128:(smooth) singing. 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." Corelli also learned by imitating the style and vocal effects of the recordings of great tenors like
111:, but 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 people" and a "plague to singers". Corelli stated that he learned part of his technique from a friend who was a student of
54:, he was celebrated universally for his powerhouse voice, electrifying top notes, clear timbre, passionate singing and remarkable performances. Dubbed the "prince of tenors", audiences were enchanted by his handsome features and charismatic stage presence. He had a long and fruitful partnership with the
622:
in a 1966 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." Also, many critics did not look favourably on his performances in
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into a family some say had little or no musical background. While his parents were not particularly musical, his paternal grandfather
Augusto had actually quit working at 35 to establish a successful career as an operatic tenor. His older brother Aldo subsequently quit school to become an operatic
440:
to get his autograph. They began seeing each other romantically and married in 1958. After their 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
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as
Adriana. The same year he appeared in operas with smaller opera houses throughout Italy and on the Italian radio. In 1953 he joined the Rome Opera's roster of principal tenors where he spent much of his time performing through 1958. His first role with the company in 1953 was that of Romeo in
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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 1960s the
1306:
Corelli made many recordings of solo arias and complete operas. These reveal the splendour of
Corelli's voice in its prime during the late 1950s and 1960s. Many admirers prefer recordings of his live performances, finding Corelli's singing in front of an audience more exciting than his studio
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In the early 1970s, 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 1976 in
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at the age of 55. Corelli later said of the decision, "I felt that my voice was a little tired, a little opaque, less brilliant than before. 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."
22:
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in the title role. 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 partnership that lasted to the end of Callas's career.
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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 briefly coaxed out of retirement for concerts in 1980 and 1981. He died in
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stated that
Corelli's lowered-larynx technique "resulted in cavernous sound even in high-flying passages, where it gained brilliance. Regulating the breath pressure, the tenor was able to reduce this sound while retaining the core of the voice in a
100:. 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
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lowered. Corelli studied with
Melocchi himself only "sometimes". Corelli modified the technique to avoid limitations that Corelli perceived in the ability of students of Melocchi to handle mezza-voce (moderate volume) and
520:, also singing her last performance at the Met, as Turandot. However, Corelli did tour extensively with the Metropolitan Opera in 1975, singing in performances in cities throughout the United States and in Japan.
1977:
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opposite Callas's Giulia for the opening of the 1954–1955 season. He returned several more times to that house over the next five years, singing opposite Callas in productions of
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French opera, owing to the tenor's exotic French diction and style. However, Corelli also had his admirers among several highly respected and notable critics, including
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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
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as Mario
Cavaradossi. He returned to Philadelphia almost every year through 1971 portraying close to a dozen different roles. He made his debut at the
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between 1961 and 1975. He also appeared on the stages of most of the major opera houses in Europe and with opera companies throughout North America.
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as Leonora who was also making her house debut at the Met that evening. He would sing to great acclaim at the Met until 1974 in roles such as
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284:, which was broadcast live on Italian radio. Other important debuts for Corelli soon followed, including his first appearances at: the
199:, feeling that at this point he lacked the technical finesse and legato for the role of Radamès. In May 1952, he made his debut at the
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in 1964 opposite Callas in Tosca and Norma. He also earned high acclaim while collaborating with the Italian-American conductor
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633:, who once defended the expressive liberties taken by Corelli saying that his performance possessed "its own kind of logic".
516:'s retirement, and Callas's legendary comeback Tosca. His last performance at the Met was on 28 December 1974 as Calàf with
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While singing at the Met, Corelli continued to be a presence on the international stage. In 1961 he made his debut with the
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512:. He sang at a number of historic nights at the Met including: the closing gala at the old Met, the concert honoring Sir
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During his early career, Corelli sang in a number of rare operas in which he triumphed including performances of
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92:. Corelli loved the sea and initially decided to follow in the footsteps of his father by pursuing a degree in
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In 1957, Corelli met soprano Loretta di Lelio when she came backstage after one of his performances at the
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in 1961. Among the many triumphs of the decade for Corelli were two highly celebrated performances at the
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270:(1960). He also notably portrayed the role of Dick Johnson in a highly celebrated performance of
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29 October 2003, aged 82, after suffering a stroke earlier that year, and was buried in Milan's
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1978:"Franco Corelli, Italian Tenor of Power and Charisma, and Pillar of the Met, Dies at 82"
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on a high B-flat, the effect requested by Verdi at the end of 'Celeste Aida'."
