Peggy:
>1. The great Spanish opera singer, who is best known for
her singing of bel canto repertoire, and who has the first
name Montserrat has a last name that's spelled Caballe!<
If you insist... in fact, it's Caballé!
>2. Somebody wrote that Bocelli studies with opera singer
Franco Corelli. According to somebody who writes on the
opera list who does study with Corelli, Bocelli has only
have a few lessons with Franco, but has chosen to publicize
the connection beyond what it really is. <
Check out what I found: www.bocelli.net ( the menu bar links are mispelled,
so at least some of them will take you to non-existing pages. You have to
retype www.../FAQ.htm as www.../faq.htm to get to their FAQ, for example ).
According to this article:
http://www.bocelli.net/PrintInterview120024Hours.htm:
"But it was not until Bocelli started taking classes with his childhood
idol -- the tenor Franco Corelli -- that he seriously considered singing
professionally. Bocelli performed an aria from La Bohème at his audition,
and Corelli took him on as a pupil.Bocelli acknowledges his debt to the
elder tenor, and is wary of becoming a "bad copy" of him. Yet Corelli
remains a powerful influence, and the two men stay in touch. "He gives me
advice over the phone," Bocelli says. "We discuss projects, or the placement
of the voice and how to support the voice."
"[H]As Bocelli got what it takes to be an operatic tenor? His appearances on
the lyric stage have not been entirely successful. To be fair, Bocelli's
blindness places him at a disadvantage in the context of staged opera, and
like his hero Corelli, he suffers from terrible stage fright. He found the
staging of Werther especially difficult to negotiate.Reviews of that
performance said Bocelli appeared to handle the stage "comfortably," and
instead drew attention his voice. "His sustained notes wobble," wrote
Anthony Tommasini in the New York Times. "His soft high notes are painfully
weak. Inadequate breath control often forces him to clip off notes
prematurely at the end of phrases."
Bocelli's reputation on disc is somewhat better, and a flurry of new
recordings will provide a more ample assessment of his abilities..."
And this one, http://www.bocelli.net/PrintInterview112400BostonGlobe.htm,
from November 2000:
"One reason Bocelli is deferring definite plans about operatic roles is that
he has found a new voice teacher and is waiting to see what the results will
be. Certainly his singing in Worcester and with the Boston Symphony
Orchestra in Paris last spring was superior to the singing on his most
recent records, "La Boheme" and a collection of Verdi arias, both of which
were made before he found the new teacher. "The only problem for me is that
he lives in Los Angeles, and it is difficult for us to find time to work
together," Bocelli says. "He teaches an old Italian method, the same that
was taught by Maestro [Arturo] Melocchi, who was the teacher of Mario Del
Monaco. Basically it develops fitness in the vocal cords and in the muscles
that support them. I have never worked with my voice this way before, and I
think it will help my voice to grow up. For an opera singer it is very
important to have a big force in the muscles of the larynx."
And this one, http://www.bocelli.net/PrintInterview110800LaRepubblica.htm,
about opera today:
"LR: Many in this environment view with distrust the fact that you tackle
both opera and popular songs.
AB: It is a false problem. At the beginning of the century, the great tenors
also recorded albums of songs. Then, for a reason little clear, a pseudo
moral prohibition was affirmed, a pseudo ethic. He who sings opera is not
able to do anything else. This is ridiculous, and it contributed to tarnish
the prestige of opera in the imagination of the people. Riccardo Muti is
uncompromising, but his concerts are shown on TV."
Bye,
Caio
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