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About Tosca:Corelli,Gordoni, D'Orazi, Morelli
Product Description (Parma, Jan. 21, 1967, live). Corelli, Gordoni, D'Orazi, Carbonari, Maionica; Morelli; Chor. and Orch. of the Teatro Regio di Parma. This "E lucevan le stelle" is the most sensual of all live tenor recordings of the 20th century.--Stefan Zucker Review "Corelli is once more in prime form in the Parma Tosca ... indeed a superior version ... well worth having." -- Alan Blyth, Gramophone `E lucevan le stelle' is spun on an elongated, elegant line. Narcissistic? Possibly. Self-indulgent? Certainly. Impressive? Oh, definitely. -- John T. Hughes, writing in Classic Record Collector: About the Artist Kenneth Meltzer, writing in Classical CD Review: "If you love Franco Corelli, and don't already own this set, you will definitely want to acquire it at once. For those who have yet to become acquainted with the magic of this great, if controversial, tenor, I truly cannot think of a better place to start. "During the course of a long and brilliant career, Corelli sent audiences into frenzies with his matinee-idol looks, golden tenor voice, and atomic high notes, often held for what seemed an eternity. Many critics found Corelli's style extraordinarily self-indulgent, but few denied his unique magnetism. "Perhaps the most spectacular moment occurs in Act II, when Cavaradossi leaps to his feet and sings 'Vittoria!' The second 'Vittoria' is sung on an A-sharp that Puccini directs be delivered allargando molto (very broadly). But even Puccini could not have dreamed of the twelve(!)-second elongation Corelli accords this high note, driving the Parma audience into an absolute frenzy. "The love affair between Corelli and the Parma audience continues into the final act. As in his first-act aria, Corelli takes 'E lucevan le stelle' at a markedly slow tempo. The opening is notable for its hushed beauty. And then, Corelli arrives at the sequence beginning 'O dolci baci, o languide carezze' (Oh sweet kisses, languorous caresses). At the high A on 'disciogliea,' Corelli sings a protracted and beautiful diminuendo, continuing on the same breath to the conclusion of the phrase. The stunned audience responds with a collective, audible gasp. Corelli then delivers the final climax with almost superhuman strength. "The Parma audience breaks into sustained cheers, applause, and finally, rhythmic clapping, as they beg for an encore. It is not forthcoming--at least not immediately. But after the conclusion of the opera, an upright piano is wheeled on stage to accompany Corelli in a stunning rendition of the Neapolitan song 'Core 'ngrato.' "I doubt that we will ever again hear a performance like this. First, it is unlikely that a tenor with Corelli's remarkable gifts will come this way again. Second, even if he did, I can't imagine any of today's conductors allowing the kinds of freedoms Corelli takes with the score. Many will view that as a positive development--I do not. "The remainder of the cast is fine, although certainly not on Corelli's level. Gordoni is a vibrant, fiery Tosca who has occasional difficulty with her upper register. D'Orazi is a firm-voiced and malevolent Scarpia. Through all of Corelli's liberties and audience participation, conductor Morelli does an admirable job of holding the performance together. "The CDs contain more index numbers than typical for issues of this opera, with many Corelli highlight moments isolated for easy access and repeated pleasure."