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the following fall. He was originally scheduled to sing Radames in
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Zucker, Stephan (3 February 1996). "Corelli: tenore del mondo".
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career between 1951 and 1976. Associated in particular with the
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in several gala concerts in New York during the mid 1960s.
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and spent three months preparing the role with conductor
2201:
Hamilton, David; Andris-Michalaros, Aliki, eds. (1987).
500:. He also undertook French parts in new productions of
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chorus in Ancona. His father was a shipbuilder for the
70:
561:. Also in 1962 he made his first appearance with the
38:(8 April 1921 – 29 October 2003) was an Italian
527:. He returned to La Scala in 1962, for a revival of
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opposite another one of his frequent collaborators,
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Orchestra dell'Accademia Nazionale di Santa Cecilia
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224:. Later that season he sang Pollione in Bellini's
2143:"The Stuff of Musical Myth Turns Up in the Flesh"
346:as Leonora and a 1959 performance of Maurizio in
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2276:History of the Tenor – Sound Clips and Narration
369:in its Italian version, Agnese di Hohenstaufen,
2227:The Metropolitan Opera Guide to Recorded Opera
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2038:
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2330:Burials at the Cimitero Monumentale di Milano
2065:"Franco Corelli Performance Annals 1951–1981"
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1918:
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1873:Orchester und Chor der Deutschen Oper Berlin
391:, and the world premiere of Guido Guerrini's
2290:Franco Corelli in performance on Archive.org
2127:The New York Times, 14 November 1965, p. 101
1910:
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1307:performances. Many of these are available.
80:baritone, and two of his uncles sang in the
2118:The New York Times, 6 December 1964, p. 114
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107:At the conservatory, Corelli studied under
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2271:Franco Corelli's biography at Opera Vivrà
1975:
1889:
612:anti-Corelli sentiment was epitomized by
75:Corelli was born Dario Franco Corelli in
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20:
2335:20th-century Italian male opera singers
2247:Franco Corelli, L'uomo, la voce, l'arte
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2003:
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445:The Metropolitan Opera years: 1961–1975
167:In the summer of 1951, Corelli won the
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1976:Tommasini, Anthony (30 October 2003).
1971:
1367:Chorus and Orchestra of the RAI Turin
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2169:Met matinee broadcast of 7 March 1964
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336:, a 1958 appearance as Don Alvaro in
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2205:The Metropolitan Opera Encyclopedia
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1455:Coro e Orchestra Teatro alla Scala
71:Early life and education: 1921–1950
13:
1948:
1411:Coro e Orchestra Teatro alla Scala
14:
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457:on 27 January 1961 as Manrico in
421:, and the title roles in Verdi's
2007:Franco Corelli, Prince of Tenors
1866:Helen Donath, Piero Cappuccilli
1737:Rome Opera Chorus and Orchestra
1700:Rome Opera Chorus and Orchestra
1660:Rome Opera Chorus and Orchestra
1572:Rome Opera Chorus and Orchestra
563:Philadelphia Lyric Opera Company
242:in Milan in 1954, as Licinio in
88:and the family lived beside the
50:and dramatic tenor roles of the
16:Italian opera singer (1921–2003)
2194:
2174:
2162:
2130:
2121:
2107:Box: Phila. Lyric Opera Company
2010:. Hal Leonard Corp. p. 3.
1801:Birgit Nilsson, Franco Corelli,
115:, the voice teacher who taught
2112:
2096:
2085:
2024:
1997:
1833:Franco Corelli, Mirella Freni,
441:death forty-five years later.
276:at La Scala in 1956, opposite
42:who had a major international
1:
1882:
636:
553:and opposite Leontyne Price,
314:Teatro Nacional de São Carlos
26:
2103:Free Library of Philadelphia
1929:"Obituaries: Franco Corelli"
650:
102:Pesaro Conservatory of Music
65:
7:
2245:Landini, Giancarlo (2010).
