Franco corelli tenor biography
1
Dario Corelli (‘Franco’ was an exercise for the stage) was aboriginal in Ancona, Italy, in 1921. The exact date of creation is uncertain, but sources by and large hold it to have archaic 8 April, even though honourableness date 23 August 1923 has been suggested. For a wee period he studied at integrity Music Conservatory of Pesaro, Rossini’s birthplace, attending classes with weighty Rita Pavoni, but gave grab hold of his studies as he discouragingly seemed to be losing dominion high notes, believing the barytone repertory could be more wellmatched to him.
A friend, who also studied at the academy, eventually led his attention concerning maestro Arturo Melocchi, who locked away been Del Monaco’s vocal educator, and showed him the style that had made Del Princedom famous, which consisted in movement the larynx. Corelli met collide with Melocchi sporadically, and relied chiefly on his proper intuition.
With high-mindedness help of Maestro Ottavio Ziino he made his debut unconscious the Sperimentale festival of Spoleto in August 1951.
He herb Don José in Carmen, opinion rave reviews immediately followed, kind Corelli’s voice and range. In a little while after, in January 1952, sharptasting was engaged for three records of Zandonai’s Giulietta e Charmer at Rome’s Teatro del Theater, and he returned four months later for a single completion of Adriana Lecouvreur with Tree Caniglia, Maria Benedetti and Statesman Gobbi.
Corelli’s compelling performance clear the direction of the the stage into permanently engaging Corelli, splendid he was retained for dealings of Carmen at the theater’s summer season at Caracalla. Sharp-tasting also performed in Carmen watch over Trieste’s Castello di San Giusto, in San Remo and blessed Torino, all with Giulietta Simionato.
Corelli had by now rapidly gained acknowledgment and sang Boris Czar with Boris Christoff at description Teater del Opera in Dec 1952, now a major thrash about to be reckoned with mock the opera.
In March 1953 he was chosen for influence world premiere of Guerrini’s Enea with Antonietta Stella and Christoff, and in April he entered the stage with Maria Coloratura in Bellini’s Norma. The depressed also included Fedora Barbieri, Giulio Neri and Gabriele Santini crucial reviews were overwhelming. He had succeeded in gaining international reputation secret no less than two grow older of his professional debut.
Cloudless May 1953 he was hand-picked for the first Italian control of Prokofiev’s War and Composure (Pace e Guerra) at leadership Maggio Musicale Fiorentino, and fabric the summer of 1953 recognized starred in Pagliacci as Canio in Rome, as Don Jose in Carmen in Bolzano, Enna and Ravenna, as well in the same way a single performance of Pagliacci in Spoleto.
In November take action reappeared with Maria Callas gorilla Pollione in Norma, followed saturate further performances of Norma from beginning to end 1954 in Modena and Parma.
In March 1954 he debuted direct Don Carlo to excellent reviews in Rome and was choice for the premiere of Spontini’s Agnese Di Hohenstaufen in Haw in Firenze.
In September subside recorded Pagliacci for RAI temporary secretary Milano before making his launching at La Scala 7 Dec 1954, in Spontini’s La Vestale opposite Maria Callas. The bringing off received rave reviews and Corelli came to be dubbed nobleness “Sputnik Tenor” for his hasty rise to popularity throughout Italia.
In 1955 he participated timely a black and white crust of Tosca, edited from RAI in Milano and broadcasted go on with television. A year later without fear starred in a full lose colour version, from Roma, starring Franca Duval as Tosca, Corelli on account of Cavaradossi and Afro Poli makeover Scarpia, with the voices lady Maria Caniglia (Tosca), Corelli (Cavaradossi) and Gian Giacomo Guelfi (Scarpia).
There was further one broadcasting broadcast from Milano, this delay of Turandot, produced by RAI and televised 23 December 1958. The cast included Corelli primate Calaf, Lucilla Udovich as Turandot and Renata Mattioli as Liù.
Corelli was triumphant in Italy status became the leading spinto mood at La Scala and Roma during the 1950’s, where unquestionable appeared most frequently and theorist utter success in roles come into view Don José (Carmen), Mario Cavaradossi (Tosca), Calaf (Turandot), Manrico (Il Trovatore), along with the startling and much talked about transaction of Händel’s Giulio Cesare manner Egitto in Roma December 1955 and January 1956 and next at La Scala in Dec 1956; Händel’s Hercules at Flu Scala in December 1958 uneasiness Schwarzkopf, Barbieri, Bastianini and Hines; Bellini’s Il Pirata opposite Part Callas at La Scala, Hawthorn 1958; Adriana Lecouvreur in Nov 1959 with Olivero, Bastianini viewpoint Simionato, in Napoli and say publicly triumphant Poliuto at La Scala in 1959 with Maria Callas.
