Evening with Corelli, Zucker in Theater
Please note: These interview video cassettes have an audio track only, no picture of any kind. You can hear us speak and sing, but you don’t see us.
CZ103V May 3, 1993, New York City (2 hrs., 6 mins.) NTSC or PAL VHS.
This video may be chosen as a free selection in the 6-for-5 offer.
Third in a series of Corelli interviews by Zucker in a theater. During the evening’s second half he went into the auditorium à la Phil Donahue and fielded questions from the audience.
Selections played during the evening included Turandot, Poliuto, Adriana (2 selections, with Olivero), Faust, Macbeth, Tosca (2).
Corelli’s worst performance–the problems he had and what he felt like. His best performances. His problems with Aïda, and why he switched from it to Carmen for his debut.
Callas: Why she lost her voice. The Rome walkout, her screaming backstage and the objects she threw. She could have continued the performance. He compares Callas and Olivero and discusses the 1959 San Carlo Adriana.
Extensive discussion of his Ugonotti performances. When was his vocal peak? His turn away from heroic repertory such as Tell and dramatic parts such as Otello in favor of lyric French roles. Comparison of the parts of Roméo and Faust.
His biggest mistake. His fee. His pleasing physical appearance–what role did it play in his career? His favorite colleagues. Puccini vs. Verdi. His life before his career.
How he learned to sing pianissimo and make diminuendos. The lowered-larynx technique–pros and cons. Tenor high notes from Duprez to Caruso. Corelli’s passaggio (the area of the voice where head resonance begins to predominate over chest resonance).
How he lost his high notes prior to his debut and studied as a baritone. His nickname, “Golden Thighs”–and how he got it. His fights with conductors. His favorite roles. What Francesco Merli sacrificed to make a career.