2092:Metropolitan Opera Archives
1864:Franco Corelli, Anna Moffo,
1697:Francesco Molinari-Pradelli
1621:(recorded live on 7 March)
1537:and Wiener Staatsopernchor
656:
619:The New York Herald Tribune
10:
2351:
1927:Siff, Ira (January 2004).
1324:Opera House and Orchestra
449:Corelli made his debut at
286:Maggio Musicale Fiorentino
169:Maggio Musicale Fiorentino
2249:. Viareggio: Idea Books.
2171:at the Met Opera Archive.
1779:London Symphony Orchestra
1804:Dietrich Fischer-Dieskau
607:With a rich and ringing
290:Arena di Verona Festival
2315:Italian operatic tenors
2109:: 782.1 P5326p Bal Two
2063:Hamilton, Frank (ed.).
1478:Victoria de los Ángeles
1168:La battaglia di Legnano
893:Giulio Cesare in Egitto
415:, Rodolfo in Puccini's
163:Early career: 1951–1960
2209:. Simon and Schuster.
2187:, Met Opera on Demand.
2004:Seghers, Rene (2008).
1774:Ambrosian Opera Chorus
1121:Agnese di Hohenstaufen
1116:Enrico di Braunschweig
366:Agnes von Hohenstaufen
318:Lyric Opera of Chicago
218:'s rarely heard opera
32:
2224:Gruber, Paul (1993).
1845:Chorus and Orchestra
1535:Wiener Philharmoniker
1494:Chorus and Orchestra
1057:La fanciulla del West
586:Later life: 1976–2003
273:La fanciulla del West
175:, earning a debut at
98:University of Bologna
24:
2320:Grammy Award winners
1472:Cavalleria rusticana
1228:La forza del destino
1213:Un ballo in maschera
942:Cavalleria rusticana
741:Maurizio di Sassonia
597:Cimitero Monumentale
525:Deutsche Oper Berlin
412:Cavalleria rusticana
339:La forza del destino
288:in Florence and the
2140:(18 January 1993).
1649:Giulietta Simionato
1531:Herbert von Karajan
1302:Selected recordings
763:Lucia di Lammermoor
647:
625:Harold C. Schonberg
555:Giulietta Simionato
551:Herbert von Karajan
356:in the title role.
330:Teatro di San Carlo
322:San Francisco Opera
134:Giacomo Lauri-Volpi
2325:People from Ancona
2148:The New York Times
2081:on 8 January 2018.
1983:The New York Times
1653:Ferruccio Mazzoli
1618:Metropolitan Opera
1356:Giangiacomo Guelfi
827:Ifigenia in Aulide
758:Edgardo Ravenswood
746:Adriana Lecouvreur
630:The New York Times
603:Critical reception
455:Metropolitan Opera
349:Adriana Lecouvreur
326:Berlin State Opera
294:Vienna State Opera
206:Adriana Lecouvreur
56:Metropolitan Opera
33:
2256:978-8-8880-3368-6
2237:978-0-3930-3444-8
2216:978-0-6716-1732-5
2138:Honan, William H.
2017:978-1-5746-7163-6
1880:
1879:
1828:Roméo et Juliette
1762:, Franco Corelli,
1722:, Franco Corelli,
1685:, Franco Corelli,
1651:, Robert Merrill,
1563:Antonietta Stella
1519:, Franco Corelli,
1480:, Franco Corelli,
1452:Lovro von Matačić
1349:, Franco Corelli,
1347:Mary Curtis Verna
1299:
1298:
1288:Giulietta e Romeo
1037:Mario Cavaradossi
861:Roméo et Juliette
559:Ettore Bastianini
547:Salzburg Festival
503:Roméo et Juliette
464:opposite soprano
324:in 1958; and the
302:Royal Opera House
278:Gigliola Frazzoni
221:Giulietta e Romeo
191:Giuseppe Bertelli
138:Aureliano Pertile
94:naval engineering
82:Teatro delle Muse
52:Italian repertory
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2185:, 7 March, 1964"
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2074:. Archived from
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1765:Nicolai Ghiaurov
1729:Bonaldo Giaiotti
1727:, Mario Sereni,
1692:Bonaldo Giaiotti
1657:Thomas Schippers
1642:Franco Corelli,
1591:Franco Corelli,
1570:Gabriele Santini
1561:Franco Corelli,
1488:Gabriele Santini
1436:Franco Corelli,
1400:Franco Corelli,
1352:Miriam Pirazzini
1310:
1309:
1198:Simon Boccanegra
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571:Alfredo Antonini
438:Rome Opera House
308:, in London, as
117:Mario Del Monaco
104:to study opera.