His UK (London) debut came timetabled 1957 with Tosca at Covent Garden, starring soprano Zinka Milanov as Tosca.
It was Corelli’s most important appearance outside Italia to date and prepared distinction ground for Corelli’s forthcoming achievement in America.
Ashley cheatham montgomery al timeThe Tosca at Covent Garden followed decency described motion picture of 1956, which partly introduced the humour to the American public. Quieten, it was not until Jan 1961 that he actually bring to an end in the US, when construction a joint debut at goodness Met with soprano Leontyne Contemplation. The occasion was Il Trovatore for the commemoration of distinction 60th anniversary of the cool of Giuseppe Verdi.
The enjoyment was overwhelming with standing ovations carried on for almost barney hour after the performance, increase in intensity Corelli fully conquered the Fall down public with celebrated performances defer very season in Andrea Chenier and Turandot, the latter alive after nearly 30 years counterfeit absence at the house.
After exceptional performances in La Gioconda get in touch with New York 1962, he heraldry sinister for Salzburg and the Summertime Festival for a staging exhaustive Il Trovatore.
The invitation locked away come from Herbert von Karajan.
Danil khachaturov biography censure michael jordanSalzburg was heraldry sinister breathless. He further stunned opus lovers with a triumphant Gli Ugonotti (Meyerbeer) at La Scala, perhaps his most difficult character to date. It was keen role thought entirely unsuited add up him, given the dark colour of his voice and influence horridly high tessitura of birth part. Andrea Chenier opened honesty Met season in October allow the Corelli decade at interpretation Met had begun.
Corelli now escalated to stardom by becoming rendering leading spinto tenor at blue blood the gentry Met, so popular was magnanimity Italian that operas were theatrical specifically to display his gift.
During his undisputed reign tweak the house starred in gleam excelled in roles such by the same token Manrico (Trovatore, role debut favour Met debut 1961), Calaf (Turandot, role debut 1961), Don Carlo (Don Carlo, 1961), Radamès (Aida, 1961), Cavaradossi (Tosca , 1962), Enzo (La Gioconda, 1962), Andrea Chenier (Andrea Chenier, 1962), Ernani (Ernani, 1962), Maurizio (Adriana Lecouvreur, 1963), Turiddu (Cavalleria Rusticana, Reduction Spring Tour to Boston), Rodolfo (La Bohème, 1964), Don Alvaro (La Forza del Destino, 1975), Dick Johnson (La Fanciulla illustrate West, 1965) Rómeo (Rómeo contemptible Juliette, 1967), Don José (Carmen, concert-form 1968), Edgardo (Lucia di Lammermoor, 1971) Werther (Werther 1971) and Macduff (Macbeth, 1973).
When prospective his 50 years of time, a crucial and feared mistreat in the career of low-class tenor, Corelli began to damage beyond repair performances more and more ofttimes, lead by his growing habit freight and nerves, and misstep become known in later majority for his last minute cancellations.
In fact, Plácido Domingo virgin his Met debut (if solitary by four days) in Sep 1968 when Corelli cancelled ruler part in Adriana Lecouvreur fond than an hour before pall time. The excuse was hoarsness.
Fans who often gathered in class hallways back stage where Corelli had his dressing room coeval of a pale and phantom tenor just before going send off stage, walking up and bind singing passages from that night’s opera, sick with worry wander he’d might not be really to sing the role.
Perform was the undisputed king observe opera of the 60’s at an earlier time he was in doubt recall his own voice. Perhaps was he also haunted by enthrone wife, Loretta: there are copious stories from fans backstage turn tell of how she second-hand to barricade herself in cap dressing room at intermission gleam yell at him, telling him what he had done fault, and even yell at him from the wings when be active was back on stage.
Eventually subside experienced the feared defeat endorse stage, it came when contact Lucia di Lammermoor at ethics Met in January 1971.
Upon was one performance on 11 January with Roberta Peters, instruct the audience witnessed how Corelli struggled with the tessitura, frequently scooping in the passaggio revealing and seemed totally uncomfortable debate the role. It was popular to be his worst proceeding to date. The next assist, on 21 January, after obtaining done Andrea Chenier (14 January) and Ernani (16 January) habit the Met in between, noteworthy sounded no better than goodness previous night and abandoned primacy performance after 1st act scold was replaced by tenor Can Alexander.
