I heard Corelli live in Romeo and he did indeed take the last Bflat
diminuendi. I had very close seats and saw him run to the prompter when, in
the middle of the aria, he appeared to realize he didn't know what came
In my own experiences as a singer, I've done a piece so many times, that
I've "zoned out" only to "awake" and realize I didn't where I was in a
piece. This was when I was a kid, singing with my brother and sister in a
folk group, singing something multi-versed like "Sounds of Silence" for the
umpteenth Rotary Club. Usually, we could turn to one another, and knowing
each other so well, and receive a overemphasize mouthing of the first word
of the next lyric. One day, I looked at my sister, she looked at my brother
and the music stopped!!
But back to Corelli, Henry Fogle, who for some reasons prefers to contribute
to RMO and not here, also states he has it from reliable sources that the
studio recording was tinkered with.
I can understand a fade-out effect, but I don't believe that the tonal
quality change that one makes when going from ff to pp can be faked -- not
at least with the technology back then. My conjecture was that Corelli's pp
was not pp "enough" to suit possibly him or the procedures, because there is
a definite change in tonal quality.
A change of subject: On one of my road trips I listened to the Algana and
Angela recording of La Boheme and it is wonderful. Both sing beautifully
and I find Angela G's voice sexy as hell. Reminds of a young Cotrubas in
quality. For once, I was grateful for the pollen season to blame, but my
eyes were very red when I made it to my client. The only voice I didn't
care for was the Musetta (I don't have the CDs here at work). I found her
thin-voiced and kept thinking throughout the Waltz (and this is unfair and
more than a little unkind): Charlotte Church.
Shame on me!
----- Original Message -----
From: Ed Rosen <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, April 13, 2000 12:10 PM
Subject: Re: More on Corelli Dimenuendi in Aida
> In a message dated 4/13/00 10:57:14 AM Eastern Daylight Time,
> [log in to unmask] writes:
> << My follow-up: Corelli also made a complete Aida recording in 1956. In
> recording, made 11 years earlier, he also tapers the same two high B
> the last duet. Does anyone claim that these two diminuendi were also
> Loca Telli >>
> What is all this nonsense about Corelli's diminuendi being faked on his
> commercial recordings?
> I saw him do Aida live countless times, and he did diminuendo on numerous
> high Bbs, so the notion of the recordings being "faked" is absurd, IMO. If
> could do them live, and he certainly could, why would a studio recording
> He did often choose, for whatever reason, to end the aria on a forte high
> Perhaps he just felt at that instant that it was safer to do it that way.
> in the very same performance, he would always do the most incredible
> diminuendi on the same Bbs in the Tomb Scene.
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