DISCOGRAFIA DE CORELLI ( C.D. )
 
DISCOGRAFIA DE CORELLI ( C.D. )
 
FRANCO CORELLI "LA VOZ DEL SIGLO XX"
FRANCO CORELLI "ROLES"
FRANCO CORELLI "ROLES II"
FRANCO CORELLI "RETRATOS"
FRANCO CORELLI "PRINCIPE DE LOS TENORES"
FRANCO CORELLI "COMPAÑEROS"
FRANCO CORELLI "ON STAGE"
FRANCO CORELLI "ANDREA CHENIER"
FRANCO CORELLI "TENOR DEL MUNDO"
FRANCO CORELLI 1921
FRANCO CORELLI "HOY"
"FRANCO CORELLI REPRESENTACIONES"
FRANCO CORELLI "PRIMO TENORE"
FRANCO CORELLI "SUPERESTRELLA"
FRANCO CORELLI "IL TROVATORE"
FRANCO CORELLI "TURANDOT"
MI NOMBRE ES DARIO CORELLI
BRAVO TENORE!!!!
CORELLI "LA VOCE DI ORO"
FRANCO CORELLI "REPERTORIO"
FRANCO CORELLI "80 AÑOS" 1921
ENTREVISTA CON FRANCO CORELLI
GRABACIONES DE CORELLI (C.D.) - LIVE
GRABACIONES DE CORELLI ( C.D. ) -STUDIO
GRABACIONES DE CORELLI ( C.D.) - STUDIO
GRABACIONES DE CORELLI(C.D.)-LIVE
DISCOGRAFIA DE CORELLI ( C.D. )
GRABACIONES DE CORELLI ( C.D. ) - LIVE
DISCOGRAFIA DE CORELLI ( C. D. ) -STUDIO
DISCOGRAFIA DE CORELLI ( C.D. )-STUDIO
DISCOGRAFIA DE CORELLI ( C.D. )
GRABACIONES DE CORELLI ( VIDEOS ).
HOMENAJE A SUS 80 AÑOS.

   

 
Giuseppe VERDI
Aida
Aida: Mary Curtis-Verna
Radames: Franco Corelli
Amneris: Miriam Pirazzini
Amonasro: Gian Giacomo Guelfi
Ramfis: Giulio Neri
The King: Antonio Zerbini
A Messenger: Athos Cesarini
Orchestra & Chorus of Radio Televisione Italiana/Angelo Questa
Rec: Turin, Italy, 18 December 1956 - ADD
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The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.

The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.

The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.
 
