Podcast appearances and mentions of Franco Corelli

It's Pride Month, and what better time to focus on queer musical culture in all its various manifestations! As far back as I can remember, I have been an Opera Queen, and today I kick off our queer celebrations with the a tribute to one of our favorite divas, the late Grace Bumbry. The chutzpah that she demonstrated throughout her career found particularly thrilling manifestation when she began transitioning to soprano roles in the early 1970s. Always an intrepid singer, Bumbry had a confidence, a fearlessness that swept all before it. Sometimes her reach exceeded her grasp, but even so, the results were always breathtaking, more often than not in a good way. I am not going to make the tired claim that Bumbry should have remained a mezzo and that when she started singing soprano, she destroyed her instrument. This tired trope is belied by the evidence at hand, including an active singing career that lasted more than 60 years. A while back I did a version of this episode featuring her studio recordings of the soprano repertoire, but there's a wild, abandoned quality to her soprano singing that is especially compelling in live recordings. So today I have sought out live performances captured on recordings between 1971 and 2007 (at a seventieth birthday concert) which reveal La Bumbarina at her most thrilling, including excerpts from Tosca, La Gioconda, Il Trovatore, Nabucco, Porgy and Bess, Ernani, L'Africaine, Aida, Salome, and Anna Bolena with such co-stars as Franco Corelli, Norman Bailey, Louis Quilico, and her beloved frenemy Shirley Verrett. If you love Grace, you don't want to miss this episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Sens dubte, Franco Corelli va ser el tenor itali

Joshua Conyers is an Assistant Professor of Voice at the Eastman School of Music at the University of Rochester, and a Grammy-nominated Baritone who is known for his captivating performances and recognized as one of the leading dramatic voices of today. He has performed with The Metropolitan Opera, Seattle Opera, Washington National Opera, Lyric Opera of Chicago, English National Opera, New York Philharmonic, National Symphony Orchestra, Carnegie Hall, and many others. His recordings include the Grammy-nominated “X: The Life and Times of Malcolm X” his debut solo album is “A Miracle in Legacy.” He says it tells his story of his “being born into the crucible of poverty, haunted by the specter of addiction and abuse.” He says “yet, amid the shadows, I found my guiding light in the melodies of classical music.” SONG 1: “I’ll Make Love to You” by Boyz II Men from their Album II released in 1994. https://youtu.be/USR_0iImpcM?si=VDXE1s_O2toNwRkJ SONG 2: “Nessun Dorma” by Giacomo Puccini from the opera Turandot...performed here by Franco Corelli from the 1958 film of Turandot.https://youtu.be/fWokel5YxM8?si=_D9UEH6jKbz1Bo2G SONG 3: “Cleanin’ Out My Closet” by Eminem off his 2002 album The Eminem Show. https://youtu.be/4t2ETI2Lrjg?si=pgmx0aGLs4Tag6HASee omnystudio.com/listener for privacy information.

What better way to start off this Black History Month 2025 celebration than with a birthday tribute to beloved African American diva Martina Arroyo, who turned 88 yesterday, February 2?! Though she is universally regarded as one of the premier Verdi spinto sopranos of the second half of the Twentieth Century, Arroyo was equally adept at a wide range of other composers as well. In this episode, which focuses on Martina in duet, many of those composers are represented as well, from Handel to Meyerbeer to Mascagni, with a little Wagner thrown in for good measure. And what an amazing line-up of duet partners, including two of our most beloved African American mezzos/sopranos, Shirley Verrett, and Grace Bumbry. Also heard are Franco Corelli, Carlo Bergonzi, Anna Moffo, Franco Bonisolli, Bernd Weikl, Gianfranco Cecchele, Sherrill Milnes, Ludmila Dvořáková, and Giorgio Lamberti. Raise a glass to this supreme soprano, and prepare your ears for a deeply satisfying experience! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

I am taking a short break before posting the final in my Mexican Opera Singers miniseries to bring you a compilation episode that is sure to get your blood flowing. I've entitled it “Mezzos on the Verge,” and that is exactly what it is: mezzo-sopranos portraying characters in extreme emotional situations. Whether it is Dalila (portrayed by Ebe Stignani) summoning the pagan gods to give her strength to conquer an infatuated strongman; Elena Obraztsova or Nadezhda Obukhova casting spells or predicting the future; Giulietta Simionato as Santuzza confronting Franco Corelli's faithless Turiddu on the steps of the Sicilian village church on Easter morning; Gwendolyn Killebrew as Waltraute imploring help of her sister Brünnhilde to circumvent the Twilight of the Gods; Jean Madeira as Klytemnästra desperately seeking rest for her troubled soul; Shirley Verrett as Sapho preparing to throw herself into the sea; or Tatiana Troyanos as Dido dying of a broken heart – there's something for each of us who might be feeling themselves in over their heads these days. Unlike most of us. however, (and luckily for us as well), each of these magnificent mezzos is expressing that anguish in glorious song. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Riemergasse 9, Ecke Jakobergasse. Wer hier durch die Tür tritt, der landet in einem eigenen Universum: Jenem von Peter Jansky und seiner Liebe zur Oper. „Mein Kaffeehaus ist eine kleine Insel“, sagt der Mann, der seit 1981 hier serviert, kuratiert und inszeniert. Vor über vierzig Jahren hat er „Peters Operncafé“ gegründet. Schwarze Holzsessel, mit verblasstem Blumenmuster überzogene Sitzbänke, in die Jahre gekommene Teppiche schmücken die Räumlichkeiten.  Und Fotos, jede Menge Fotos. Sie füllen jeden Winkel, bis zur Decke, stehen in jeder Ecke und auf dem Klavier. Martha Mödl, Inge Borkh, Franco Corelli, Anneliese Rothenberger und Ljuba Welitsch lachen von den Wänden. All dieseOperngrößen waren einst auch hier zu Besuch. Einer Religion habe er sich nie verbunden gefühlt, sagt der Kaffeehausbetreiber. Die Musik aber hat ihn stets zweifeln lassen: „Wenn ich Schubert oder Beethoven höre, dann denke ich: Es muss doch etwas zwischen Himmel und Erde geben.“ Eine Sendung von Marlene Groihofer.

