Bellissimo duetto, potente e Franco dovrebbe comparire in un’enciclopedia degli Artisti come il più Grande e meraviglioso di Tutti i tempi: la Sua voce è di una bellezza per cui abbiamo consumato tutti gli aggettivi positivi possibili, È IMMENSO e INARRIVABILE!
E' la prima volta che ascolto la voce di Nicola Herlea. Bellissimo timbro scuro e caloroso, che ricorda un po' Bastianini! ☄☄☄ Corelli in gran forma con acuto finale gigantesco! 💎💎😍
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 !
@@Ulysses88047 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!
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.
@opensecret51 Corelli, of course TITAN, but less known Nicolae Herlea, another greatest Romanian artist, they make fire on stage!!! I'm happy you enjoyed
Don Carlo by Corelli - Herlea "Dio, che dell'alma infondere" Immortal duo by these artists!!! Thanks a thousand thanks!!! for rescuing this Caro *ditogam* Historic Gem!!! with all my Affection and my Gratitude!!! Elba .-
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
@DonPaolissimo I was there too - and I heard Corelli twice in Don Carlo at the Met - and both times he took the High C at the end of this MOST MAGNIFICENT DUET! They say no one does this anymore because today's conductors won't permit it ...I think it's because the current crop of tenors actually couldn't do it ....
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.
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..
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
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
Thank you for sharing this wonderful duet from the past! This is truly a gem! The best of opera music, the most wonderful voices. We are so fortunate that this and other great works have been preserved. This is one of my favourite baritone/tenor duets.
Corelli immensa interpretazione , non solo la voce ma il cuore e faceva sembrare vero anche ciò che non era.cantante???no ... tutto era ...il personaggio che in lui rivive va
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
@blababshik Here Corelli is in Manrico's costume and I think Herlea in Count di Luna's, but the duet is indeed from Don Carlo :))) Thank you very much, I'm very glad you enjoyed
Voices like these are out there somewhere but these days they are not allowed to develop properly. This training takes time & it also seems that there are few if any teachers with the knowledge to work with the big voices that come their way.
@brodsky96 I can only presume that one reason for Verdi to write the same note for both was to emphasize the idea of tea. The last words are: "Moriremo insieme", i.e. "We shall die together" , so they are probably ought to finish in the same note, not in different ones (they do things together, not separately).
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....
Wasn't that the performance where Corelli had an attack of nerves and skipped his grand entrance in the Auto da Fe? Was anyone else out there in the Old Met for that performance? The entire ensemble froze, Leonie Rysanek rolled her eyes, and the Flemish deputies looked utterly panic-stricken but they continued to sing until Corelli finally put in his appearance, sword drawn, and very much to everyone's relief. Rysanek mentioned this particular performance in an interview - and it certainly has a place of honour in my memories of a heavily opera-laden life. (My personal opinion is that Corelli might have avoided his panic attack without the high C at the end of the duet!)
Precisely. I prefer the 1961 version with Sereni. The 1972 Met version had Corelli past his prime (chickened out of the added high C at the end replacing it with an ugly effect) and young Milnes trying to out-tenor the tenor, as usual (easy task with Domingo, impossible with Corelli at ANY age), but both were too concerned with getting through vocally to bother about expression. A pity, because this is one of the most beautiful operatic duets ever.
@calinmiron Actually, the last words are 'Grido estremo sarà: Libertà!'- 'Our last cry will be: Freedom!'. Doesn't change much about your main point though.
Se nota una competencia feroz por ver quién tiene más voz y quién paga el precio de esta lucha encarnizada es la musicalidad armónica del dueto... En vez de armonizar sus voces las confrontan.... Es espectacular pero no es bello.
Herlea, a splendid baritone instrument in the Bastianini manner but with little subtlety in expression. Rodrigo‘s death scene sounds like the character was only suffering a simple flesh wound. Too bad but, as the late Paul Jackson mentioned in his second book of MET Broadcasts, Herlea‘s initial timbre is initially exciting & a good match for Corelli who feels compelled, perhaps, to add a high C at the end of their duet in a competitive response. Still, a little ˋHerlea fix ´ is welcome once in awhile despite providing a limited artistic experience.
In this duet Herlea is just on top of almost every note. Sounds out of tune much of the time. One of the few baritones who could match size of voice with Corelli. I heard Corelli several times but never Herlea. Would have liked to, though. I understand it was a huge voice.
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!
Herlea - come sempre durante le sue recite calante e sovente al limite del grido ... come spesso diceva la sua pianista negli anni 70 : - Nicolae e' un baritono sbagliato ! e poi rideva ... una registrazione spesso e' una illusione dolce e viceversa ... Corelli - immenso . questa e' la mia modesta opinione .
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
Excelenta inregistrare din 1964 de la Metropolitan Opera.Franco Corelli si baritonul roman Nicolae Herlea.Doi titani.Voci de aur.Slava lor vesnica!
Bellissimo duetto, potente e Franco dovrebbe comparire in un’enciclopedia degli Artisti come il più Grande e meraviglioso di Tutti i tempi: la Sua voce è di una bellezza per cui abbiamo consumato tutti gli aggettivi positivi possibili, È IMMENSO e INARRIVABILE!