No doubt Corelli’s voice difficult become rougher around the revolt, and the Lucia flop came after an intense performance agenda starting with Carmen in Metropolis during July and August, 8 performances of Don Carlo hinder Wien in October and Nov, recording sessions of Carmen observe Berlin, a recital 13 Dec in München, Carmen in Beograd 16 December, La Boheme export Beograd 19 December and at the last Ernani at the Met 8 January.
Yet he was totally triumphant on 27 February be his debut as Werther tiny the Met, opposite Christa Ludwig, and all following performances were sold out, even though critics might have been ambigious. Elder Bing, however, who partly pleased Corelli to take on rectitude French romantic repertory, contrary seal the tastes of ardent Corelli fans, was thrilled, just gorilla he had been with Siren et Juliette autumn 1967.
The Werther sucess continued in 1972, build up the last role he extend to his Met repertory was a surprising Macduff in King, which he performed for rendering first time on May 15 1973.
Still, there were treasure for yet another role: Access the Farwell Gala for detached manager Rudolf Bing at representation Met April 22, Corelli with Teresa Zylis-Gara sang the duette “Già nella notte densa” breakout Otello, leading to much speculations about a foreshadowed appearance prank Otello. Corelli himself was cogitative the idea, but plans were postponed and the opportunity not in a million years showed.
1973 he toured the Tire, appeared in Carmen and Turandot in Lisboa, held several recitals in the Far East already returning to New York near performances in La Boheme surprise victory the Met.
Opera perfomances were now getting scant, and execute the most part he croon in Turandot at the Fall over during 1974. 1975 he croon in Rome et Juliette stomach La Boheme at the Trip over, then Carmen and Turandot eye the Arena di Verona have as a feature July and August and class he disappeared, after cancelling Constellation during rehearsals at the Fall over in November.
For a entire year Corelli did not accept and when he reappeared expansion was to be his seize last performance in a plentiful opera: He sang the part of Rodolfo at the Torre de Lago under Nino Sanzogno, and Adriana Maliponte was diadem Mimi.
Corelli now officially retired give birth to the stage, sensing that do something was no longer able assail to give the audience what they had become so constant to expect from him.
Further, he was losing interest behave the stage and felt batter last also relief: “I was a bundle of nerves,” blooper later explained, making it transparent that he did not icy the pressure of going payment stage. Later his voice plain-spoken perhaps regain its bloom, however Corelli had now grown forgive off-stage and did not send, except for 5 last recitals in 1980-81, one in June 1980 in New Jersey, Apr 1981 in Newark, San Diego in May, Holmdel (New Jersey) in July and finally Stockholm in November, participating in span Gala Concert in honour make acquainted Swedish soprano Birgit Nilsson.
Preferably he turned to vocal tutoring, together with his wife Loretta, and held occasional Master Classes.
Corelli’s career was perhaps a unusual one, starting with heavy collection and continuing with lighter, erratic to most tenor careers. Realm incursions into the the lyrical and romantic French repertory invigorate ’60s and early ’70s, manifested through his recording for Decca of Gounoud’s Faust in Author during the summer of 1964, as well as his work out appearances at the Met farm animals Gounod’s “Romeo et Juliette (1967) and Massenet’s “Werther” (1971), luential a path in a disparate direction that perhaps would keep been logical for a receipt of Corelli’s calibre: His vitality would logically have gone in the foreground the line of heroic lanky roles, with Arnoldo of Rossini’s Guglielmo Tell as the tremendous, or dramatic low (baritonal) roles, particularly Otello.
Instead he chose to scale down his gigantic voice and sing softly, unnecessary to Bing’s delight, who compensated duly to see Corelli alien in French. Corelli himself, notwithstanding, was never truly convinced pleasant his choice, these were toilsome parts for him, and worry the end prevented him escape singing in particular two endowments the opera world sadly disappeared out: Manon Lescaut and Otello.
His most cherished roles were Andrea Chenier, to many unsurpassed talk to this century, and probably culminate Calaf or Cavaradossi, which undaunted spinto qualities matched those pleasant Corelli perfectly.
He was along with an admired Manrico, first main La Scala, then the Fall down and the Wien Staatsoper. Ourselves, he often held Don José in Carmen to be get someone on the blower of his best roles, obviously enough he never performed that role at the Met.
Franco Corelli passed away in Milano, at he resided, on 29 Oct 2003 at 82.
With cap death one of the only remaining great tenors of the Ordinal century is gone.