I'm still under the weather, but I can't let that keep me from posting my usual Tuesday episode! Here is another recycled bonus episode, this one posted two years ago in honor of my birthday, which features some of my favorite singers. At that time I posted a brand new episode entitled “Dan's Picks,” but many of the best selections ended up on the cutting room floor. That hurt my heart so much that I had no choice but to do a companion episode which features a number of things that were lacking from the main episode: first of all, more tenor goodness (Aksel Schiøtz, Franco Corelli, Sándor Kónya, Jussi Björling, Richard Crooks, Ian Partridge); second of all, more burly baritones (Jorma Hynninen, Ettore Bastianini, Riccardo Stracciari, and the lesser-known megawatt talent Hugo Hasslo). Also heard are a number of sopranos that have not received enough Countermelody airtime (Edith Mason, Maria Vitale, Andrée Esposito, Lucia Popp), as well as a number of favorites that we (I?) simply can't get enough of: Muzio, Lehmann, Olivero, Farrell, Steber. I even set aside modesty to include a brief clip of me from a demo I recorded some time ago, back when I could still sing! Every selection in this episode is very dear to my heart; I hope you will enjoy listening as much as I enjoyed putting it together.  

Wer an Tenöre des italienischen Fachs denkt, dem fallen sofort Luciano Pavarotti, Plácido Domingo oder José Carreras ein. Dann vielleicht noch Franco Corelli, Mario de Monaco oder Giuseppe di Stefano. Aber Carlo Bergonzi? Gerade ihn schätzen Kenner als den vielleicht größten italienischen Tenor in der zweiten Hälfte des 20. Jahrhunderts. Vor 100 Jahren, am 13. Juli 1924, ist Bergonzi auf die Welt gekommen. SWR-Opernredakteur Bernd Künzig erinnert an einen Jahrhundertsänger.

Have you ever encountered a singer that no one has apparently heard of, yet once you have discovered them, you feel compelled to introduce them to practically everyone you know? I've had this experience more than a few times over the past five years of producing weekly Countermelody episodes, and today I bring you another such singer: friends, meet Hana Janků, the Czech soprano who lived from 25 October 1950 to 28 April 1995. Her voice is one of steely brilliance that she can taper down to the slightest whisper of a pianissimo. As important as her extraordinary voice was her profoundly-felt and deeply-etched characterizations of all the roles she assumed. As a young music lover, Hana's aims were modest, but thanks to a voice teacher who recognized her gift, she moved from the chorus to a member of the ensemble at the Brno Opera before she was 20. Five years later in Bratislava, she first performed the role with which she would be most closely associated: Puccini's Turandot. Two short years later, after an arduous audition process, she sang the role at La Scala and became a star overnight. Her large repertoire also encompassed roles such Tosca, Gioconda, and Lady Macbeth, French and Russian operas as well as Mozart and Wagner roles, with a large smattering of roles by Czech composers as well, in particular Smetana and Dvořák. Because of political unrest, she made the difficult decision to leave her native Czechoslovakia, performing instead throughout the world, including stints in the ensembles at the Deutsche Oper am Rhein in Düsseldorf and the Deutsche Oper Berlin. Ill health forced her to leave the opera stage prematurely, and she died of cancer in Vienna before she turned 55. Janků left very few commercial recordings, but I have been plumbing the internet for rare live recordings spanning her entire career, encompassing not only her legendary Italian roles, but also roles by Mozart, Gounod, and Othmar Schoeck, as well as a smattering of Czech repertoire. It is an honor to present to you the woman whom Birgit Nilsson dubbed the finest Turandot of her era and who was, as we shall hear, so much more as well! Vocal guest stars include Franco Corelli, Giorgio Merighi, Cornell MacNeil, Roland Hermann, William Holley, and Naděžda Kniplová. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.  

What is there to say about today's featured artist, Maria Callas, who was born 100 years ago today? So many of my esteemed colleagues are weighing in with their Callas tributes today (both encyclopedic and deeply perceptive and knowledgeable) and there are all varieties of reconstituted Callas material also suddenly appearing, from newly-colorized films of Callas in action to virtual concerts with Maria as hologram, to some new biopic (goddess forbid!), to audio remasterings both laudable and ridiculous. I have nothing comparably “new” or erudite to add to the mix, so can only offer an episode predicated on my encounters with the voice and artistry of Maria Callas. There is no singer in the history of opera more important to me (and, I daresay, to opera in general) than Callas, who revolutionized bel canto and set completely new standards for every type of role she sang. I have chosen from among my favorite (live) Callas material to supplement my musings, going as far back as her Norma and Macbeth in 1952 and as late as her 1974 comeback and her last recording, made the year before her untimely death. In these musical excerpts, La Divina is joined by tenor colleagues (and Countermelody favorites) Cesare Valletti, Jon Vickers, and Franco Corelli. As I listened to Callas this week, I remarked anew at her creative genius, which sprang primarily from faithfulness to the written score, and a burning need to make every phrase she intoned “say something.” May this episode be as cathartic a listening experience for you as it was for me in preparing it. Maria per sempre! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Anita Cerquetti (13 April 1931 - 11 October 2014), the subject of today's episode, possessed a one in a million voice, enormous, but with prodigious flexibility, and of an immediately recognizable timbre and style of text projection. She skyrocketed to world fame when she replaced Maria Callas in the title role of Bellini's Norma in Rome in January 1958. Before that, the young soprano, still in her twenties, had been steadily building a career, primarily in Italy but also internationally, working in Italy's biggest houses and music festivals with the greatest maestri and fellow singers of the period (including Ettore Bastianini and Franco Corelli, both of whom are heard on the episode). Immediately after those Rome performances, however, Cerquetti canceled a series of subsequent performances of Bellini's Il Pirata, and her live performances dwindled thereafter to a mere trickle. In the fall of 1960, not yet thirty years of age, she gave what proved to be the final performance of her career, a recording for Dutch radio of Abigaille in Verdi's Nabucco. Cerquetti is considered to be one of the great operatic mysteries of the second half of the twentieth century. She made only two commercial recordings, so the majority of her recorded legacy stems from live and radio performances. In this episode, I share some of my favorites among those recordings, and discuss the personal issues that surrounded Cerquetti's premature disappearance from the world's opera stages as well as why her still unmatched accomplishments still captivate listeners to this day. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

