This performance of Gounod's Romeo et Juliette was Corelli's first attempt at the role. He is very exciting and sexy though he doesn't have some of the details worked out quite yet. His top B-flat at the end of his big aria is thrilling, but very loud. Later on, he doesn't interpolate the top C at the end of the third act ensemble. Both of these examples are "fixed" in the excerpts that fill out disc 2. Three years later in 1967 he begins the B-flat at the end of the aria loudly, but then offers a heart-rending diminuendo on the note - a stunning effect. He also interpolates an amazing top C at the end of the Act 3 ensemble.Gianna D'Angelo is a lovely Juliette; she is one of the few sopranos who sings her Waltz Song in the original higher key of G (it's usually sung in F). All the same, Jeanette Pilou is even more effective in the 1967 excerpts (we get all her scenes with Corelli). The other singers are very good; I wish the singer of Capulet was listed. Guadagno leads a strong performance, making many cuts (no potion aria of course). The sound is good enough and pitched correctly. Unfortunately, my copy was afflicted with severe file corruption (what Andy calls "skipping") towards the end of both discs, rendering some beautiful moments unlistenable. I'd love it if Andy could find a new master since this is such an exciting performance.

There is no one quite like Corelli for the sheer visceral thrill of his singing; the aria is superbly sung, the way he launches into the grand ensemble in Act three has an inexorable feel, the two duets with d'Angelo are all at once sweet toned and thrilling - it is a mesmerising performance although it has little to do with either the French language or French operatic style. Who cares? Give me this ardent, passionate, sexy Romeo anytime. You have to listen through quite a bit of aural fog - it was obviously taped someway back in the auditorium and at times other singers are inaudible although none of them are inadequate. They all seem to be inspired by the great tenor. Gianna d'Angelo disappoints, sometimes intonation is problematic, the famous Waltz song seems hard work but once she is with Franco she begins to shine. Lots of cuts but nothing that really matters in the context of this performance

Franco Corelli n'est pas le plus juvénile des Roméo mais quelle splendeur vocale avec un souffle infini et des nuances magnifiques. La cavatine de 1967 est une pure merveille. Pour moi, Alagna Bjorling et Corelli sont les trois meilleurs Roméo.Excellente idée d'avoir ajouté les extraits de 1967.

Very good the Corelli's voice Muy bien la voz de Corelli. Très jolie le chant de Corelli.

Very bad recording

Corelli is in good, fresh voice, although not his best; he skips the high note in the exile scene and makes some cuts that he usually left in. Gianna D'Angelo is a fine Juliette. Corelli is in sensational voice in the '67 highlights included, which sounds like a much better performance. Good to have the excerpts included here, with the '64 and '67 together we get a very good sense of Corelli's Romeo in the theater.

Great performance.

THIS 1964 PHILADELPHIA ROMEO WAS CORELLI’S FIRST. HE IS BRILLIANT ON IT..THE ARIA IS BEAUTIFULLY SUNG WITH FANTASTIC HIGH NOTES..CORELLI WAS DEFINITELY ON THIS NITE. D’ANGELO IS A WONDERFUL JULIETTE.. THE CD FEATURES EXCELLENT SOUND..ONE OF THE BEST IN HOUSE RECORDINGS I’VE EVER HEARD..AS A BONUS THERE ARE EXCERPTS FROM A 1967 PHILADELPHIA PERFORMANCE OF ROMEO WITH CORELLI AND PILOU..HIS RENDITION OF THE ARIA IS EVEN BETTER IN THIS PERFORMANCE..THESE ARE VINTAGE CORELLI RECORDINGS WITH THE TENOR IN PEAK FORM..