# Final Round: Amor it vieta ( Fedora). Del Monaco, Ziliani, Corelli



## Seattleoperafan (Mar 24, 2013)

Giordano: Fedora / Act 2 - "Amor ti vieta" · Mario del Monaco · The New Symphony Orchestra Of London · Alberto Erede 




Amor ti vieta (Fedora) · La Scala Orchestra · Alessandro Ziliani Lebendige Vergangenheit - Alessandro Ziliani 





Fedora: Amor ti vieta
ARTIST
Orchestra Sinfonica Nazionale della RAI di Torino, Orchestra Sinfonica Nazionale della RAI di Torino, Arturo Basile, Arturo Basile, Franco Corelli, Franco Corelli
ALBUM
Franco Corelli: A Discographic Career


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## Woodduck (Mar 17, 2014)

I like Del Monaco's directness and his clean musical line, but his sound is steely and monochromatic. Ziliani, unfamiliar to me, looks for some chiaroscuro, and gives himself more time to find it. The quality of expression is somewhat Gigli-like, while his very inconspicuous vibrato suggests Martinelli. Corelli probably has the most exciting instrument, but also the worst musical manners. Despite a few needless attacks from below the note, I think I'll give this one to the newcomer, yet another forgotten but accomplished singer from a time when the world was crawling with them.

There's still none better than this guy, the first to sing this music. It's 1902, but those clear-as-a-bell vowels are a treat in themselves.


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## Tsaraslondon (Nov 7, 2013)

I didn't vote for ant of these in the original rounds, but came closest to voting for Ziliani in his round so he gets my vote in the final. 

I still like Bjoerling best.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I didn't vote for ant of these in the original rounds, but came closest to voting for Ziliani in his round so he gets my vote in the final.
> 
> I still like Bjoerling best.


He was one vote from tying with Corelli.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> I like Del Monaco's directness and his clean musical line, but his sound is steely and monochromatic. Ziliani, unfamiliar to me, looks for some chiaroscuro, and gives himself more time to find it. The quality of expression is somewhat Gigli-like, while his very inconspicuous vibrato suggests Martinelli. Corelli probably has the most exciting instrument, but also the worst musical manners. Despite a few needless attacks from below the note, I think I'll give this one to the newcomer, yet another forgotten but accomplished singer from a time when the world was crawling with them.
> 
> There's still none better than this guy, the first to sing this music. It's 1902, but those clear-as-a-bell vowels are a treat in themselves.


As a contest maker my issue is do I include Caruso in everything like I do Callas because they both usually beat everyone else and the both sang many many arias. If I knew which Caruso arias were essential it would help but so many are. Is it enough that someone like you inserts such a lovely paean to him like you did I know I must have him in Una furtiva lagrima... that much I do know


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## nina foresti (Mar 11, 2014)

First, let's make my job lighter and do away with Bonisolli's buddy -- the other loud voice with lack of substance. (not a fan)
That leaves Corelli and a voice I never heard, Ziliani, who has one of the sweetest (Jussi-like) voices and a sadness behind it that is appealing.
Then we come to Franco who also delivered a sweet and gentle aria, albeit with his typical dramatic references near the end which were not really necessary because he'd already made his point with me.
I liked them both but my vote goes to Corelli.


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## PaulFranz (May 7, 2019)

Corelli by a mile. Del Monaco is resplendent in house, and I love many of his live recordings, but his studio work makes him sound pressed, dull, and often flat. I continue not to see anything special in Ziliani's recordings. Corelli has THE voice, maybe the most amazing of all time. As a singer...ugh. As a voice...wow.


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## MAS (Apr 15, 2015)

Yes, that voice!


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## Woodduck (Mar 17, 2014)

One of the interesting things about these sing-offs is learning what people value, in singing generally and in individual singers. We can agree about certain objective qualities but disagree diametrically about the subjective ones.

I loathe Corelli in almost everything. His Met broadcasts in the '70s were unbearable. But I remember one of my favorite critics, C. L. Osborne, from whom I learned a lot as a youngster, speaking highly of him. A superb instrument isn't enough for me. Not nearly.


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## PaulFranz (May 7, 2019)

Woodduck said:


> One of the interesting things about these sing-offs is learning what people value, in singing generally and in individual singers. We can agree about certain objective qualities but disagree diametrically about the subjective ones.
> 
> I loathe Corelli in almost everything. His Met broadcasts in the '70s were unbearable. But I remember one of my favorite critics, C. L. Osborne, from whom I learned a lot as a youngster, speaking highly of him. A superb instrument isn't enough for me. Not nearly.


I don't mind extremes, as long as they're part of a panoply of diversity. Unregenerate, unstylish, stage-hoggin' boors have their place alongside prim, priggish, prissy master interpreters. I would hate to only listen to Plançon and De Lucia for the rest of my life, but Del Monaco and Corelli are only tolerable in small doses. My favorite tenor is Björling and my favorite baritone Battistini because I hear in them an exquisite balance, joining the elegant to the martial, the feminine to the masculine. But not everyone can do that, and I try to accept that.

I would be bored if life were only in one language, and I would be bored if I could only listen to one style of music. Mayhem and Rammstein are monotonous without someone like Michael Crawford or Sergei Lemeshev.

As regards Corelli specifically, I see him as a sort of distillation of the essence of post-Mozart opera: loud, exciting, ringing, consistent, and heightened. If I were to introduce the art form to an uninitiated Westerner, who would probably have notions of its stuffiness and boringness, I would probably start with some live Corelli stuff. Maybe I got the idea from his volcanic introduction in this video: 



but maybe it's just an obvious conclusion for anyone trying to show the exciting, passionate side of a world that has become academic and stale (and most of the best singers didn't leave us with live recordings).

Of course, I would hope that this impressed listener would move on to loftier interpretive heights found in other singers, but an initial glimpse of "the goods" that are the fundamental building block wouldn't be amiss. Also, it's nice to hear a good voice in modern-ish recording quality. A rare treat.


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## PaulFranz (May 7, 2019)

Just listen to that seasonally appropriate _acuto. _Awe-inspiring.


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## BBSVK (10 mo ago)

I love them all.
Ziliani is probably the best at following the directions "very tenderly" but I am still not quite at peace with these directions, so I will not vote for him.
I like both del Monaco's straightforward style as well as Correlli's slightly affectated - I am happy with his habbits in this aria, which surprises me. I'll see who of these two has less votes and will give him mine for ballance.


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## Woodduck (Mar 17, 2014)

PaulFranz said:


> Just listen to that seasonally appropriate _acuto. _Awe-inspiring.


Nice. Next year I'll be sure to ask Santa for some seasonally appropriate acuti. Until then I'll have to make do with some worn-out ones from last July 4.


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## The Conte (May 31, 2015)

I love this aria!

Del Monaco sounds reedy, I can't decide if that makes him also sound weedy or whether he is a touch too stentorian. I like it, but Franco's coming up...

Ziliani has a sweetness that Del Monaco lacked. This is neither weedy nor over the top. It's purely sweetly romantic. This one could give Franco a run for his money.

Ah Franco! That's a voice! This is close, but my heart says Franco even if my brain says Ziliani.

N.


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