From a very young age I was interested in today's birthday celebrant, the great Gundula Janowitz, at least partially because of a similarity between her first name and my last name! But even more than that, I was drawn to the ethereal purity of her voice, possessed of an immediately identifiable timbre unlike that of any other singer. From the 1960s through the 1980s, Janowitz was the reigning queen of the jugendlich dramatisch soprano repertoire, excelling in the roles of Mozart, Strauss and Wagner (the so-called wagneriennes blanches heroines), as well as being a Bach singer of the highest order and an exceptional Lieder singer. What is there not to love? Janowitz was also a frequent visitor to the recording studio, and to this day her recordings form a cornerstone of the Deutsche Grammophon catalog. On today's episode, however, I stick firmly to her live and radio recordings, some of them quite rare, of the repertoire for which she was so justly celebrated. We sample live recordings of her Arabella, Fiordiligi, Agathe, and Elisabeth in Tannhäuser, as well as a more surprising Elisabetta, the conflicted queen in Verdi's Don Carlo. Also highlighted is her exceptional and career-defining performance of the role of Leonore in Beethoven's Fidelio, in a rare live 1977 from the Orange Festival. Guest vocalists include Lucia Popp and Franco Corelli. This is a mouthful, so I'll say it for all of us: Herzlichen Glückwunsch zum Geburtstag an eine der gefeiertsten und verehrtesten Sopranistinnen des 20. Jahrhunderts! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Special guest Luigi Boccia takes Kirk on a magical journey through the world of the opera tenor, from Caruso and Lauri Volpi to Di Stefano and Pavarotti.Featuring performances by Luciano Pavarotti, Giuseppe Di Stefano, Enrico Caruso, Franco Corelli, Giacomo Lauri Volpi, Jussi Björling, Sergei Lemeshev, and Jon Vickers.Find a Spotify playlist of Luigi's many Tenor examples here.-----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music--------------------JULY 2023 WHOLE-NOTE PATRONSCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryAshley HoagChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerJeanneret Manning Family FourDave SharpeSami SamhuriAccessViolationRyan TorvikElliot Jay O'NeillAndre BremerMark SchechterDave FloreyJULY 2023 HALF-NOTE PATRONSCallum WebbLynda MacNeilDick MorganZach WamplerBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Jeff SpeckSamuel MillettWhit SidenerChance McClainRobert Granatdave malloyTim RosenwongNick Gallowayjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskLuigi BocciaRob AlbrightE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanRenee DowningKenIsWearingAHatJordan BlockAaron WadeTravis PollardJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonJulian RoleffDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJason ReitmanAilie FraserVonNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsVictoria YuBrad Clarkmino caposselaSteve PaquinDavid JoskeEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerRichard CambierMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistLinda DuffyLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDavid FriedmanSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJake RobertsJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerJules BaileyAndrew FairL.B. MorseBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

Miguel Ángel Santolaria nos habla de una de las expresiones musicales más bellas del orbe: la canción napolitana. Escuchamos algunas de las más emblemáticas en las voces de los grandes tenores italianos, especialistas en este género, como Enrico Caruso, Franco Corelli, Beniamino Gigli y Giuseppe Di Stefano.

Cerramos por esta temporada la sección. Y lo hacemos por todo lo alto con una serie de fragmentos operísticos de muy alto valor en interpretaciones señeras. Empezamos con el aria Parto, parto de La clemenza di Tito de Mozart en la ígnea interpretación de Cecilia Bartoli. Escuchamos también el final en la voz de Teresa Berganza. Luego el Liebestod del Tristán wagneriano, un adiós supremo (hay duda de si significa la muerte física) cantada por una de las Isoldas de nuestros días, Nina Stemme. Cambiamos de tercio y nos vamos al verismo para seguir de nuevo la despedida de Turiddu, en ese arrebatado y premonitorio Addio a la mamma de Cavalleria rusticana de Mascagni con el broncíneo timbre de Mario del Monaco por todo lo alto. Alfredo Kraus es después el gran protagonista del final de Werther de Massenet. El programa de remata con los últimos minutos de Andrea Chénier de Giordano. Un adiós corajudo y diríamos que entusiasta si no estuviera la muerte por medio, de Maddalena y Chénier. En las voces arrojadas y fulgurantes de Renata Tebaldi y Franco Corelli. Escuchar audio

Gościem audycji Chillout Classic w Radio Spin #14 jest maestro George Tchitchinadze, dyrektor artystyczny Polskiej Filharmonii Bałtyckiej. Muzyka audycji to wybór mistrza batuty. Oto playlista: 1. J.S.Bach - Aria da capo z Wariacji Golbergowskich, Keith Jarrett. 2. G. Mahler II Symfonia "Zmartwychwstanie" cz. 4 Urlicht, Leonard Bernstein, New York Philharmonic. 3. Rustavi choir Shen Khar Venakhi. 4. Chakrulo - Giorgi Aptsiauri. 5. Nodar Gabunia - Love Theme from Natalia Gabunia (violin solo) 6. W.A.Mozart - La clemenza di Tito KV 621, "Ah perdona al primo affetto", Anna Netrebko, Elina Garanča 7. F. Cilea - Adriana Lecouvreur, Aria "L'anima ho stanca, e la meta è lontana", Franco Corelli. 8. Lua - Jacob Collier & Maro 9. How Do You Keep The Music Playing, Tony Benett, Aretha Franklin. 10. No More "I Love You's" - Annie Lennox. 11. A House Is Not a Home - Luther Vandross.

