Grazia, January 5, 1958
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Comment on FacebookOn the evening of St. Ambrose's Day in 1954, Spontini's “Vestale,” which inaugurated the “season” at La Scala, revealed a young dramatic tenor with a beautiful melancholic face and the perfect physique of an athlete. This debut in the world of the greatest opera houses marked the starting point of an exceptionally rapid career, which led him to become one of the most acclaimed and sought-after singers, the favorite “partner” of Maria Meneghini Callas. At the time of his success, Franco Corelli was just over thirty years old (he was born in Ancona on April 8, 1923 [1921]) and had begun to make a name for himself two years earlier, winning a competition at the Teatro Lirico in Spoleto with his interpretation of “Carmen.” His lyrical and theatrical talents, together with his good looks, attracted the attention of television, which was staging its first melodramas. In Tosca, the young tenor was an impeccable Cavaradossi and was hired to play the same character in a film. For Franco Corelli, this cinematic experience would not be his only one. Today, in fact, he is determined to also pursue a career as an actor, to which he will devote himself with the same commitment that has distinguished him in the great opera houses. He has signed a seven-year contract with Metro for fourteen films, in one of which he will work with Marilyn Monroe. Corelli hopes to be able to play in some Westerns, which he is enthusiastic about, and in any case in dramatic roles, which he believes suit his temperament.
For his frequent trips to Italy, which are necessary for his career, Franco Corelli purchased this beautiful black and white Mercury. His mastery of the steering wheel is so perfect that he manages to navigate its enormous size even in the most chaotic traffic of Milan. However, Corelli is not passionate about cars: his great hobby is photography. He owns all kinds of cameras—although he admits to having taken only a few snapshots—and is always eager to add the latest models to his collection. Inevitably, the photojournalists who come to interview him end up being interviewed by him about the technical details of the latest equipment and the latest innovations in lenses. When preparing for an opera season, the tenor usually “reviews” his previous interpretations of the works in the program, which he studies and perfects in every nuance of interpretation: in fact, he owns the complete discography. To this end, Corelli always records his rehearsals on tape. For this reason, the walls of the ultra-modern six-room apartment he purchased on Via Crivelli in Milan are covered with a special absorbent material that ensures perfect acoustics. In the photograph below, Franco Corelli is studying a particularly challenging passage from Tosca.
Franco Corelli has an impressive wardrobe of stage costumes, stored in a long closet in his home in Rome. The tenor never fails to follow the work of the theatrical tailors responsible for making them. In fact, he insists that his costumes strictly adhere to those of the era in which the opera is set. He is currently in Milan overseeing the final touches to a new Roman warrior's armor that he will wear in Norma at the opening of the Teatro dell'Opera in Rome. On this occasion, the tenor will be performing alongside Maria Callas, who, in addition to admiring his exceptional vocal talents, also values his acquiescent and reserved kindness. The armor that Corelli is trying on is made of very light golden leather, identical to that worn by Robert Taylor in Quo Vadis. The helmet was made by the well-known Milanese jeweler Marangoni. The upcoming opera season promises to be a busy one for Corelli, who is preparing, among other things, for a new role: Turandot. In the spring, he will return to La Scala with Bellini's Il Pirata, which has not been performed there since Beniamino Gigli's admirable interpretation. The tenor's commitments also include a long tour abroad: he will sing in Tosca in Nice and in Aida at Covent Garden in London.
In his rare moments of free time, Corelli composes pop songs. Here he is at the piano, developing a new theme. Although he claims it is just a “hobby,” he is clearly very committed to it. His latest composition will soon be presented to the public. The tenor, who studied engineering for some time, personally oversees the renovation of his home in Milan and tirelessly rearranges his valuable paintings until he achieves the desired effect. In addition to being an art connoisseur, Corelli is also a collector of tapestries and precious carpets, especially Persian and Chinese ones.
The large portrait behind Franco Corelli depicts him in the costume of Don José from Carmen, painted by Guberti, who also painted the portraits of Lina Cavalieri and Caruso. The tenor is captured in a pose that was typical of him, reading a letter from an admirer. Corelli is very conscientious in replying to this correspondence: he believes that it is an effective way of strengthening the bond of affection between the artist and his audience. Corelli, who is unmarried, has countless admirers: the most devoted follow him everywhere on his tours in Italy.
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