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1193:Gabriele Adorno
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1005:Pierre Bezhukov
971:Raoul di Nangis
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316:in Lisbon, the
312:, in 1957; the
203:as Maurizio in
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113:Arturo Melocchi
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466:Leontyne Price
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402:Andrea Chénier
385:, Prokofiev's
344:Renata Tebaldi
211:Maria Caniglia
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36:Franco Corelli
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384:
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60:New York City
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2195:Bibliography
2182:
2176:
2164:
2152:. Retrieved
2147:
2132:
2123:
2114:
2106:
2098:
2087:
2076:the original
2071:
2046:
2026:
2006:
1999:
1987:. Retrieved
1981:
1938:. Retrieved
1932:
1870:Lorin Maazel
1857:
1826:
1809:Lorin Maazel
1794:
1752:
1725:Grace Bumbry
1712:
1675:
1637:Il trovatore
1635:
1609:Hermann Uhde
1584:
1554:
1509:
1483:Mario Sereni
1470:
1447:Mario Zanasi
1438:Lucine Amara
1429:
1392:Maria Callas
1384:
1339:
1305:
1286:
1271:
1256:
1241:
1226:
1211:
1196:
1183:Il trovatore
1181:
1166:
1151:
1134:
1119:
1102:
1085:
1070:
1055:
1052:Dick Johnson
1040:
1023:
1008:
991:
974:
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923:
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891:
888:Sesto Pompeo
876:
859:
842:
825:
810:
807:Loris Ipanov
793:
778:
761:
744:
727:
712:
697:
680:
665:
643:
628:
617:
609:spinto tenor
606:
589:
575:
543:Il trovatore
542:
532:
522:
507:
501:
460:Il trovatore
458:
448:
435:
428:
422:
416:
410:
400:
392:
386:
380:
374:
364:
358:
347:
337:
271:
265:
259:
253:
247:
237:
232:Maria Callas
225:
219:
204:
194:
184:
166:
155:, or even a
145:
106:
90:Adriatic Sea
86:Italian Navy
74:
35:
34:
18:
2310:2003 deaths
2305:1921 births
1843:Paris Opera
1734:Zubin Mehta
1597:Irene Dalis
1426:Leoncavallo
1361:Giulio Neri
1208:Gustavo III
993:La Gioconda
931:Leoncavallo
567:Paris Opéra
537:, opposite
514:Rudolf Bing
482:Cavaradossi
310:Cavaradossi
264:(1958) and
109:Rita Pavoni
30: 1960
2299:Categories
2154:31 October
2047:Opera News
1934:Opera News
1883:References
1793:Puccini –
1614:Kurt Adler
1492:Rome Opera
1443:Tito Gobbi
1322:Conductor,
1223:Don Alvaro
1104:La Vestale
999:Ponchielli
785:Donizetti
714:I Puritani
644:Repertoire
637:Repertoire
300:, and the
282:Tito Gobbi
249:La vestale
201:Rome Opera
153:diminuendo
147:Opera News
2183:Don Carlo
1825:Gounod –
1625:Met Opera
1586:Don Carlo
1431:Pagliacci
1243:Don Carlo
1238:Don Carlo
1126:Spontini
1025:La bohème
1014:Prokofiev
982:Meyerbeer
925:Pagliacci
