Table of Contents

Table of Contents

table of contents Lithographs and Photographs Acknowledgments Please Contribute prologue Six Revolutions Have Reshaped Singing Seismic Shock: The high C from the chest was popularized by the Frenchman Gilbert-Louis Duprez, who was the most influential singer ever Some singers who covered Some singers who didn’t cover An afterword: Beniamino Gigli’s use of covered, closed and open singing The Dying Out of the Castrati and Their Traditions and the Decline of Florid Singing An afterword: the descent to the lowest common denominator and our prospects for the future Another afterword: did the “castrati” have balls? Heroes on the Rise: With the advent of virtuosos like the David clan, tenors took the opera limelight Last of a Breed: Giovanni Battista Rubini ruled as the paragon of virtuoso tenors, king of the high Fs Corelli: Tenore del Mondo Corelli’s Covering A Note on Vocal Placement Corelli: The Hamlet of Vocal Technique—and why his voice declined Corelli’s Letters to Lauri-Volpi, 1962(?)–1973 222 Grace Bumbry 225 Callas Criticizes Corelli 227 Lauri-Volpi Attacks Corelli’s Technique Franco Corelli: Some missing information To Return or Not to Return? Three Botched Bios Seghers’s botched bio Corelli: A Man, a Voice Landini’s botched bio Bisogni’s botched bio Fanizza Refutes Seghers Did Franco Abuse Loretta? The Duel with Christoff and “Barbieri sola, sola”: Was something more going on? Potter’s Corelli Chapter Collaborating with Corelli Susan’s summation Appendices Del Monaco vs. Corelli: Their dirty fight to become “the” tenor, as documented in The Metropolitan Opera Archives What the Met Paid Del Monaco, Corelli and Callas by John Pennino, Archivist, The Metropolitan Opera Archives Source Notes Index .

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