Opera does not get any better than this in the entire Universe...tremendous!!! BRAVO CORELLI, BRAVO HERLEA
E' la prima volta che ascolto la voce di Nicola Herlea. Bellissimo timbro scuro e caloroso, che ricorda un po' Bastianini! ☄☄☄
Corelli in gran forma con acuto finale gigantesco! 💎💎😍
I am proud about my romanian Nicolae Herlea. And I am in deep love with the voice of Franco Corelli.
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 !
@@Ulysses88047 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 !
@@Ulysses88047 thank you! Enjoy the party!
OMG! My favourite tenor, and what a giant baritone, less known Herlea. Two huge maestros sing now in heaven. RIP Franco and Nicolae!
Sublim!
@@victoriabesleaga2302Amândoi mari interpreți dar Herlea al nostru excepțional și pe nedrept uitat.
Corelli...very good Don Carlo. Herlea...another fantastic Romanian!!!
sublime Franco
7:38 !!!!!!!!!!!!!!!!!
I would have gone mad at the theater. Bravo Franco!
Also, first time I have ever heard Herlea. He is superb!
Inegalabilul,inconfundabilul și irepetabilul NICOLAE HERLEA!
They were not even human beings, singing monsters.Bella voce great singers. Rest in peace!
The human voice, when presented in such perfection, is life itself...
Franco Corelli, grandioso, insuperabile...
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
Due voci stupende.Corelli il mio tenoro preferito e Herlea il piu grande baritono romeno.
Grazie Dito.
Marcel Popa
qua sentiamo una voce sola stupenda, quella di Corelli .
Herlea - intonazione precaria , gonfiata ...
Herlea is absolutely brilliant each time! Had so little recognition, but finally so many discover him.
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!
Bravi!
@opensecret51 Corelli, of course TITAN, but less known Nicolae Herlea, another greatest Romanian artist, they make fire on stage!!! I'm happy you enjoyed
Don Carlo by Corelli - Herlea "Dio, che dell'alma infondere"
Immortal duo by these artists!!!
Thanks a thousand thanks!!! for rescuing this Caro *ditogam* Historic Gem!!!
with all my Affection and my Gratitude!!!
Elba .-
Capolavoro! Herlea e bravo, Corelli - per sempre...
Dos grandes!!! Sublime!!!!
Herlea's voice was an imposing tower of sound
And it also had a lot of warmth.
@@laj2240 pure velvet!
Știm atît de puțin despre herlea.l am văzut pe scena
Minunat duet.❤❤.
2 gigantische Stimmen! Unerreicht bis heute! Corelli mein Lieblings-Tenor und Herlea, gibt es heute einen Bariton seiner Qualität?
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
¡Què hermoso duo! Y por supuesto Franco Corelli se luce con su maravillosa voz
Meravigliosi entrambi * * * * * !!!!!!!!!!!!!
What a joy to hear this pair of true Verdi singers.
Unico,eccellente e eccezionale.
@DonPaolissimo
I was there too - and I heard Corelli twice in Don Carlo at the Met - and both times he took the High C at the end of this MOST MAGNIFICENT DUET!
They say no one does this anymore because today's conductors won't permit it ...I think it's because the current crop of tenors actually couldn't do it ....
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
Two titans!
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..
WOW!!!!!!
Two great Verdian voices. No one like either today.
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
Herlea is in Panteon🎉❤
D’accordo, ma sul trono siede Franco Corelli
Grandioso artisti !!!!!!
fabulous Corelli and Herlea ♥
Herlea is new me......Giants indeed......what splendour vocally. Thankyou
Both singers are wonderful. BRAVI !!!!
Două voci de neuitat!
What stunning singing BRAVI.
Bravi!!!,due grandissimi artisti!!!
cosa si può dire di queste meravigliose voci che non sia sia già stato detto Supreme Meravigliose
Corelli resterà per sempre il migliore. Bravissimo soprattutto alla fine con quel "Do" di "libertà"
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
Absolutely great voices together. Gratitude.
@ditogam I was there! YES, we did, indeed, go CRAZY!!!!!
Sublime!
Thank you for sharing this wonderful duet from the past! This is truly a gem! The best of opera music, the most wonderful voices.
We are so fortunate that this and other great works have been
preserved. This is one of my favourite baritone/tenor duets.
Totally agree about the beauty of this duet.
Este dueto me encanta!!!!
Immensi interpreti verdiani!
Viorica Bălteanu
Herlea era un bravissimo Figaro...
Per questa ragione era il baritono preferito di Bergonzi...
😉
il vecchio
Bravisimos!!!
le plus grand duo de cet opera
Really fantastic, I'm sure Met audience should got crazy
ese agudo final, increíble, único, capaz de dar la vida.... desde el alma... desde Montevideo
Corelli immensa interpretazione , non solo la voce ma il cuore e faceva sembrare vero anche ciò che non era.cantante???no ... tutto era ...il personaggio che in lui rivive va
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
RIP, Grande Maestro!!!!