When Anna digs up an old Italian TV production of Turandot starring Franco Corelli, you know it's going to be good. The voice of Maestro Corelli will caress your ears and make you weep. Hey, they don't call him the Prince of Tenors for nothing! As a bonus, Krista gives her review of the Met's new production of Don Giovanni starring dad-looking baritone Peter Mattei.

01 - V. Bellini, Norma “Svanir le voci... Me protegge”, Franco Corelli, dir. Antonino Votto Teatro Regio di Parma, 29.12.197102 – G. Donizetti, Lucia di Lammermoor “Verranno a te” Joan Sutherland e Alfredo Kraus (Ariel Bybee Alisa) Metropolitan di New York, il 13 novembre 1982. The Metropolitan Opera Orchestra diretta da Richard Bonynge.03 – G. Rossini Otello Recitativo e terzetto - San Carlo 2016 Direttore Gabriele Ferro, Othello - John Osborn, Desdemona - Nino Machaidze, Rodrigo - Dmitry Korchak, Jago - Juan Francisco Gatte.04 - Fidelio – Quartetto Atto I “Mir ist so wunderbar”. Antonio Pappano direttore. Amanda Forsythe, Lise Davidsen, Georg Zeppenfeld and Robin Tritschler perform. Royal Opera House Covent Garden.05 – W. A. Mozart Die Zauberflöte Atto I, Quintetto – “Hm! Hm! Hm! Hm!” • Orchestra di Budapest Failoni Chamber Orchestra, direttore Michael Halasz, Wilfried Gahmlich, Elisabeth Norberg-Schulz, Georg Tichy, Hellen Kwon, Herbert Lippert, Kurt Rydl, Lotte Leitner.06 - Don Giovanni – Sestetto. Edita Gruberova (Donna Anna), Ann Murray (Donna Elvira), Susanne Mentzer (Zerlina), Francisco Araiza (Don Ottavio), Claudio Desderi (Leporello), Natale De Carolis (Masetto) | Teatro alla Scala, 1987 direttore Riccardo Muti.

Continuamos nuestro repaso a cuestiones del canto y su nomenclatura y hoy examinamos dos conceptos básicos. Ejemplificando las distintas formas de ataque escuchamos a Luciano Pavarotti (Hija del regimiento) y Nan Merriman (Fantoches de Debussy) (atacco sul fiato), Plácido Domingo (Ella mi fu rapita) (attacco di gola), Anita Cerquetti (Vísperas sicilianas) y Fischer Dieskau (El doble de Schubert) (atacco sulla consonante), Franco Corelli (Celeste Aida), Teresa Berganza (La clemencia de Tito) y Tiana Lemnitz (Otello) (attacco di sotto), Nan Merriman (Farruca de Turina), Enrico Caruso (Una furtiva lagrima, La judía de Halevy), Mario del Monaco (Payasos, la Pira) y Leonie Rysaneck (Jenufa) (attacco di glotide). Aprovechamos para escuchar íntegras las páginas de Cerquetti, Dieskau, Berganza y para cerrar con tres buenos regalos: salida de la Emperatriz de La mujer sin sombra de Strauss por Rysaneck, el Rondó de Sesto de La clemencia de Tito por Berganza y el lied Liebes botshaft de Canto del cisne de Schubert por Dieskau. Escuchar audio

Un día como hoy, 8 de abril: Nace: 1692: Giuseppe Tartini, compositor y violinista italiano. 1859: Edmund Husserl, filósofo alemán. 1908: Hugo Fregonese, cineasta argentino (f. 1987). 1911: Émile Michel Cioran, filósofo y ensayista rumano (f. 1995). 1914: María Félix, actriz mexicana (f. 2002, mismo día). 1921: Franco Corelli, tenor italiano (f. 2003). 1929: Jacques Brel, cantautor belga (f. 1978). 1931: John Gavin, actor y diplomático estadounidense (f. 2018). Fallece: 1848: Gaetano Donizetti, compositor italiano. 1973: Pablo Picasso, pintor y escultor español (n. 1881). Una producción de Sala Prisma Podcast. Conducido por Joel Almaguer. 2023

Con Miguel Ángel Santolaria hablamos sobre la ópera Tosca, de Puccini, y escuchamos fragmentos de la misma en las ensoñadora voces de Franco Corelli, Pilar Lorengar y el "Adios a la vida" por Miguel Fleta.

A cura di Paolo PellegriniCommento musicale Valerio LopanePresentazione Mascia DionisiVincenzo Bellini NormaNorma, Maria Callas,Pollione, Franco Corelli,Adalgisa, Christa Ludwig,Oroveso, Nicola ZaccariaCoro e Orchestra del Teatro alla Scala di MilanoTullio Serafin, direttore

G. Puccini - Tosca “Recondita Armonia” G. Puccini - La Fanciulla del West “Ch'ella mi creda” G. Bizet - Carmen “Il Fiore” G. Verdi - Rigoletto “La donna è mobile” U. Giordano - Fedora “Amor ti vieta” F. P. Tosti - Vucchella S. Di Giacomo - Silenzio Cantatore E. Di Capua - I te Vurria Vasà G. Rondinella - Pescatore Pusilleco E. Di Capua - O sole mio E. De Curtis - Tu ca nun chiagne

Un número bien estudiado por Bellini y en cierto modo muy original. Ese trío entre Norma, Poillione y Adalgisa, precedido por el dúo entre las dos sacerdotisas, en el que Norma descubre la relación entre su acólita y el procónsul, es de un melodismo maravilloso y de un dramatismo excepcional. Escuchamos versiones contrastadas protagonizadas por María Callas, Gina Cigna, Ebe Stignani, Christa Ludwig, Giovanni Breviario, Mario del Monaco y Franco Corelli dirigidos por Vtorio Gui y Tulllio Serafin. Escuchar audio

