About this Artist

• Biography

Editorial Reviews

Franco Corelli's appeal is easy to understand, because enjoying his singing didn't require understanding. It was a visceral thrill. That's true of many great tenors, of course, but especially of Corelli, whose wide-open trumpeting threw caution (and sometimes musicianship) to the wind in a way that was perfectly matched to his masculine good looks. He was a package. EMI's Franco Corelli: The Unknown Recordings does an excellent job of showcasing his unique gifts, and fans of the tenor should be glad to have these previously unreleased recordings of Corelli at the height of his career. The opening "Luisa Miller" excerpt doesn't put the tenor's best foot forward; it needs a sense of line and legato that were foreign to him. But by the time he's finished with the famous "La donna è mobile" a few tracks later, it should be obvious to any listener why Verdi was his bread and butter on-stage. The combination of virility and style is irresistible, and Corelli even demonstrates that he could sing softly when he wanted to without sacrificing excitement. The big surprise of the album is "Ah! Toute est bien fini...Ô souverain..." from Massenet's "Le Cid." The requirements of French language and style often conflicted with Corelli's Italianate instincts, but this gem of a track proves that he could get it right if he wanted to. The language isn't always clean, but he finds the perfect expressive balance between lyricism and strength, and the ending is a thrill. Nothing, however, can top the sheer guilty pleasure of "Di quella pira" from "Il trovatore"; overdubbed to a pre-existing orchestral track in the studio, it features one of the most indulgently long and spectacular high Cs anywhere on record. There couldn't be a more fitting end to a Corelli experience. Allen Schrott, All Music Guide

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