E vero Grandi Maestri!
@blababshik Here Corelli is in Manrico's costume and I think Herlea in Count di Luna's, but the duet is indeed from Don Carlo :))) Thank you very much, I'm very glad you enjoyed
Voices like these are out there somewhere but these days they are not allowed to develop properly. This training takes time & it also seems that there are few if any teachers with the knowledge to work with the big voices that come their way.
@SuperLuckydream Really so impressive singing, magnificent duet and both equally magnificent artists. Thank you too, dear Tamara
Magnifici!!!
Wonderful performance!
Thanks, ditogam.
👏👏👏👏👏👏👏👏👏👏👏👏
Don Carlo mit Franco Corelli einfach nur Berauschent. Klasse!!"""
chaten65 Rolf David
This great video was on YT, but somebody has deleted it , so I re-uploaded it :)
👍
Thank you that reposted it ! What a treasure!Ditogram
@brodsky96 I can only presume that one reason for Verdi to write the same note for both was to emphasize the idea of tea. The last words are: "Moriremo insieme", i.e. "We shall die together" , so they are probably ought to finish in the same note, not in different ones (they do things together, not separately).
@JoanLorraineN Absolutely right - today's tenors couldn't touch Corelli's top notes!
Magistrales, Fabulosos y Unicos❤❤❤
EINFACH SUPER
O! Corelli! High C option! =God Tier!!!
JoanLorraineN
You have that right. Corelli was a Titan who gave us all.
Regards-John
The complete broadcast performance is availabe through the Met Player or Rhapsody music.
Why sempre fortissimoe and also here , beaides the middle part, too fast.It is a " marcia funebre" anouncing Rodrigues death.
Благородный Граф!
Those were the days! What do have now? Corporate controlled puppets,,,,
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....
This is the only performance I could find with the high c at the end.
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).
Beczala, comparado con Corelli, es un cantorcillo melodico
Wasn't that the performance where Corelli had an attack of nerves and skipped his grand entrance in the Auto da Fe? Was anyone else out there in the Old Met for that performance? The entire ensemble froze, Leonie Rysanek rolled her eyes, and the Flemish deputies looked utterly panic-stricken but they continued to sing until Corelli finally put in his appearance, sword drawn, and very much to everyone's relief. Rysanek mentioned this particular performance in an interview - and it certainly has a place of honour in my memories of a heavily opera-laden life. (My personal opinion is that Corelli might have avoided his panic attack without the high C at the end of the duet!)
Precisely. I prefer the 1961 version with Sereni. The 1972 Met version had Corelli past his prime (chickened out of the added high C at the end replacing it with an ugly effect) and young Milnes trying to out-tenor the tenor, as usual (easy task with Domingo, impossible with Corelli at ANY age), but both were too concerned with getting through vocally to bother about expression. A pity, because this is one of the most beautiful operatic duets ever.
@calinmiron Actually, the last words are 'Grido estremo sarà: Libertà!'- 'Our last cry will be: Freedom!'. Doesn't change much about your main point though.
Corelli is not in Manrico but Raoul
Lucia ballarini
Se nota una competencia feroz por ver quién tiene más voz y quién paga el precio de esta lucha encarnizada es la musicalidad armónica del dueto... En vez de armonizar sus voces las confrontan....
Es espectacular pero no es bello.
That is what I notice too and that really bother me. So beautiful voices but to apart.
Херлиа кажется все время следит
как бы вести ровно,надувает центры..сосредоточен и напряжен
Corelli est en Raoul de Nangis
Herlea, a splendid baritone instrument in the Bastianini manner but with little subtlety in expression. Rodrigo‘s death scene sounds like the character was only suffering a simple flesh wound. Too bad but, as the late Paul Jackson mentioned in his second book of MET Broadcasts, Herlea‘s initial timbre is initially exciting & a good match for Corelli who feels compelled, perhaps, to add a high C at the end of their duet in a competitive response. Still, a little ˋHerlea fix ´ is welcome once in awhile despite providing a limited artistic experience.
난 왜! 이 바리톤을 이제 알았지?
Is the Last Liberta High C?
🎭👏
Great voices, but each artist follows his own tempo; the overall effect is that they are just sharing the same stage, not really singing together.
Why the pitch is half tone lower? Is the speed coreect or is it too slow?
In this duet Herlea is just on top of almost every note. Sounds out of tune much of the time. One of the few baritones who could match size of voice with Corelli. I heard Corelli several times but never Herlea. Would have liked to, though. I understand it was a huge voice.
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!
Herlea - come sempre durante le sue recite calante e sovente al limite del grido ...
come spesso diceva la sua pianista negli anni 70 :
- Nicolae e' un baritono sbagliato !
e poi rideva ...
una registrazione spesso e' una illusione dolce e viceversa ...
Corelli - immenso .
questa e' la mia modesta opinione .
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
Solo voci ma nessun personaggio.
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…
Corelli ha duettato con baritoni molto migliori
there are no "migliori baritoni" ,pocco or molto