Tutto nel mondo è burla stasera all'Opera Estate - Amici in vita e in morte 2 serata Ettore Bastianini e Franco Corelli

Amici in vita e in morte 1 serata Ettore Bastianini e Franco Corelli

DescriptionThe aria Nessun dorma is one of the most famous in all of operatic history and has been sung by an array of fantastic tenors—each adding their own unique technical and expressive prowess. Take a minute to get the scoop!Fun Fact"Nessun dorma", "Let no one sleep" is an aria from the final act of Giacomo Puccini's opera Turandot and one of the best-known tenor arias in all opera. It is sung by Calaf, il principe ignoto (the unknown prince), who falls in love at first sight with the beautiful but cold Princess Turandot. Any man who wishes to wed Turandot must first answer her three riddles; if he fails, he will be beheaded. In the aria, Calaf expresses his triumphant assurance that he will win the princess.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show

Un día como hoy, 8 de abril: Nace: 1692: Giuseppe Tartini, compositor y violinista italiano. 1859: Edmund Husserl, filósofo alemán. 1908: Hugo Fregonese, cineasta argentino (f. 1987). 1911: Émile Michel Cioran, filósofo y ensayista rumano (f. 1995). 1914: María Félix, actriz mexicana (f. 2002, mismo día). 1921: Franco Corelli, tenor italiano (f. 2003). 1929: Jacques Brel, cantautor belga (f. 1978). 1931: John Gavin, actor y diplomático estadounidense (f. 2018). Fallece: 1848: Gaetano Donizetti, compositor italiano. 1973: Pablo Picasso, pintor y escultor español (n. 1881). Una producción de Sala Prisma Podcast. 2022

What.Why.When.Parliamo dell'Area finanziaria e delle sue funzioni insieme a Franco Corelli, consulente aziendale e agente in attività finanziaria.Con il format What.Why.When. in ogni episodio analizziamo un argomento importante per aiutarti a migliorare la tua strategia digitale o di business, rispondendo a tre domande fondamentali: cosa, perché e quando.WhatCosa si intende esattamente per area finanziaria? Quali specifiche funzioni comprende e come sono utilizzabili? Ti spieghiamo cosa sono nel dettaglio.WhyPerché è così importante avere quantomeno un'infarinatura in ambito finanziario per veder fiorire la propria attività? Quali tattiche si possono utilizzare e perché? Rispondiamo ai dubbi più frequenti e comuni.WhenIn quale fase aziendale vanno progettate determinate strutture e funzioni? Sono una priorità o possono essere posticipate a data da destinarsi?Con Franco ti spieghiamo qual è il momento più adatto a pianificare la tua strategia.Franco Corelli è un Esperto Temporary Manager con una profonda conoscenza della cultura aziendale ed esperienza quarantennale nell'ambito. Ha lavorato per 15 anni come responsabile finanziario accanto a Diego della Valle presso la Tod's S.P.A. Regolarmente iscritto presso la Regione Marche come formatore in campo finanziario. Ci aiuterà a chiarire col suo punto di vista e la sua esperienza ogni dubbio in ambito finanziario.A intervistarlo Tommaso Nuti, Tommaso Nuti, Head of Business di Tomura e Small Business Strategist.Business Marketing Corner è la community dedicata a professionisti e micro imprenditori, all'interno della quale trovi idee, strategie e consigli per affrontare la crisi, l'avvio e la crescita della tua attività.Entra in Community:https://bit.ly/business-marketing-cornerIscriviti alla newsletter:http://bit.ly/tomura-nlSeguici su Facebook:http://bit.ly/tomura-fbSeguici su Instagram:http://bit.ly/tomura-inIscriviti al canale Telegramhttps://bit.ly/telegram-BMC

Cambiamos nuestro foco de atención, que iba a centrarse en el tenor Franco Corelli, nacido hace cien años, por el que queremos depositar sobre otro colega: el extremeño Francisco Ortiz, recientemente fallecido. Un cantante que fue muy importante y al que creemos que no se le dio en España la categoría suficiente. Voz de muchos quilates, que podremos escuchar en el programa en las siguientes arias: Celeste Aida, Ah si ben mio y la Pira de Il trovatore, La vita è inferno al infelice, O tu che in seno agli angeli de La forza del destino, todas ellas de Verdi; Meco al altar di Venere de Norma de Bellini, È la solita storia del pastore de La Arlesiana de Cilea y Nessun dorma de Turandot de Puccini. Escuchar audio

durée : 01:28:10 - Franco Corelli, tenorissimo - par : François-Xavier Szymczak - France Corelli était un spécialiste des rôles héroïques italiens et français, nous le retrouverons aujourd'hui dans Norma de Bellini, le Trouvère Verdi, Carmen de Bizet. - réalisé par : Céline Parfenoff

The fine folks at WNYC's fabulous opera podcast Aria Code recently reached out about doing a cross-promotion with Strong Songs, and now here we are, running an episode of their show in the Strong Songs feed. If you enjoy it, you should definitely go check out the show - Aria Code is very easy to find on all major podcast platforms. ORIGINAL SHOW NOTES (via Aria Code) Aired: March 10, 2021 Sometimes, the only thing that gets us through the darkest moments is knowing that the sun will rise again on a new day. Puccini's final opera, Turandot, is about courage in the face of adversity, and love triumphing over fear. In other words, it is exactly what the world needs right now.  The aria “Nessun dorma” is Prince Calaf’s declaration of love and resounding victory cry. In this episode, host Rhiannon Giddens and three guests explore what makes this aria so popular even beyond the opera house, and how it became an anthem of resilience and hope during the COVID-19 pandemic. This episode features Italian tenor Franco Corelli in a Metropolitan Opera performance from the Before Times (a.k.a. 1966). The Guests: Conductor Yannick Nézet-Séguin is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and the Orchestre Métropolitain in Montreal.  He loves conducting Puccini’s biggest, most majestic opera, but his favorite moments are the intimate arias like “Nessun dorma.” Writer Anne Midgette is the former classical music critic for The Washington Post. She first heard the aria on a Book of the Month Club cassette tape in college, and thinks the secret sauce for “Nessun Dorma” is in its climactic underdog declaration of “Vincerò” -- “I will win.” Dr. Michael Cho is a pulmonary and critical care physician at Brigham and Women’s Hospital in Boston, and has been on the frontlines of the COVID-19 pandemic. He’s also a violist, and has been playing with the Longwood Symphony Orchestra for more than 15 years. Recently, he joined the National Virtual Medical Orchestra, a group that formed during COVID to give people in the medical field a chance to play together. Watch their performance of "Nessun Dorma" here: https://www.youtube.com/watch?v=FOKW42q7HWE&feature=emb_logo In April of 2020, 700 children across Europe sang a virtual performance of "Nessun dorma" as a message of hope and solidarity, from Europa InCanto. You can meet two of the stars in this episode, and watch their performance here: https://www.youtube.com/watch?v=MZWmikiJVIQ&feature=emb_logo  

