Canto el Sole [Import]

1. Canto Al Sole [Italian Original Version]

2. E' Come Musica

3. Lei [Italian Version]

4. Cos'è l'Amore

5. Canzone Di Maria [Gypsy Version]

6. Libertà

7. Amore Per Sempre

8. Il Mito (Song for Ferrari)

9. Volare

10. Piazza Grande

11. Bianca Di Luna

12. Canzone Di Maria [Reggae Version]

13. Angelo Raffaele

14. Il Paradiso Dov'è (Tell Me There's a Heaven)

Tracks:

Pieta, Signore (Aria Di Chiesa)
Ave Maria, D.839 (Inno Alla Vergine)
Serse - Ombra Mai Fu (Largo)
Ave Maria
(OrchMottl): L'Ange
Requiem - Ingemisco
Adeste Fideles
Ave Maria
Ave Verum Corpus, KV 618
Petite Masse Solennelle - Domine Deus
Agnus Dei
Panis Angelicus
Granada
Vaghissima Sembianza
Ti Voglio Tante Bene
Mon Ciel, c'est Toi
Il Canto Della Rinuncia
I Love Thee
Because
Carretiere
Tu Lo Sai
Pourquoi Fermer Ton Coeur?

Tracks:

Mammina Mia
Te Quiero
Core 'ngrato
Senza Nisciuno
Adda Turna
'O Paese d' 'o Sole
Pecche?
Fenesta Che Lucive
Piscatore 'e Pusilleco
Tu, Ca nun chiagne!!
I' te Vurria Vasa
Tora a Surriento
Dicitencello Vuje
Gaupparia
Silenzio Cantatore
Voce 'e Notte!
'O Maranariello
Passione
'O Sole Mio
'O Surdato 'Nnammerato
'AVucchella
Torna!
Addio, Mia Bella Napoli

Customer Reviews:

An awesome display of vocal fireworks.......2004-05-21

If it's a tenor voice you want to hear look no further. Franco Corelli is undisputedly one of (if not the) greatest tenors of the 20th century. His voice is capable of unbelievable power and exquisite pianissimo's. The broad range of religious arias, Italian songs and arias is enough to keep anyone's attention and have them panting for more. I recommend this wholeheartedly. Enjoy...

A Great singer, BUT..........2002-11-05

First of all: in my opinion I think it would be hard to find any other tenor with more thrilling sound than Franco Corellis.
But what goes wrong when it comes to his studiorecordings? It sounds too often that he wants to surpass oneself, like he wants to give us even more broadly tones all the way up( of cource his high c in "Granada" is good and the ending of "sole mio" is unbelievable) and it only will go at the expense of his overtones, because he uses too much muscles and is too heavy. The result of it: you get tired listening to him. And for Heavens sake: Whats the use for him to sound more manful?!!!!
Of course some songs here are good, but maybe only 10 out of 44, and thats not good enough for such a GREAT singer.
At last, why does he sing "off the voice" in Bach/Gounods Ave Maria? It`s so unnecessary, beacause he really had breath enough!
In my conclusion I will not recommend this recording, Because it`s such a disappointment.

Review..........2002-01-18

I own this C.D. and I have listened to it many, many times. Allthough I understand the feelings of the reviewer saying the songs are sang by the same fiery tone, I don't understand them fully. I would come to this conclusion if I would have listened to this the songs on a (too) soft volume.

If you really listen to it, not as backround music , but so you can hear it well and you aren't doing anything else, you will notice with how much passion a lot of the songs are sang by Corelli. Core 'ngrato is filled with passion, and I think Corelli is unsurpassed with that song. He didn't have lack of musicality either... Perhaps some more lessons would have done him good, but almost everyone could use some more. I even say that listening to some of Corelli's recordings is like having a singing lesson.

I would really recommend this C.D. if you are interested in his voice. the Core 'ngrato, Ave Maria and O sole Mio are great for instance. If you want to try full opera recordings try Il trovatore, Norma or Andrea Chenier

Unequalled Neopolitan Songs.......2001-05-16

Franco Corelli, who sang from 1951 to 1975, was the greatest tenore di forza of the postwar era. A powerful and exciting singer, never a subtle, elegant, or refined one, he had his detractors (who called him crude, vulgar, self-indulgent, and who lambasted his execrable French), but there can be no argument about the quality of his voice, a big, vibrant tenor with a thrilling timbre (often described as rich, dark, or baritonal) and a brilliant, secure top that must have been the envy and despair of other tenors. A nervous performer repeatedly subject to pre-performance jitters and anxiety attacks (a wag once said of him that Corelli could always think of more reasons not to sing than to sing), once onstage he was a generous singer who gave fully of himself and, like Caruso, poured out his magnificent voice unstintingly, never holding back.

