OP2794. IL TROVATORE, Live Performance, 13 Feb., 1960, Napoli, w.Santini Cond. Teatro San Carlo Ensemble; Franco Corelli, Mirella Parutto, Fedora Barbieri, Giangiacomo Guelfi, etc. (E.U.) 2–Myto 00269. - 801439902695
"…the Leonora, Mirella Parutto, had no flash international recording contract and may be a name familiar only to Italians and anoraks. She’s a gem, a beautiful, cleanly produced voice with a real sense of scale, big and small….Corelli is a ‘dream’ Manrico - he has the squillo, he can have the subtlety, the voice sounds big but still young, and he’s very sexy and noble….Corelli, like Bergonzi, shows here how to play to the gallery without damaging taste buds."
- Kenneth Meltzer, Classical CD Review
"Vocal size and rugged style mark [Corelli] as an open-air tenor….The vibrancy of his timbre is unequaled among tenors, and often it holds a commendable warmth as well…."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.374
“Corelli was more often than not merely a tall man with a loud voice, buying audience favor with such childish coin as long-held top notes and, for variety, longer-held top notes. Given his physical advantages and the power of sound he commands, Corelli could make himself a painter - hero of the first rank, but this would take an alteration of attitude for which there is no reasonable hope.”
- Irving Kolodin Review
“Giangiacomo Guelfi [not to be confused with Carlo Guelfi, a younger baritone] studied at the Centro Lirico in Florence, as well as with legendary Italian baritone Titta Ruffo, and made his opera début in the title role of Verdi's RIGOLETTO in 1950, an exceptionally young age for such a work. He won the Spoleto Experimental Theater Prize and made his La Scala début in 1952 as The Visitor in Castro's PROSERPINA Y EL EXTRANJERO. He made his London début two years later at Drury Lane as Gérard in Giordano's ANDREA CHÉNIER. Though he drew considerable acclaim in a 1957 performance of Verdi's I DUE FOSCARI in Venice, and he was considered a rising star during the late '50s and early '60s, it was not until his 1964 performance of Verdi's MACBETH at La Scala that he was acknowledged as a full-fledged star. He made his Metropolitan début in 1970 as Scarpia. He was particularly admired during his prime for his powerful voice, but like many possessors of such voices, occasionally indulged in bellowing and, toward the end of his career, relied excessively on extra-musical vocal effects.”
- Anne Feeney, allmusic.com