Fernando Corena

Fernando Corena

Long Tail Classical Classical bass Opera

Geneva 🇨🇭

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Fernando Corena 热门歌曲

La bohème: Act II, 'Chi guardi?'
La bohème: Act II, 'Chi guardi?' Victoria de los Ángeles & Fernando Corena & John Reardon & Jussi Björling & Giorgio Tozzi & Robert Merrill & Thomas Powell & William Nahr & Giacomo Puccini & Lucine Amara
La Bohème / Act 2: "Viva Parpignol..." - "Una cuffietta a pizzi"
La Bohème / Act 2: "Viva Parpignol..." - "Una cuffietta a pizzi" Renata Tebaldi & Fernando Corena & Orchestra dell'Accademia Nazionale di Santa Cecilia & Alberto Erede & Coro dell'Accademia Nazionale Di Santa Cecilia & Giacomo Puccini & Giovanni Inghilleri & Giacinto Prandelli & Raphael Arié
La Bohème / Act 2: "Oh!...Essa!...Musetta!"
La Bohème / Act 2: "Oh!...Essa!...Musetta!" Renata Tebaldi & Tullio Serafin & Carlo Bergonzi & Cesare Siepi & Fernando Corena & Gianna D'Angelo & Orchestra dell'Accademia Nazionale di Santa Cecilia & Renato Cesari & Coro dell'Accademia Nazionale Di Santa Cecilia & Ettore Bastianini & Giacomo Puccini
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

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关于 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...