The fine folks at WNYC's fabulous opera podcast Aria Code recently reached out about doing a cross-promotion with Strong Songs, and now here we are, running an episode of their show in the Strong Songs feed.If you enjoy it, you should definitely go check out the show - Aria Code is very easy to find on all major podcast platforms.ORIGINAL SHOW NOTES (via Aria Code)Aired: March 10, 2021Sometimes, the only thing that gets us through the darkest moments is knowing that the sun will rise again on a new day. Puccini's final opera, Turandot, is about courage in the face of adversity, and love triumphing over fear. In other words, it is exactly what the world needs right now. The aria “Nessun dorma” is Prince Calaf’s declaration of love and resounding victory cry. In this episode, host Rhiannon Giddens and three guests explore what makes this aria so popular even beyond the opera house, and how it became an anthem of resilience and hope during the COVID-19 pandemic. This episode features Italian tenor Franco Corelli in a Metropolitan Opera performance from the Before Times (a.k.a. 1966).The Guests:Conductor Yannick Nézet-Séguin is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and the Orchestre Métropolitain in Montreal.  He loves conducting Puccini’s biggest, most majestic opera, but his favorite moments are the intimate arias like “Nessun dorma.”Writer Anne Midgette is the former classical music critic for The Washington Post. She first heard the aria on a Book of the Month Club cassette tape in college, and thinks the secret sauce for “Nessun Dorma” is in its climactic underdog declaration of “Vincerò” -- “I will win.”Dr. Michael Cho is a pulmonary and critical care physician at Brigham and Women’s Hospital in Boston, and has been on the frontlines of the COVID-19 pandemic. He’s also a violist, and has been playing with the Longwood Symphony Orchestra for more than 15 years. Recently, he joined the National Virtual Medical Orchestra, a group that formed during COVID to give people in the medical field a chance to play together. Watch their performance of "Nessun Dorma" here: https://www.youtube.com/watch?v=FOKW42q7HWE&feature=emb_logoIn April of 2020, 700 children across Europe sang a virtual performance of "Nessun dorma" as a message of hope and solidarity, from Europa InCanto. You can meet two of the stars in this episode, and watch their performance here: https://www.youtube.com/watch?v=MZWmikiJVIQ&feature=emb_logo 

Hôm nay là 29 tháng 4 (29/4) và chúng ta cùng điểm qua các sự kiện đã diễn ra trong hôm nay: SỰ KIỆN 1418 – Lê Lai hy sinh vì "liều mình cứu chúa" 1770 – Nhà thám hiểm James Cook đến và đặt tên Vịnh Botany (Úc). 1911 - Đại học Thanh Hoa , một trong những trường đại học hàng đầu của Trung Quốc đại lục , được thành lập 1967 - Sau khi từ chối gia nhập Quân đội Hoa Kỳ ngày hôm trước, Muhammad Ali bị tước danh hiệu quyền anh . 2015 – Tổ chức Y tế Thế giới tuyên bố rằng bệnh rubella (sởi Đức) bị tiệt trừ khỏi châu Mỹ. Ngày lễ và kỷ niệm Ngày quốc tế khiêu vũ ( UNESCO ) Sinh 1863 - William Randolph Hearst , nhà xuất bản và chính trị gia người Mỹ, thành lập Tập đoàn Hearst (mất năm 1951) 1879 - Thomas Beecham , nhạc trưởng người Anh (mất. 1961, ngày 8 tháng 3) 1901 – Hirohito, Hoàng đế Nhật Bản (chết 1989) 1984 – Phạm Văn Quyến, cầu thủ bóng đá người Việt Nam Mất 1418 – Lê Lai là một tướng lĩnh tham gia Khởi nghĩa Lam Sơn, ông được coi là một anh hùng, một tấm gương trung nghĩa với sự kiện nổi tiếng trong lịch sử Việt Nam là cải trang thành Lê Lợi và bị quân Minh giết chết. 1980 – Alfred Hitchcock, đạo diễn điện ảnh. Ông được xem như một trong những đạo diễn lớn nhất của lịch sử điện ảnh. Tên tuổi ông gắn liền với thể loại phim ""toát mồ hôi lạnh"", trong đó có rất nhiều bộ phim đã trở thành kinh điển. (s. 1899) 2000 – Phạm Văn Đồng, Thủ tướng Việt Nam từ 1955 đến 1987 (s. 1906) 2003 – Franco Corelli, ca sĩ giọng tenor Ý (s. 1921) #aweektv #homnayngaygi #whatistoday --- Send in a voice message: https://anchor.fm/aweek-tv/message

