Corelli in Concert

Corelli in Concert plus in-depth interviews

(1971). Venturi, cond. Rigoletto, Chénier, Africana, Bohème, Fanciulla, Cid + songs. 52m. Color. Collectors Edition: 32-p. booklet enclosed, includes rare photos. DVD

DVD Bonuses:
Corelli in two radio interviews with Stefan Zucker, 5 hrs., 8 mins., total. The first also includes Jerome Hines and Dodi Protero.

DVD #D0100 $18.95 list price. Our price $13.95

Please use this link to hear a free video sample from the DVD.


Please use this link for an audio sample from the Corelli and Jerome Hines interview.

Please use this link for an audio sample from the Corelli Presents Pertile interview.


John Ardoin, reviewing in The Dallas Morning News

"Since Mr. Corelli retired from the stage, there has been no adequate Radamès, Manrico or Andrea Chénier. This recital was taped in color in 1971, with Mr. Corelli in marvelous form. A major souvenir of a giant singer."

On this tape Franco is very much himself. He sings to the audience as he sang to me in his living room—with the same gestures and mannerisms. And they love it! He flings himself into the encores with wild abandon. Gives spinal chills. The most personality of any Corelli DVD.

Corelli's Rubato

Listen to Corelli play with the tempo in Ernesto De Curtis's "Tu ca nun chiagne." He introduces ritards and accelerations. Or listen to F. Paolo Tosti's "'A Vucchella," where Corelli twice eases back into tempo after (unduly) long fermatas. Yet he told me, "I didn't do rubato for fear of being squadrato [not with the conductor's beat]." In this concert he is squadrato in "O paradiso," on the word "paradiso."

The reality may have been that he was willing to sing with flexibility of tempo when with piano accompaniment, as in the De Curtis and Tosti songs, in which he sings with piano after the orchestra has left the stage.

His Bobbing Larynx and Dropped Jaw

Voice teacher Giovanni Battista Lamperti maintained, in Vocal Wisdom: The Maxims of Giovanni Battista Lamperti by William Earl Brown, "Though the larynx need not be held muscularly fixed in one position, for either upper or lower register, it should remain quiescent throughout a song," also that a singer should open his mouth "as wide as finger thickness." Corelli adopted an unrelated approach. In accordance with his modification of Melocchi's method, in soft passages his larynx "floated" up, in loud passages down. More, by 1971, Corelli had come to sing with his mouth wide open and jaw dropped to the maximum, on high notes, in particular--as is apparent in this concert.

His Scatto

At the end of "Un dì all'azzurro spazio" and the end of "Tu ca nun chiagne" Corelli sings with scatto (punch), which is a reason he is so exciting.

--Stefan Zucker

Booklet Table of Contents

Chapter Points: Corelli in Concert
Chapter Points: March 3, 1990 Interview
Chapter Points: March 30, 1991 Interview
Introduction to the Radio Interviews
Notes to Corelli in Concert
Del Monaco, Corelli and Their Influence
Sweet vs. Laryngeal Tenors
Corelli’s Virility
Corelli’s Goal
Franco Corelli: Some Missing Information
Corelli’s View of the Stanley Method
D100, Corelli in Concert
Corelli’s Rubato
His Bobbing Larynx and Dropped Jaw
His Scatto
Franco and Jerry
Stefan Zucker
PCM Audio  


Chapter Points 

1. Play All 52 minutes

2. Questa o quella (Rigoletto, by Giuseppe Verdi)

3. Un dì all’azzurro spazio (Andrea Chénier, by Umberto Giordano)

4. O paradiso (L’Africana, by Giacomo Meyerbeer)

5. Che gelida manina (La bohème, by Giacomo Puccini)

6. Ch’ella mi creda (La fanciulla del West, by Giacomo Puccini)

7. Ô souverain, ô juge, ô père (Le Cid, by Jules Massenet)

8. ’O sole mio (Eduardo Di Capua)

9. Core ’ngrato (Salvatore Cardillo)

10. Tu ca nun chiagne! (Ernesto De Curtis)

11. ’A Vucchella (Francesco Paolo Tosti)