Adriana Lecouvreur, opera
Composed by Francesco Cilea
with Ettore Bastianini, Franco Corelli, Renato Ercolani, Augusto Frati, Magda Olivero, Giulietta Simionato, Anna di Stasio, Mariano Caruso, Antonio Cassinelli
Conducted by Mario Rossi
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Exceptional historical recording of Adriana Lecouvreur.
Magda Olivero was Cilea's favourite soprano for the title role of this opera, and this recording is probably the best extant proof of his choice. Although her singning technique was not exceptional (in fact, she has been surpassed by Caballé), the colour of her voice and the distinction of her interpretation are unique and it is difficult to appreciate other sopranos as Adriana after you have listened to Olivero. It seems hard to believe today that a live recording could include such an exceptional cast. Franco Corelli possessed one of the most beautiful tenor voices of the 50s and 60s, and although many critics object his singing technique, he composes an excellent Maurizio. By the time of this recording (1959)he was at his best. Giulietta Simonatto was not only an outstanding singer, but her interpretation of the jealous and revengeful princess of Bouillon is a reference. So is Bastianini's Michonnet. The quality of the sound is really good for a live recording. If you want a recording of Adriana Lecouvreur, this one is highly recommended as a fist choice.
The best "Adriana" ever recorded.
Forget Scotto, forget Domingo, this is the Adriana to have. It was Olivero's signature role, and Corelli is masterful, not to forget Simionato in one of her most forceful roles. There are too many memorable moments to mention, but especially the second act opening and the final scenes. This is opera at its unvarnished best!
Olivero, The Queen of Verisimo.
This is without a doubt the finest recording of this opera ever. Magda Olivero, who was coaxed out of a premature retirement by the Cilea; is the ultimate interpreter of this roll. She knows how to make the most of every moment. Her magnificent pianissimo's building into crescendos the to decrescendos is really something to experience.
Supported by Franco Corelli, Giulietta Simionato, and the magnificent voiced Ettore Bastianini - ALL in superb voice and all performing at the same highest level of Olivero. The conducting is fast paced, and like Olivero, makes the most out of the score.
Oddly enough, audiences and great artists have always taken great pleasure from this opera despite he music snobs and opera house managements who have always considered Adriana Lecouvreur to be something of a "trash" opera. When you hear this performance you'll become a staunch defender of it.
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The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.
The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.
The series of reissues of the Cetra complete sets from the 1950s continues. The latest instalment is the second of the two Aidas the company sent forth almost a half-century ago (the earlier set, with Caterina Mancini and Mario Filippeschi - and crowned by Giulietta Simionato's grand Amneris - was reissued two years ago {Warner Fonit 8573 83010-2}). The current resuscitation will undoubtedly find its primary justification, for most collectors, in the Radames of the young Franco Corelli. True he recorded the part again just ten years later for EMI, and with as starry a line-up of artists as the 1960s could provide. But this older Cetra performance comes to us in 2002 as the first complete recording by a now legendary and well-loved artist.


But it would be ungallant and, in fact, unjust, to ignore the other singers in the production and, in particular, the ladies. Mary Curtis-Verna of Salem, Massachusetts, USA is not an artist well-remembered these days but she had a long and honorable career, first in Italy and then for a decade at the New York Metropolitan (her other Cetra operas include Un Ballo in Maschera, already amongst the Warner Fonit reissues and, only just recently reissued, Don Giovanni, the latter with a hair-raisingly unidiomatic and fascinating Elvira from the great Adriana, Minnie, and Nedda of the series, Carla Gavazzi!). Here, in her prime, she offers an idiomatic, sincere, and wholly committed account of the tremendously challenging title role. Her voice, basically attractive and warm, and certainly of sufficient size to fill the requirements of the part, suffers to a degree from a certain sameness, even dullness of timbre. You can hear her working to lighten and brighten the sound at the top of her range; she's often successful but the effort is not entirely concealed. Still, she's a fine artist who has all the notes and all the style and today would be in great demand in important theatres. She did not make many recordings (though they include an earlier Aida, for the Remington label, which boasts Ettore Bastianini as Amonasro and the tremendous Oralia Dominguez as Amneris - wouldn't we like to see THAT on a CD, though I suspect that the original tapes are long-gone); for older American listeners this recording will provide a welcome souvenir of many evenings at the Met when she and Corelli were partnered in Adriana Lecouvreur, Don Carlo and other operas.


Miriam Pirazzini is a wonderful Amneris, rich and vibrant in tone, feasting on the words, furiously imperious when required, and capable vocally of all that the role requires save occasional momentary strain in the very highest tessitura. Only belonging to a generation that boasted Simionato, Barbieri, Cossotto, Dominguez, and Stignani prevented her from achieving a more illustrious reputation.


Gian Giacomo Guelfi had a huge instrument. On record it sometimes comes over as rather lugubrious in quality but there is no doubting his authority as Amonasro. Giulio Neri's black and cavernous sound was invented for Ramfis and he suffers only in comparison to his younger self in the earlier Cetra Aida mentioned above.


And what of our star tenor? This is Corelli "prima maniera," before he smoothed out somewhat the strong vibrancy in his voice that was perhaps a result of his studies with Lauri-Volpi. Here the high notes peal with "squillo" and the tenor takes care to repair Verdi's too-parsimonious way with high notes by doubling all those of Aida in the Triumphal scene! A typical, which is only to say irresistible, Corelli performance!