The voice itself was one of the glories of the generously-endowed operatic scene of the Fifties and Sixties, and one of greatest tenor voices of the century. Herbert von Karajan said of Corelli, "A voice of heroic power, yet with great beauty of tone; darkly sensuous, mysteriously melancholic . . . but above all, a voice of thunder and lightning, fire and blood." Harold C. Schonberg, senior music of the New York Times, reviewing Corelli's Metropolitan debut in 1961, noted that his voice "has something of an exciting animal drive about it, and when Mr. Corelli lets loose, he can dominate an ensemble," and later described his voice as "a force of nature, an act of God, the vocal equivalent of an earthquake, volcano or hurricane." The distinguished musicologist Paul Henry Lang writing in the New York Herald-Tribune called Corelli "a latter-day Caruso." Alan Rich of the New York Herald-Tribune wrote of him, "There is no tenor in modern times, Italian or otherwise, whose voice rings out with greater vibrancy, whose every tone carries with it emotion at white heat. The sounds he makes, seemingly without effort, are dazzlingly bright, urgent, and communicative." Since Corelli's retirement we haven't heard anything remotely like him, and those of us who know his voice (and Bjorling's) can perhaps be pardoned for finding the "three tenors" so popular today somewhat anemic in comparison.

I have been an admirer of Corelli, a collector of his recordings, and a follower of his career since the late 1950s (when he had not yet sung in America, and his only recordings were Italian Cetra imports). I have just about everything he recorded. There is no tenor voice before the public today equal to this one, and I urge you not to miss it.

But the two-CD set under review here is not the place to start. If you are new to Corelli, I recommend the EMI single CD "Heroes" or the EMI two-CD set "Franco Corelli," with their heavy doses of his typical operatic fare, as ideal introductions to this rewarding singer. Corelli was above all a creature of the opera house, in his element singing Puccini, Verdi, and verismo Italian opera. The set under review here, misleadingly entitled "Songs and Arias," contains in fact only one aria, a very atypical one: Handel's "Ombra mai fu" from "Serse" (made famous by a Caruso recording). Indeed, some of the composers represented here-Handel, Schubert, Bach, Mozart, Rossini-are in fact stylistically very far from the kind of singing one associates with Corelli. A couple of the songs, "Because" and Grieg's "I Love Thee," are mildly comical in Corelli's overpoweringly Italianate and operatic renditions. But this is a set well worth owning for anyone who knows and likes Corelli. There is a first-rate Ingemisco from the Verdi Requiem, the traditional religious songs are all sung with seriousness and devotion, and most important, the bulk of the set comprises Neopolitan songs, which Corelli sings superbly. (I think he sings them better than anyone.) Of these my own favorite is "Core n'grato," a powerful song, and Corelli's recording of it is unequalled: there is a prodigious outpouring of bronzen tone here that must be heard to be believed. It's true that some of the orchestral arrangements are corny and dated, but with gloriously gutsy, full-blooded singing like this, from one of the greatest tenor voices of the century in its prime (all the recordings here are from 1961 to 1965), I can overlook the arrangements. These two CDs are very generously filled (22 songs,77 minutes for one and 23 songs, 78 minutes for the other), and include, I believe, everything Corelli recorded for EMI that wasn't opera.

If you like Corelli, if you like Neopolitan songs, you'll want this. But it's not the place to start in appreciating Franco Corelli.

Not a Corelli fan and even less now after hearing these CDs........2001-01-17

Corelli's voice was quite large,but I'm not very sure about it's beauty.He is much better in operas,but on these discs,I find his singing annoying.To the reviewer who wrote the Major Disappointment review and included Di Stefano in those not having a beautiful voice,I'd have to say that you obviously don't know what you're talking about.

Tracks:

Canto Al Sole [Italian Original Version]
E' Come Musica
Lei [Italian Version]
Cos''Amore
Canzone Di Maria [Gypsy Version]
Libert
Amore Per Sempre
Il Mito (Song for Ferrari)
Volare
Piazza Grande
Bianca Di Luna
Canzone Di Maria [Reggae Version]
Angelo Raffaele
Il Paradiso Dov'Tell Me There's a Heaven)

Customer Reviews:

older and better.......2002-02-04

if you are an albano fan you will love this cd.
"volare" is redone here with a reggae beat and is just
great. he does a wonderful version of "bianca di luna"
which is a song he recorded probably over 25 years ago.
albano's voice, to me, is as good or better than when he
was a young man.

Pop Music:

Pop Music