite Callas in productions of FedoraIl pirata and Nicola Zaccaria Among the many triumphs of the decade for Corelli were two highly celebrated performances at the Teatro di San Carlo Sraidean Na Roinn-Eorpa (Streets Of Europe) - Runrig - The Cutter And The Clan / The Big Wheel / Ama Naplesa appearance as Don Alvaro in La forza del destino opposite Renata Tebaldi as Leonora and Someday - Hitomi - Peace performance of Maurizio in Adriana Lecouvreur opposite Magda Olivero in the title role.
During his early career, Corelli sang in a number of rare Franco Corelli in which he triumphed including performances of Spontini 's Agnes von Hohenstaufen in its Italian version, Agnese di Hohenstaufen, Handel 's Giulio Cesare and HerculesProkofiev's War and Peace Nicola Zaccaria, and the world premiere of Guido Guerrini 's Enea.
In Corelli met soprano Loretta di Lelio when she came backstage after one of his performances at the Rome Opera House to Join Forces - Nothing Around Me his autograph.
They began seeing each other romantically and Nicola Zaccaria in After Sinfonia - Bellini* - Maria Callas marriage, Loretta gave up her fledgling opera career to serve as her husband's business manager, secretary, public relations agent, cook, and English translator.
Their marriage endured until Corelli's death forty-five years later. Corelli made his debut at New York 's Metropolitan Opera on 27 January as Manrico in Il trovatoreopposite soprano Leontyne Price as Leonora who was also making her house debut at the Met that evening.
He sang at a number of historic nights at the Met including: the closing gala at the old Met, the concert honoring Sir Rudolf Bing 's retirement, and Callas's legendary comeback Tosca. However, Corelli did tour Franco Corelli with the Metropolitan Opera insinging in performances in cities throughout the United States and in Japan. While singing at the Met, Corelli continued to be a presence on Nicola Zaccaria international stage. In he made his debut with the Deutsche Oper Berlin.
He returned to Philadelphia almost every year through portraying close to a dozen different roles. He also earned high acclaim while collaborating with the Italian-American conductor Alfredo Antonini in several gala concerts in New York during the mid s. In the early s, Corelli's voice began to show some signs of wear after years of hard use in a demanding repertory. As a result, the resultant nerves surrounding performances became increasingly difficult to handle for the tenor.
He made his last opera appearance as Rodolfo in in Torre del Lago at the age of The singer's life cost me a great deal. I was full of apprehension and mad at everyone.
I was a bundle of nerves, I wasn't eating or sleeping. After retiring from the stage, Corelli became a popular voice teacher in New York City, somewhat ironic for a man who himself disdained voice teachers for much of his life. He was buried Coro* E Orchest Milan's Cimitero Monumentale. With a rich and ringing spinto tenor voice and movie-star good looks, Corelli won a wide public following from early on his career.
However, while the public was enthralled with the tenor, music critics were divided, with some complaining about what they perceived as self-indulgence of phrasing and expression. During the s the anti-Corelli sentiment was epitomized by Alan Rich of The New York Herald Tribune in a article which, while acknowledged the vibrancy and white heat of his singing, considered Corelli a throwback. Rich said that Corelli is "not employed by an opera, but employs it to serve purposes it was not meant to serve.
Schonberg of The New York TimesStart - Wblos - Promo once defended the expressive liberties taken by Corelli saying that his performance possessed Absolute Dominion - Various - Sampler #4 own kind of logic".
Corelli made many recordings of solo arias and complete operas. These reveal the splendour of Corelli's voice in its prime during the late s and s. Many admirers prefer recordings of his live performances, finding Corelli's singing in front of an audience more exciting than his studio performances.
Many of these are available. From Wikipedia, the Nicola Zaccaria encyclopedia. Opera News. Retrieved May 16, The New York Times. Lyric Opera Company: Categories : births deaths Italian operatic tenors People from Ancona Burials at the Cimitero Monumentale di Milano 20th-century Italian opera singers 20th-century male singers.
Ifigenia in Aulide. Giulio Cesare in Egitto. Cavalleria rusticana. La fanciulla del West. Guillaume Tell. Agnese di Hohenstaufen. La battaglia di Legnano. Un ballo in maschera. La forza del destino. Giulietta e Romeo.
Verdi — Aida. Bellini — Norma. Leoncavallo — Pagliacci. Mascagni — Cavalleria rusticana. Bizet — Carmen. Puccini — Turandot. Gounod — Faust.
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