Word: manrico
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DIED. FRANCO CORELLI, 82, powerhouse Italian tenor; in Milan. Largely self-taught, he was faulted by critics for the raw passion in his singing but adored by rank-and-file opera buffs, who gave him bravos for such roles as Manrico in Il Trovatore and Cavaradossi in Tosca. His competitiveness sometimes took a strange form; during Puccini's Turandot at New York City's Metropolitan Opera in 1961, he bit a soprano on the neck because she held a high note longer than...
...relaxed conditions of the recording studio but not onstage, as in William Tell, which he describes as a "scassavoce"?a voice buster. If he does not show to advantage in a new role he may shelve it for a while, as he seems to be doing with Manrico in Il Trovatore...
Verdi: II Trovatore (Soprano Joan Sutherland, Mezzo Marilyn Home, Tenor Luciano Pavarotti, Baritone Ingvar Wixell, National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge conductor, London; 3 LPs). Having come only recently to the roles of Leonora and Manrico, Sutherland and Pavarotti will undoubtedly have additional things to say about them in the future. For now, it can be said that this is a bella voce album of the first order. Devotees of the Leontyne Price-Placido Domingo set, or Price-Richard Tucker, or especially the old Zinka Milanov-Jussi Björling classic-all much more dramatically vivid-may safely...
...they had swallowed cooking knives, Pavarotti's sings effortlessly. Nothing is worse than a singer who strains. But unfortunately, Mr. Pavarotti, like too many other lyric tenors, suffers from the identity crisis of a vocal lightweight. Not satisfied with the lyric repertoire, he wants to conquer the dramatic roles; Manrico, Radames, Canio. He could make no greater mistake. Nothing destroys a lyric tenor more quickly or completely than straining to sing those dramatic works to which his voice is not suited; the color darkens, the voice loses its beauty and unwieldly wobbles ensue. One hopes that from here...
...role of Manrico that Italian Tenor Luciano Pavarotti presided over the opening of the Metropolitan Opera's 92nd season in New York last week. Weighing in at well over 300 Ibs., his swordsmanship lightheartedly heavy handed, Pavarotti did little visually to make a believable character of Manrico. Vocally it was another matter. This was the kind of elegant, radiant singing that has made Pavarotti the most exciting lyric tenor in all opera. For Pavarotti and opera fans alike, Manrico was a major turning point in a notable career. It was the first time at the Met that Pavarotti...