You should be proud. What a voice!

Herlea was the best of all baritones of the 20th century. I have seen him a couple of times in Bucuresti in the 60ties, in Troubadour, Un Ballo in Maschera, Rigoletto and Traviata ( with Virginia Zeani and later with Maria Slatinaru ). Insuperabile !

@@Katharsis44-091 If Nicolae Herlea did not live in a communist country, under a totalitarian regime, his fame would have surpassed that of Etore Bastianini, Titto Gobi, Nekulai Geza. Happy New Year 2024!

@@irinahutanu78 Yes you are right ! Happy new year to you too. La multi ani !

@@Katharsis44-091 thank you! Enjoy the party!

Sublim!

​@@victoriabesleaga2302Amândoi mari interpreți dar Herlea al nostru excepțional și pe nedrept uitat.

And it also had a lot of warmth.

@@laj2240 pure velvet!

Știm atît de puțin despre herlea.l am văzut pe scena Minunat duet.❤❤.

can somebody imagine it, for 60 years, classic old singing, never again, Franco Corelli unique=A singing which is the only one of its kind; a unique thing. Greetings from Vienna from a rare example of opera lirica enthusiast of old singing

Nicolae Herlea career came during the Communist times in Eastern Europe. He was the top Roumanian singer. Artists from that unfortunate period very rarely performed outside of Europe. He was the best Figaro in "The Barber of Seville" together with Italian Ettore Bastianini.

Absolutely! I know him thanks to Virginia Zeani's studio recording of Traviata! Wonderful Germont!

Marcel Popa qua sentiamo una voce sola stupenda, quella di Corelli . Herlea - intonazione precaria , gonfiata ...

can somebody imagine it, for 60 years, classic old singing, never again, Franco Corelli unique=A singing which is the only one of its kind; a unique thing. Greetings from Vienna from a rare example of opera lirica enthusiast of old singing

You have to ask yourself the question, did Verdi write the Top C at the end of this Duet. I rather think not. Corelli playing to the Gallery again with an interpolated top note. It spoils it for me. This is why most conductors stick rigidly to the score.

@@waynewilliams4706 I hate to disagree with you, and sorry to read that Franco's addition spoils it for you ... I understand and completely agree with staying strictly to the score for Puccini and the other verismo composers .... However, for bel canto operas of Rossini, Bellini e Donizetti, the vocal line was always subject to "embellishments" including alternative cadenzas and high notes.. And that includes subject to the taste of the singers. There's a famous time that Jenny Lind sang "Una voce poco fa" for Rossini, and she embellished it so much that at the end, Rossini quipped: "what a lovely aria, who wrote it." Egad what a critic.... Verdi started out as an inheritor of the bel canto tradition, and many of his operas - including the middle period, have been subject to alternative embellishments. The great Mexico City La Traviata in 1952 with Callas, she interpolated a high eflat at the end of the Second Act - it's sung piano not fortissimo - and it is so evocative of Violetta's embarrassment.. It's exquisite. Granted Don Carlo is relatively late Verdi, and so perhaps should not have been subject to this embellishment. Of course, Don Caro has been "adjusted" - if not mangled so many times (4 Acts, 5 Acts, cut this, omit that) that I find it difficult to fault Corelli. In those days too when he sang at the Met and in Philadelphia, it was only a 4-act version of Don Carlo - and you lost the entire Fontainebleau scene....

@@joannilson2900 For the record, in my collection, i have 28 cds, tapes, and records of Don Carlo, even some live recordings from radio 3. Not in one of these does the Tenor end the Duet in question with a Top C. Can you imagine what a strict Disciplinarian like Riccardo Muti would think. It would never be allowed. Perhaps the only other Tenor who would have attempted it would be Bonisolli, another Gallery player, and a Conductors Nightmare. Also in the Duet, a little more Tenderness at the right moments from Corelli would not have gone amiss.

If you want to hear a better and more normal version of the Don Carlo duet, look no further than Ettore Bastianini and Flaviano Labo on the Santini Set. Here both singers Blend Beautifully with no exaggerated claims, no silly high C from the tenor attempting to score points from the Baritone and receive Bravo Shouts from the Claque.