Synopsis On today’s date in 1926, Giacomo Puccini’s last opera, “Turandot,” had its belated premiere at the La Scala Opera House in Milan, with Arturo Toscanini conducting. The originally scheduled 1925 premiere had to be postponed, as Puccini had died in November of 1924, leaving “Turandot” unfinished. Another Italian composer, Franco Alfano, was brought in to complete the opera based on Puccini’s sketches. It’s said that after showing Toscanini his completion, Alfano asked, “What do you have to say, Maestro?”—to which Toscanini replied, “I say I see Puccini’s ghost coming to punch me in the nose.” On opening night, Toscanini stopped the performance at the point that Puccini had ceased composing and left the podium in tears—a touching act of homage to Puccini, perhaps, but also a vote of “no confidence” regarding Alfano’s completion of the beloved master’s score. Although well received by critics, the Puccini“ Turandot” with Alfano’s ending remained less popular than other Puccini operas for decades. After a run of performances in the late 1920s when the opera was still new, “Turandot” remained unperformed at the Metropolitan Opera until 1961, when Birgit Nilsson and Franco Corelli scored a huge success in a lavish Franco Zeffirelli revival production. Music Played in Today's Program Giacomo Puccini (1858 -1924) Nessun dorma, fr Turandot Academy of St Martin in the Fields; Neville Marriner, cond. EMI 49552 On This Day Births 1690 - Baptismal date of German composer and organist Gottlieb Muffat, in Pasau; He was the son of German composer Georg Muffat (1653-1704); 1840 - Russian composer Pyotr Ilyitch Tchaikovsky (Gregorian date: May 5); Deaths 1906 - American composer John Knowles Paine, age 67, in Cambridge, Mass.; At Harvard, he created the first Music Department of any American university, and was the teacher there of a number of other American composers, including John Alden Carpenter, Arthur Foote, E.B. Hill, F.S. Converse, and D.G. Mason; Premieres 1881 - Gilbert Sullivan: operetta "Patience," in London; 1918 - Schreker: opera "Die Gezeichneten" (The Branded), in Frankfurt at the Opernhaus; 1926 - Puccini: opera "Turandot," in Milan at the Teatro alla Scala, with Arturo Toscanini conducting; The final scene of this opera, left unfinished at the time of Puccini's death, was completed by Alfano; 1929 - Roussel: "Psalm 80" for tenor, chorus and orchestra, in Paris; 1931 - Prokofiev: String Quartet No. 1 in b, Op. 50, at the Library of Congress in Washington, DC, by the Brosa Quartet; 1963 - Hindemith: Organ Concerto, for a jubilee concert of the New York Philharmonic, with the composer conducting and Anton Heiller the soloist; 1980 - Rochberg: "Octet - A Grand Fantasia," at Alice Tully Hall, by the Chamber Music Society of Lincoln Center; 1999 - André Previn: Bassoon Sonata, in New York, with Nancy Goeres and the composer at the piano; Others 1841 - At a fund-raising concert in Paris for the Beethoven monument to be erected in Bonn, Franz Liszt performs Beethoven's "Emperor" Concerto with Berlioz conducting; Richard Wagner reviews the concert for the Dresden Abendzeitung; The following day, Chopin gives one of his rare recitals at the Salle Pleyel, and Liszt writes a long and glowing review for the Parisian Gazette Musicale; 1865 - Pope Pius IX confers on composer Franz Liszt the title of "Abbé". Links and Resources On Puccini and his operas

Synopsis On today’s date in 1926, Giacomo Puccini’s last opera, “Turandot,” had its belated premiere at the La Scala Opera House in Milan, with Arturo Toscanini conducting. The originally scheduled 1925 premiere had to be postponed, as Puccini had died in November of 1924, leaving “Turandot” unfinished. Another Italian composer, Franco Alfano, was brought in to complete the opera based on Puccini’s sketches. It’s said that after showing Toscanini his completion, Alfano asked, “What do you have to say, Maestro?”—to which Toscanini replied, “I say I see Puccini’s ghost coming to punch me in the nose.” On opening night, Toscanini stopped the performance at the point that Puccini had ceased composing and left the podium in tears—a touching act of homage to Puccini, perhaps, but also a vote of “no confidence” regarding Alfano’s completion of the beloved master’s score. Although well received by critics, the Puccini“ Turandot” with Alfano’s ending remained less popular than other Puccini operas for decades. After a run of performances in the late 1920s when the opera was still new, “Turandot” remained unperformed at the Metropolitan Opera until 1961, when Birgit Nilsson and Franco Corelli scored a huge success in a lavish Franco Zeffirelli revival production. Music Played in Today's Program Giacomo Puccini (1858 -1924) Nessun dorma, fr Turandot Academy of St Martin in the Fields; Neville Marriner, cond. EMI 49552 On This Day Births 1690 - Baptismal date of German composer and organist Gottlieb Muffat, in Pasau; He was the son of German composer Georg Muffat (1653-1704); 1840 - Russian composer Pyotr Ilyitch Tchaikovsky (Gregorian date: May 5); Deaths 1906 - American composer John Knowles Paine, age 67, in Cambridge, Mass.; At Harvard, he created the first Music Department of any American university, and was the teacher there of a number of other American composers, including John Alden Carpenter, Arthur Foote, E.B. Hill, F.S. Converse, and D.G. Mason; Premieres 1881 - Gilbert Sullivan: operetta "Patience," in London; 1918 - Schreker: opera "Die Gezeichneten" (The Branded), in Frankfurt at the Opernhaus; 1926 - Puccini: opera "Turandot," in Milan at the Teatro alla Scala, with Arturo Toscanini conducting; The final scene of this opera, left unfinished at the time of Puccini's death, was completed by Alfano; 1929 - Roussel: "Psalm 80" for tenor, chorus and orchestra, in Paris; 1931 - Prokofiev: String Quartet No. 1 in b, Op. 50, at the Library of Congress in Washington, DC, by the Brosa Quartet; 1963 - Hindemith: Organ Concerto, for a jubilee concert of the New York Philharmonic, with the composer conducting and Anton Heiller the soloist; 1980 - Rochberg: "Octet - A Grand Fantasia," at Alice Tully Hall, by the Chamber Music Society of Lincoln Center; 1999 - André Previn: Bassoon Sonata, in New York, with Nancy Goeres and the composer at the piano; Others 1841 - At a fund-raising concert in Paris for the Beethoven monument to be erected in Bonn, Franz Liszt performs Beethoven's "Emperor" Concerto with Berlioz conducting; Richard Wagner reviews the concert for the Dresden Abendzeitung; The following day, Chopin gives one of his rare recitals at the Salle Pleyel, and Liszt writes a long and glowing review for the Parisian Gazette Musicale; 1865 - Pope Pius IX confers on composer Franz Liszt the title of "Abbé". Links and Resources On Puccini and his operas

