- Don Carlo, Vienna 1963
- Tosca (With Maria Callas)
- 1958 Forza (Napoli)
- Eracle
- 1957 Norma (Verona)
- 1958 Pirata (Scala)
- 1957 Tosca
- 1952 Romeo (Rome)
- 1941 Mantua
- 1964 Don Carlos
- Franco - age 5
- 1954 Vestale (Scala)
- 1962 Otello (Philadelphia)
- 1960 shaves
- 1961 Jump
- 1962 Corelli Enzo Gromaldi
- 1959 Adriana Rehearsal (Napoli)
- 1966 Gioconda
- 1968 Maurizio in Adriana Lecouvreur
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As I once wrote in the Dutch Music Magazine Luister, one may compare opera with religion. Both have believers in various Gods,and using only Christianity as an example, there is a striking parallel between BC and AD. The watershed year in opera is 1837, when Gilbert Louis Duprez gave the world 'Il Do di petto' – the high C from the chest. Ever since, tenors have reigned in the operas of Donizetti, Verdi and Puccini. However, along with their enhanced status, their worries also increased. Ever since Duprez, it was 'all or nothing', especially for the rare breed of dramatic tenors in Italian opera, of whom only a handful have truly succeeded in the last 170 years. After Duprez, perhaps only Francesco Tamagno, Giovanni Zenatello, Giacomo Lauri-Volpi, Mario del Monaco and Franco Corelli whose throne has been vacant since he gave up the stage in 1975 (except for some brief returns in 1976 and 1981).
As within any religion, some might argue about the latter statement, saying that later Gods like Luciano Pavarotti, Plácido Domingo or even the young José Carreras made very successful recordings of Corelli's hallmark operatic roles from Calaf in Turandot to Manrico in Il trovatore.