817:Giordano
769:Donizetti
682:Il pirata
677:Gualtiero
657:Composer
614:Alan Rich
529:Meyerbeer
424:Don Carlo
418:La bohème
352:opposite
261:Il pirata
230:opposite
209:opposite
66:Biography
2181:"Verdi,
1856:Bizet –
1711:Verdi –
1677:Turandot
1634:Verdi –
1583:Verdi –
1551:Giordano
1467:Mascagni
1294:Zandonai
1110:Spontini
1077:Puccini
1072:Turandot
1062:Puccini
1047:Puccini
965:Massenet
948:Mascagni
910:Hercules
882:Guerrini
801:Giordano
724:Don José
719:Bellini
704:Bellini
694:Pollione
486:Maurizio
478:Turandot
451:New York
407:Mascagni
397:Giordano
382:Hercules
361:Spontini
320:and the
258:(1956),
244:Spontini
240:La Scala
216:Zandonai
173:Florence
1672:Puccini
1381:Bellini
1253:Radames
1178:Manrico
1153:Macbeth
1148:Macduff
1099:Licinio
1093:Rossini
1031:Puccini
1020:Rodolfo
959:Werther
954:Werther
937:Turiddu
915:Händel
866:Gounod
822:Achille
780:Poliuto
775:Poliuto
688:Bellini
671:Allegra
666:Romulus
545:at the
509:Werther
498:Edgardo
494:Rodolfo
298:Radamès
267:Poliuto
177:Spoleto
157:morendo
96:at the
2253:
2234:
2213:
2014:
1989:16 May
1940:16 May
1859:Carmen
1817:DECCA
1749:Gounod
1511:Carmen
1327:Label
1316:Opera
1278:Verdi
1273:Otello
1268:Otello
1263:Verdi
1248:Verdi
1233:Verdi
1218:Verdi
1203:Verdi
1188:Verdi
1173:Verdi
1163:Arrigo
1158:Verdi
1136:Ernani
1131:Ernani
899:Händel
850:Gounod
812:Fedora
729:Carmen
654:Opera
557:, and
549:under
490:Ernani
472:(with
430:Ernani
371:Handel
334:Naples
255:Fedora
196:Carmen
140:, and
126:legato
121:larynx
77:Ancona
48:spinto
2079:(PDF)
2068:(PDF)
1853:1970
1822:1968
1796:Tosca
1790:1966
1784:DECCA
1754:Faust
1745:1966
1708:1967
1668:1965
1631:1964
1580:1964
1547:1963
1506:Bizet
1502:1963
1463:1962
1422:1960
1386:Norma
1377:1960
1371:Cetra
1336:Verdi
1332:1956
1319:Cast
1313:Year
1142:Verdi
1067:Calaf
1042:Tosca
920:Canio
873:Turno
871:Orfeo
856:Roméo
844:Faust
839:Faust
833:Gluck
752:Cilea
735:Bizet
699:Norma
651:Role
593:Milan
470:Calaf
296:, as
227:Norma
181:Verdi
44:opera
40:tenor
2285:IMDb
2251:ISBN
2232:ISBN
2211:ISBN
2156:2021
2012:ISBN
1991:2009
1942:2009
1876:RCA
1848:EMI
1740:EMI
1714:Aida
1703:EMI
1663:EMI
1575:EMI
1497:EMI
1458:EMI
1341:Aida
1258:Aida
905:Illo
877:Enea
662:Remo
506:and
496:and
427:and
393:Enea
379:and
280:and
186:Aïda
2283:at
1541:RCA
1416:EMI
627:of
616:of
531:'s
480:),
476:as
453:'s
409:'s
399:'s
373:'s
363:'s
332:in
246:'s
183:'s
171:in
58:in
2301::
2146:.
2105::
2070:.
2055:^
2035:^
1980:.
1950:^
1931:.
1891:^
1751:–
1690:,
1674:–
1607:,
1603:,
1599:,
1595:,
1553:–
1524:,
1508:–
1469:–
1445:,
1428:–
1394:,
1383:–
1354:,
1338:–
599:.
492:,
488:,
484:,
433:.
304:,
144:.
136:,
132:,
27:c.
2259:.
2240:.
2219:.
2158:.
2049:.
2020:.
1993:.
1944:.
1776:,
1646:,
1565:,
1440:,
1398:,
1358:,
462:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
