by Ricardo Rondón, Novedades, May 19, 1974 - reprinted in 2003 in Pro Opera

Thanks to Rodrigo Garcia Wigueras for sharing the article ❤

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Editor's note: The following interview with the tenor was originally published in the Novedades newspaper of May 19, 1974.

The best singer in the world, the man who has wowed six times to audiences in New York, arrives in Mexico and gives an exclusive interview to La Onda.

The famous Italian tenor Franco Corelli, who a few years ago cancelled his performances as part of the International Opera season, finally arrives in Mexico. Under the auspices of the Carlo Morelli Association, the Mexican public will get to know the art of one of the most sought-after divos of recent years. Corelli has climbed to the pinnacle of fame as the owner of a powerful lirico-spinto voice that he uses with enormous temperament and expressiveness.

This interview was a real surprise for me, as I expected to meet a sacred monster and, although Corelli is a sacred monster on stage, personally he is a nice, intelligent man, full of anecdotes and love for opera.

What do you prefer, opera or recital?

Definitely opera, since the support that the orchestra gives to the voice is important and allows for greater expression. Normally I do not give recitals with piano but on this occasion I make the exception by a kind invitation of Mrs. Gilda Morelli, who brings me to Mexico to replace a colleague of mine who could not make the trip: Renata Tebaldi. One of the reasons why I don't like the recital is because I don't believe that my stage characters should die in tailcoats.

How would you define your voice?

Although I have been called dramatic tenor, I am not, since this tessitura does not exist nowadays. I am lirico spinto and that is the repertoire I sing. Ernani is a good example of the extension that can be obtained with this type of voice.

We know that high notes come easy to you...

High notes are difficult. I have them, but they make me worry. No tenor finds extension in the high register easy, and I'm no exception.

What new roles do you have planned for the future?

Mainly Lohengrin, which is the only Wagnerian role I can consider. I like it very much and it will allow me to sing a composer I admire. I will also soon be singing the tenor roles in Un ballo in maschera, Samson et Dalila and Otello.

Do you enjoy modern opera?