@@joannilson2900 Por favor lo pueden traducir al Español

can somebody imagine it, for 60 years, classic old singing, never again, Franco Corelli unique=A singing which is the only one of its kind; a unique thing. Greetings from Vienna from a rare example of opera lirica enthusiast of old singing

Calin Scutareanu Herlea Titan ?! ahahahahahahahahahahahahah ! e che cosa di titanico c'era nella sua vocalità calante del baritono rossiniano vero ?!... le registrazioni di Herlea sono una dolce illusione . dal vivo era un'altra cosa ... Nicolae scuriva la sua vocalità per farsi passare per quello che non aveva in verità cioè la voce del baritono drammatico vero ! prima di conoscere Herlea e la sua voce rossiniana sempre credevo che uno baritono drammatico vero deve cantare un sol naturale grave tranquillo e avere una bellissima voce di petto come era il caso di Bastianini,Guelfi,Reali, Warren, MacNeil,Popov e compagnia ... dal vivo il suo idolo cantava il repertorio del baritono drammatico con una vocalità ''gonfiata'' totalmente priva del registro di petto ! Nicolae era un bravo Figaro,Eletskiy,Oneghin,Posa e mi fermo qua. un baritono senza registro grave come era Herlea se mi ricordo bene negli anni 1958 era considerato da tenore corto ... Ramon Vinay era tenore e cantava il repertorio tenorile con una vocalità molto più scura di Herlea e nel registro grave aveva uno buono sol naturale, una cosa che Herlea poteva soltanto sognare visto che con grande difficoltà cantava il si naturale grave ... no comment .

dorintony mi dispiace piccolino ma io durante la mia lunghissima vita con fanatici deviati mentali del tuo genere non parlavo mai . ritorna alla scuola per insegnarti le buone maniere ... quando sarai pronto di parlare come un adulto sarò pronto anch'io di dialogare con te ... . il vecchio .

@@bodiloto спасибо..я поняла почему мы называем баритона без низкого регистра-коротким тенором..В старинные времена не было голоса баритон-А только тенор и бас..делились голоса на лирический,героический, драматический тенор...и те же басы-легкий, центральный и профундо басы.Поправьте меня.. я недавно это узнала..

Viorica Bălteanu Herlea era un bravissimo Figaro... Per questa ragione era il baritono preferito di Bergonzi... 😉 il vecchio

can somebody imagine it, for 60 years, classic old singing, never again, Franco Corelli unique=A singing which is the only one of its kind; a unique thing. Greetings from Vienna from a rare example of opera lirica enthusiast of old singing

E vero Grandi Maestri!

👍

Thank you that reposted it ! What a treasure!Ditogram

can somebody imagine it, for 60 years, classic old singing, never again, Franco Corelli unique=A singing which is the only one of its kind; a unique thing. Greetings from Vienna from a rare example of opera lirica enthusiast of old singing

Rosvaenge also sang the high C in this duet.

Piotr Beczała also sings the high note in this duet with Mariusz Kwiecien (both Polish opera singers).

What do we have now? - GREAT QUESTION!! As the saying in Italian goes: poca roba... Certainly no singers who can do what Corelli and Herlea so in this excerpt!! Those of us who heard them live were indeed blessed....

Херлиа кажется все время следит как бы вести ровно,надувает центры..сосредоточен и напряжен

I've been told by my teacher that singers, especially those with gigantic voices, have trouble hearing the orchestra over their own voice, leading to some intimation problems. Herlea's pure sound alone makes up for any inaccuracies!

Bodiloto your opinion about gigantic Herlea is bad.

Stupido?

Viktor Sigmundovitch Purtroppo non si capisce niente . il vecchio

Bodiloto,un altra sparata tua.....questa invidia...

Не знала,интересно..хорошо,что рассказали.. Херлиа на записи как Бастианини почти звучит..но это запись

Enzo Cardinale di quale ''personaggio'' Lei sta parlando ?! di quelli odierni ?! ... coraggio . Corelli à parte l'acuto inesisntente e' meraviglioso . Herlea - mai piaciuto durante le sue recite, era un attore finto e spesso stonato ... quello che lo salvava era il fatto che aveva una voce fonogenica ... il vecchio

Chissà che bei gusti avrà lei…

there are no "migliori baritoni" ,pocco or molto