Editing Franco Corelli (section)

===Critical reception===
With a rich and ringing [[Tenor#Spinto|spinto tenor]] voice and movie-star good looks, Corelli won a wide public following from early on his career. However, while the public was enthralled with the tenor, music critics were divided, with some complaining about what they perceived as self-indulgence of phrasing and expression. During the 1960s the anti-Corelli sentiment was epitomized by [[Alan Rich]] of ''[[The New York Herald Tribune]]'' in a 1966 article which, while acknowledged the vibrancy and white heat of his singing, considered Corelli a throwback. Rich said that Corelli is "not employed by an opera, but employs it to serve purposes it was not meant to serve."<ref name="NYT"/> Also, many critics did not look favourably on his performances in French opera, owing to the tenor's exotic French diction and style.<ref name="Opera News"/> However, Corelli also had his admirers among several highly respected and notable critics, including [[Harold C. Schonberg]] of ''[[The New York Times]]'', who once defended the expressive liberties taken by Corelli saying that his performance possessed "its own kind of logic".<ref name="NYT"/>