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Conversations With Corelli (3-3-1990)

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Conversations with Corelli:
Interview 2, “Opera Fanatic,” March 3, 1990

Franco Corelli, Jerome Hines, Dodi Protero, guests
Stefan Zucker, host

Downloadable .M4A or .MP3 files: Total size approx. 325 MB. (This is a large file; please be patient as it downloads.)

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Press coverage of Corelli’s appearances on “Opera Fanatic.”

About the guests on “Opera Fanatic.”
3guest
dodi_papagena

Dodi Protero

TOPICS:
Total Interview Time: 2 hours, 56 minutes

  1. Callas vs. Olivero
  2. Callas’s technique
  3. Her loss of voice
  4. Hines on Olivero and Callas
  5. The Rome Walkout
  6. Maria Caniglia
  7. Beniamino Gigli
  8. Has singing changed in your time?
  9. Bianca Scacciati
  10. Miscasting
  11. Picking singers to suit operas vs. picking operas to suit singers
  12. American, Italian and German styles
  13. German vs. Italian legato
  14. The vowel “ah”
  15. The German influence
  16. Renato Cellini, the first Fascist at the Met after the war
  17. Cloe Elmo. Corelli favors booing
  18. Booing at the Met
  19. Claques
  20. Booing
  21. Gigli’s influence on Del Monaco
  22. Big voices and 16th notes
  23. Leyla Gencer
  24. The Rome Walkout and the lack of covers in Italy
  25. When in America Italians display temperament
  26. Corelli’s favorite among his performances
  27. Stanford Olsen
  28. Lina Pagliughi
  29. Gino Bechi, Giangiacomo Guelfi, Leonard Warren, Robert Merrill, Cornell MacNeil, Ettore Bastianini and Titta Ruffo
  30. Why Corelli did not sing Ballo
  31. Corelli’s favorite conductors
  32. Singing too loudly
  33. Grace Bumbry
  34. The tempos of Karajan and Bernstein
  35. A conductor Corelli did not like
  36. Does Corelli approve of the Met’s casting?
  37. Why the Met’s orchestra is too loud
  38. The Met’s choice of singers
  39. What is a Verdian voice?
  40. Iodine on vocal cords
  41. The Del Monaco cocktail
  42. Almond oil, cortisone
  43. Douglas Stanley
  44. The day of a performance
  45. Enzo Sordello’s herbs and the steam in his room
  46. Directors’ opera
  47. The biggest voices
  48. Francesco Merli, Giacomo Lauri Volpi, Birgit Nilsson, Richard Tucker, Anita Välkki, Helen Traubel, Caruso, Gino Penno
  49. Sweet tenors vs. round tenors
  50. A Corelli return as Otello
  51. To return or not to return?
  52. Nel verde maggio from Loreley, by Catalani
  53. Scooping
  54. Gigli’s recordings
  55. Corelli’s favorite tenor
  56. Ave Maria by Tortorella
  57. Hines: Toscanini made us sing unnaturally
  58. Corelli’s favorite soprano
  59. What Corelli learned from Callas
  60. What he learned from Tebaldi and Nilsson
  61. Melocchi’s other students
  62. Del Monaco’s influence
  63. Giuseppe Di Stefano
  64. The difficulty of the laryngeal method
  65. The inhalation treatment that hurt Corelli’s voice
  66. Why Corelli stopped his career
  67. Live vs. studio recordings
  68. Corelli’s films: Magnifica ossessione andLa carovana nel deserto

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