Luciano Pavarotti once remarked admiringly that Franco Corelli had “vocal cords of steel,” doubtless referring to Corelli's baritone-like lower register coupled with a set of high notes that resounded like high-tension cables. In addition, he had a commandingly physical stage presence, as well as a temperament which brought him to blows with fellow-singers onstage and prompted him to accost hecklers physically. Yet paradoxically he also suffered from debilitating stage fright, not that you'd know it, listening to him sing “Mamma, quel vino e generoso” from Mascagni's lurid and blood-drenched Cavalleria Rusticana. As the story of jealousy and infidelity in a Sicilian village nears its conclusion, and before Turiddu goes out to fight a duel with his love-rival, Alfio, he bids a chokingly heartfelt farewell to his mother. Corelli is able to wring out the full spectrum of emotions while never allowing his awesome technical control to slip.
By Justin Davidson on 01.16.15 in Features
She is no longer the goofy but serious alien girl with the long flowing hair; instead she’s a sage.
By Justin Davidson on 12.02.14 in Features
Justin Davidson examines the way recent solo cello albums by Alisa Weilerstein, Jeffrey Ziegler and Maya Beiser reinvent that wordless, eloquent voice.
By Ami Armstrong on 11.26.14 in Features
Stream the Punch Brothers documentary 'How to Grow a Band' this week.
By John Schaefer on 10.28.14 in Reviews
The interlocking rhythm patterns of Steve Reich, the micro-universe contained in the drones of La Monte Young, the hypnotic sounds of the German motorik bands of the '70s…these are a few of the straws I will grasp at in...