A Conversation with Franco Corelli: "Opera Fanatic," March 3, 1990

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Franco Corelli and Stefan Zucker on Opera Fanatic

Conversations with Corelli: "Opera Fanatic," March 3, 1990

Franco Corelli, Jerome Hines, Dodi Protero, Guests

Stefan Zucker, Host

TOPICS Include:

1. Total Interview Time: 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