Audio-only Bonuses


Franco Corelli and Jerome Hines

Interviewed by Stefan Zucker

“Opera Fanatic,” March 3, 1990


Chapter Points

1. Play All 2 hours, 56 minutes

2. Callas vs. Olivero

3. Callas’s technique

4. Her loss of voice

5. Hines on Olivero and Callas

6. The Rome Walkout

7. Maria Caniglia

8. Beniamino Gigli

9. Has singing changed in your time?

10. Bianca Scacciati

11. Miscasting

12. Picking singers to suit operas vs. picking operas to suit singers

13. American, Italian and German styles

14. German vs. Italian legato

15. The vowel “ah”

16. The German influence

17. Renato Cellini, the first Fascist at the Met after the war

18. Cloe Elmo. Corelli favors booing

19. Booing at the Met

20. Claques

21. Booing

22. Gigli’s influence on Del Monaco

23. Big voices and 16th notes

24. Leyla Gencer

25. The Rome Walkout and the lack of covers in Italy

26. When in America Italians display temperament

27. Corelli’s favorite among his performances

28. Stanford Olsen

29. Lina Pagliughi

30. Gino Bechi, Giangiacomo Guelfi, Leonard Warren, Robert Merrill, Cornell MacNeil, Ettore Bastianini and Titta Ruffo

31. Why Corelli did not sing Ballo

32. Corelli’s favorite conductors

33. Singing too loudly

34. Grace Bumbry

35. The tempos of Karajan and Bernstein

36. A conductor Corelli did not like

37. Does Corelli approve of the Met’s casting?

38. Why the Met’s orchestra is too loud

39. The Met’s choice of singers

40. What is a Verdian voice?

41. Iodine on vocal cords

42. The Del Monaco cocktail

43. Almond oil, cortisone

44. Douglas Stanley

45. The day of a performance

46. Enzo Sordello’s herbs and the steam in his room

47. Directors’ opera

48. The biggest voices

49. Francesco Merli, Giacomo Lauri-Volpi, Birgit Nilsson, Richard Tucker, Anita Välkki, Helen Traubel, Caruso, Gino Penno

50. Sweet tenors vs. round tenors

51. A Corelli return as Otello

52. To return or not to return?

53. Nel verde maggio from Loreley, by Catalani

54. Scooping

55. Gigli’s recordings

56. Corelli’s favorite tenor

57. Ave Maria by Tortorella

58. Hines: Toscanini made us sing unnaturally

59. Corelli’s favorite soprano

60. What Corelli learned from Callas

61. What he learned from Tebaldi and Nilsson

62. Melocchi’s other students

63. Del Monaco’s influence

64. Giuseppe Di Stefano

65. The difficulty of the laryngeal method

66. The inhalation treatment that hurt Corelli’s voice

67. Why Corelli stopped his career

68. Live vs. studio recordings

69. Corelli’s films: Magnifica ossessione and La carovana nel deserto 




Corelli Presents Pertile

Franco Corelli Interviewed by Stefan Zucker 

“Opera Fanatic,” March 30, 1991


Chapter Points

1. Play All 2 hours, 12 minutes

2. Pertile’s early history

3. Lohengrin selections

4. Was Pertile a cripple?

5. Did you ever consider singing Wagner?

6. A dry voice but legato, diction, warmth and sensibility

7. Sì, pel ciel, with Benvenuto Franci, 1928

8. Bernardo De Muro

9. Ballo selections

10. The laugh in È scherzo od è follia

11. Quando le sere al placido, 1927

12. Studio vs. live recordings

13. Tosca

14. Anglo-Saxon vs. Italian taste

15. Chris Merritt and Edita Gruberova in I puritani

16. Pertile vs. Caruso

17. Corelli’s vibrato

18. Corelli’s vocal problems at the beginning of his career

19. Pertile’s vibrato vs. Giovanni Martinelli’s voce fissa

20. Chris Merritt

21. Corelli practices Puritani

22. Corelli’s high Ds in Poliuto

23. Corelli broke on an A-flat on an EMI Norma

24. Pertile’s mask placement

25. Corelli’s cancellations

26. Three arias from Manon Lescaut

27. Vesti la giubba

28. Similarities between Corelli and Pertile

29. “Loretta esci” (Loretta, get out)

30. Vieni (Denza) 1927

31. La mia sposa sarà la mia bandiera (Rotoli) 1927

32. L’ultima canzone (Tosti) 1927

33. The fight between Miguel Fleta and Pertile

34. Making allowances for false intonation

35. Apri la tua finestra, from Iris (Mascagni) 1920

36. Did Corelli’s diminuendo involve falsetto?



If you are a Corelli fan you will find this DVD indispensable. Many of his fans--women, in particular--say it is their favorite of all his tapes.

Please use this link for additional reviews of this and other Corelli titles by Richard Fawkes in Opera Now.

Comments from a Customer

"I was thrilled to tears to receive a gift of Corelli in Concert--what a voice and what a treasure of a DVD!"--Austin William Hutchison, Hampstead, London, UK

Franco Corelli Photos