Fernando Corena

Fernando Corena

Long Tail Classical Classical bass Opera

Geneva 🇨🇭

Spotify Deezer Apple Music Amazon Boomplay Yandex Last.fm Shazam Tidal YouTube Joox Qobuz QQ Music Kugou Pandora

Top Fernando Corena songs

La bohème, Act II: "Quando men' vo soletta" (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, Schaunard, Colline, Coro)
La bohème, Act II: "Quando men' vo soletta" (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, Schaunard, Colline, Coro) Renata Tebaldi & Tullio Serafin & Carlo Bergonzi & Cesare Siepi & Fernando Corena & Gianna D'Angelo & Renato Cesari & Ettore Bastianini & Coro dell'Accademia di Santa Cecilia & Orchestra dell'Accademia di Santa Cecilia
La bohème: Act 2. "Quando m'en vo'" (Musetta's Waltz)
La bohème: Act 2. "Quando m'en vo'" (Musetta's Waltz) Renata Tebaldi & Tullio Serafin & Carlo Bergonzi & Cesare Siepi & Fernando Corena & Gianna D'Angelo & Orchestra dell'Accademia Nazionale di Santa Cecilia & Renato Cesari & Ettore Bastianini & Giacomo Puccini
Tosca / Act 1: "Ah! Finalmente!"
Tosca / Act 1: "Ah! Finalmente!" Herbert von Karajan & Fernando Corena & Berliner Philharmoniker & Giacomo Puccini & José Carreras & Gottfried Hornik
Il dissoluto punito ossia Il Don Giovanni: Aria. Madamina, il catalogo è questo
Il dissoluto punito ossia Il Don Giovanni: Aria. Madamina, il catalogo è questo Wolfgang Amadeus Mozart & Vienna State Opera Chorus & Wiener Philharmoniker & Josef Krips & Fernando Corena
Don Giovanni, K. 527, Act I: "Madamina! Il catalogo è questo"
Don Giovanni, K. 527, Act I: "Madamina! Il catalogo è questo" Fernando Corena

See the full discography and track streaming performance across every platform.

Start for free now

About Fernando Corena

Basso buffo Fernando Corena, heralded as the true successor to comic bass Salvatore Baccaloni, began his career singing non-comic roles just as did the imposing Baccaloni. A gift for buffoonery, however, cleared the way for his concentration on comic roles and there it was that he achieved his reputation. Although sturdy and of considerable volume, his voice was less flexible than Baccaloni's, less able to bend itself around the complexities of such arias as Bartolo's A un dottor or any of the other patter songs that populated his repertory. Still, his involvement with each of his impersona...