Rotoclassica: In studio remoto Claudio Ricordi..-la Scala si prepara a portare spettacoli nei quartieri milanesi..-Pappano al Covent Garden..-Gustavo Dudamel all'Opéra di Parigi..-i cento anni di Franco Corelli..-un ricordo di Rocco Filippini, di Luca Chierici..-il Concerto per pianoforte di Stravinsky: in prova con l'autore e nella rubrica“Igor Stravinsky inventore di musica” di Massimiliano Caldi, ospite il pianista Sergio Lattes..-musica per la Giornata della Terra: dalle Stagioni di Haydn “Oh wie lieblich”..-per il 25 aprile: le parole di Aldo Zargani e la musica di Paolo Fresu e gli Swingle Singers

Rotoclassica: In studio remoto Claudio Ricordi..-la Scala si prepara a portare spettacoli nei quartieri milanesi..-Pappano al Covent Garden..-Gustavo Dudamel all’Opéra di Parigi..-i cento anni di Franco Corelli..-un ricordo di Rocco Filippini, di Luca Chierici..-il Concerto per pianoforte di Stravinsky: in prova con l’autore e nella rubrica“Igor Stravinsky inventore di musica” di Massimiliano Caldi, ospite il pianista Sergio Lattes..-musica per la Giornata della Terra: dalle Stagioni di Haydn “Oh wie lieblich”..-per il 25 aprile: le parole di Aldo Zargani e la musica di Paolo Fresu e gli Swingle Singers

durée : 01:59:09 - Relax ! du mardi 13 avril 2021 - par : Lionel Esparza - A la Une d'Opéra Magazine ce mois-ci : Elina Garanca, les 100 ans de la naissance de Franco Corelli. Mais aussi un portrait de l'étourdissante soprano norvégienne Lise Davidsen qui a remporté le diamant du magazine, et comme nouveauté, un très beau Josquin Desprez par l'Ensemble Clément Janequin. - réalisé par : Antoine Courtin

1975 Federico Fellini vince il suo quarto Oscar con il film Amarcord - 1921 nasce il tenore Franco Corelli

100 anni di Franco Corelli

Un día como hoy, 8 de abril: Nace: 1692: Giuseppe Tartini, compositor y violinista italiano. 1859: Edmund Husserl, filósofo alemán. 1908: Hugo Fregonese, cineasta argentino (f. 1987). 1911: Émile Michel Cioran, filósofo y ensayista rumano (f. 1995). 1914: María Félix, actriz mexicana (f. 2002, mismo día). 1921: Franco Corelli, tenor italiano (f. 2003). 1929: Jacques Brel, cantautor belga (f. 1978). 1931: John Gavin, actor y diplomático estadounidense (f. 2018). Fallece: 1848: Gaetano Donizetti, compositor italiano. 1973: Pablo Picasso, pintor y escultor español (n. 1881). Una producción de Sala Prisma Podcast. 2021

Tenors and baritones singing the other's arias. Featuring the artistry of three tenors, Enrico Caruso, Franco Corelli, Mario del Monaco and three baritones, Cesare Siepi, Joseph Shore and Leonard Warren.

Der italienische Tenor Franco Corelli begeistert Mitte des 20. Jahrhunderts sein Publikum als "Apollo des Bel Canto". Eine phänomenale Erscheinung auf der Opernbühne, groß, schlank, mit der Ausstrahlung eines Hollywoodstars. Und natürlich einer fantastischen Stimme. Am 8.April 2021 wäre er 100 Jahre alt geworden. (SWR 2011)

L'8 aprile 1921 nasce ad Ancona Franco Corelli. Susanna Franchi lo racconta a Wikimusic

Sometimes, the only thing that gets us through the darkest moments is knowing that the sun will rise again on a new day. Puccini's final opera, Turandot, is about courage in the face of adversity, and love triumphing over fear. In other words, it is exactly what the world needs right now.  The aria “Nessun dorma” is Prince Calaf’s declaration of love and resounding victory cry. In this episode, host Rhiannon Giddens and three guests explore what makes this aria so popular even beyond the opera house, and how it became an anthem of resilience and hope during the COVID-19 pandemic. This episode features Italian tenor Franco Corelli in a Metropolitan Opera performance from the Before Times (a.k.a. 1966). The Guests: Conductor Yannick Nézet-Séguin is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and the Orchestre Métropolitain in Montreal.  He loves conducting Puccini’s biggest, most majestic opera, but his favorite moments are the intimate arias like “Nessun dorma.” Writer Anne Midgette is the former classical music critic for The Washington Post. She first heard the aria on a Book of the Month Club cassette tape in college, and thinks the secret sauce for “Nessun Dorma” is in its climactic underdog declaration of “Vincerò” -- “I will win.” Dr. Michael Cho is a pulmonary and critical care physician at Brigham and Women’s Hospital in Boston, and has been on the frontlines of the COVID-19 pandemic. He’s also a violist, and has been playing with the Longwood Symphony Orchestra for more than 15 years. Recently, he joined the National Virtual Medical Orchestra, a group that formed during COVID to give people in the medical field a chance to play together. Watch their performance of "Nessun Dorma." In April of 2020, 700 children sang a virtual performance of "Nessun Dorma," as a message of hope and solidarity to the world, from Europa InCanto.

Amici in vita e in Morte - 100 anni della nascita di Franco Corelli

Fifty years ago, a teacher gave me two tickets to see Renata Tebaldi and Franco Corelli in Francesco Cilea's Adriana Lecouvreur.