Questa provides unobtrusive and thoroughly stylish conducting. The orchestra, in the manner of 1950s mono recording, is a bit too much in the background (the better to revel in the voices, I hear you say?) but never mind. The recording provides a window onto an era when not too much trouble could assemble a cast like this for Aida and it could be, and often was, taken for granted. No more: it has been some time now since that was the case.


The booklet offers an encomium to Corelli, some nice pictures of the artists, and an Italian-only libretto.
 
Carmen, opéra-comique in 4 acts
Composed by Georges Bizet
Performed by Milan Radio Symphony Orchestra with Anselmo Colzani, Franco Corelli, Miti Truccato Pace, Vittorio Pandano, Elda Ribetti, Antonio Sacchetti, Antonio Cassinelli, Rena Gary Falachi
Conducted by Nino Sanzogno
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Carment in Italian - WOW.
If you have never heard Carmen sung in Italian, this is your chance. This recording is being re-released and is superb. A fabulous live performance by 35 year old Franco Corelli singing in his native language. He seems much more relaxed and delivers an impassioned performance, especially in the last act. Amparan is not a world class Carmen, but entirely into her role. Colzani does a wonderful job of Escamillo. All in all, a Carmen not to miss. I would give this recording 5 stars if the sound was better. However, for it's time, it's very good.
Carmen by Georges Bizet.

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Performer: Karl-Ernst Mercker (Tenor), Jean-Christophe Benoit (Tenor), Piero Cappuccilli (Baritone),
Barry McDaniel (Baritone), José Van Dam (Bass), Helen Donath (Soprano),
Franco Corelli (Tenor), Anna Moffo (Soprano), Jane Berbié (Soprano),
Arleen Augér (Soprano)
Conductor: Lorin Maazel
Orchestra/Ensemble: Schöneberg Boys Choir, Berlin Deutsche Oper Chorus, Berlin Deutsche Oper Orchestra
Franco Corelli And Gian Giacomo Guelfi.
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Composer: Giuseppe Verdi, Georges Bizet
Performer: Franco Corelli, Giangiacomo Guelfi, Pia Tassinari, Margherita Benetti
Conductor: Arturo Basile
Orchestra/Ensemble: Italian Radio Symphony Orchestra Turin, Italian Radio Chorus Turin
Date of Recording: 2/6/1957
Venue: Live Turin, Italy
Verdi: Battaglia Di Legnano / Corelli, Bastianini, Gavazzeni.
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Composer: Giuseppe Verdi
Performer: Agostino Ferrin, Silvio Maionica, Aurora Cattelani, Virgilio Carbonari, Marco Stefanoni,
Ettore Bastianini, Franco Corelli, Antonietta Stella, Antonio Zerbini, Rinaldo Pelizzoni,
Leyla Gencer, Enzo Viaro, Joao Gibin, Ugo Savarese, Alessandro Maddalena,
Bruna Ronchini
Conductor: Gianandrea Gavazzeni, F. Molinari-Pradelli
Orchestra/Ensemble: Milan Teatro alla Scala Orchestra, Milan Teatro alla Scala Chorus, Trieste Teatro Verdi Orchestra,
Trieste Teatro Verdi Chorus
Date of Recording: 12/7/1961
Venue: Live Teatro alla Scala, Milan, Italy
Verdi: Il Trovatore / Gavazzeni, Corelli, Bastianini,Stella,Cossotto,Vinco.
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Composer: Giuseppe Verdi
Performer: Ivo Vinco, Fiorenza Cossotto, Ettore Bastianini, Antonietta Stella, Franco Corelli,
Piero de Palma
Conductor: Gianandrea Gavazzeni
Orchestra/Ensemble: Milan Teatro alla Scala Orchestra, Milan Teatro alla Scala Chorus
Date of Recording: 12/7/1962
Venue: Live La Scala Theater, Milan, Italy
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