Sensacional interpretación del Otello de 1961 que compitió en su día con la grabación de Decca (von Karajan, Mario del Monaco), que era superior en calidad de orquesta (Wiener Philharmoniker) y toma de sonido. Giuseppe Verdi Mario Del Monaco Otello double Cd set Mondo Musica 20 bit 1999 for sale. Ferruccio Furlanetto as Jacopo Fiesco (Operchic). Now HERE was a sound I had not heard in many a season. Listen to Verdi: Otello by Mario del Monaco, Renata Tebaldi, Orchestra of the Accademia di Santa Ceilia of Rome, Chorus of the Accademia di Santa Ceilia of Rome & Alberto Erede on Apple Music. More to the point, Otello is supposed to be a Moor, a black African man in an all-white Venetian society, serving at that society’s whim to rule, in their name, as a governor on the island of Cypress. Luckily for us, maestro Verdi has taken the drudgery out of the task. I also enjoy Aldo Protti's Jago. incarnations à la scène. Stream ad-free or purchase CD's and MP3s now on Amazon.com. For most opera buffs, Tito Gobbi is a name on everybody’s short list as one of the greatest Boccanegra and Iago interpreters. Bizet: Carmen 1963 Puccini: The Great Operas (15 CDs) 2008 Puccini: La Fanciulla del West 1958 Verdi: Otello 1961 Saint-Saëns: Samson and Delilah 1999 In the all-important Council Chamber, it sounded disembodied from the rest. Now, I know that Plácido Domingo began his career as a baritone, later changing over to tenor and back again to baritone. Listen to Verdi: Otello (2 CDs) by Renata Tebaldi, Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia & Alberto Erede on Apple Music. Verdi poured his heart and soul into this newly minted sequence, one that supplanted an earlier one that proved entirely inadequate. He must have had iron filament for lungs! “It is a pity,” Verdi insisted, “to have such powerful verses in the mouth of a common rogue … I have, therefore, decided that this one shall be no petty villain.” Boito stressed Paolo’s skill as a manipulator of public opinion, along with his willingness to switch sides to suit his own purpose. Mit Mario del Monaco als Othello und Herbert von Karajan am Pult der Wiener Philharmoniker hatte sie natürlich im Vergleich zur Konkurrenz zwei schier unschlagbare Trümpfe in der Hand. I wrote about this transition a few years ago in connection to his appearance as the elder Germont in La Traviata (see the following link for details: https://josmarlopes.wordpress.com/2013/04/14/salad-bowl-italian-opera-style-continues-with-la-traviata/). Let’s say no more of it then!’ A fellow like that might deceive everybody, even his own wife, up to a point.”. This is what may have saved the broadcast from complete and utter ruin. With Mario Del Monaco, Gabriella Tucci, Tito Gobbi, Anna di Stasio. Well, starting things off were American baritone Jeff Mattsey as Montano, Siberian tenor Alexey Dolgov as Cassio, Serbian baritone Željko Lučić as Iago, and Texan Chad Shelton as Roderigo, followed by squally Latvian tenor Aleksandrs Antonenko as Otello, and a pristine-sounding, movingly sung Desdemona by Abkhazian-Russian soprano Hibla Gerzmova, with mezzo-soprano Jennifer Johnson Cano as Emilia, baritone Tyler Duncan as the Herald, and low-volume bass James Morris as Lodovico. Otello, a classical music Album by Vienna Philharmonic Orchestra / Karajan / Del Monaco / Tebaldi / Protti. Stream … Following close behind is Piero Cappuccilli whose snarl can be heard to fine effect as Iago in a live Arena di Verona video. I have spoken about this distortion to the composer’s carefully calculated effects on a number of occasions. Écoutez des morceaux comme « Otello: … But never have I heard a more wobbly, more tonally inferior, more dramatically inert performance than the one I experienced with Antonenko. Genres: Opera, Romanticism. Where was the requisite authority, or the command of his forces implied in the opening lines to Boccanegra’s great speech, “Plebe! Per la Grande Musica Lirica in TV oggi domenica 6 settembre alle 18.30 in onda su RAI 5 l’opera “ And Antonenko’s Act II wasn’t all that bad, thanks largely to his Iago, the ubiquitous Lučić. He hits all the right notes, holds on to those high ones with vigor and heft, and even injects an equivalent degree of dramatic urgency to whatever he imparts. A sa disparition en octobre 1982, il sera même inhumé dans son costume d'Otello ! He was forced to deal with the absurd demands of the censors when faced with making radical changes to Rigoletto and Un Ballo in Maschera. All started and ended up as baritones, nothing more and nothing less. The Act ends with Boccanegra ordering Paolo to pronounce a curse on the head of the man responsible for the uproar — in other words, on Paolo himself. Double Cd, 20 bit high definition, slightly used excellent condition! http://vaimusic.com/VIDEO/DVD_4425_Otello.htm Mario Del Monaco & Tito Gobbi sing "Era la notte, Cassio dormia - Si, pel ciel marmoreo giuro!" In Shakespeare, this villain’s motivation is basically his anger at being passed over for promotion. For the Met’s Boccanegra broadcast of April 9, we have Plácido Domingo in the lead, with Armenian diva Lianna Haroutounian as Amelia, veteran bass Ferruccio Furlanetto  as Fiesco, Maltese tenor Joseph Calleja as Gabriele, American baritone Brian Mulligan as Paolo, and bass Richard Bernstein as Pietro. And I instinctively know when a voice has the stamina and thrust to acquit itself favorably in the part. SET 209-11; Vinyl LP). When Amelia insists she is in love with another suitor (the fiery Gabriele Adorno), and especially when Boccanegra realizes that Amelia is his long-lost daughter Maria, he is obliged to renege on his promise to Paolo. A goldsmith by profession and a plebeian by birth, Paolo is an agitator as well as a political opportunist. Per poter utilizzare questo sito è necessario attivare JavaScript. Complete your Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* collection. In fact, it borders on the pathological. Ferruccio Furlanetto’s rich-voiced Jacopo Fiesco was an absolute joy to listen to. Boccanegra’s voice must soar above the fray. Domingo, regrettably, has not. In many people’s minds, the Lion of Venice was Del Monaco’s greatest, most complete portrayal. Nel corso della sua carriera Del Monaco fu Otello 427 volte.Un Otello vocalmente impressionante nelle prime interpretazioni che, collocandosi sulla linea della consolidata tradizione, inducevano a rappresentare un Otello selvaggio e temperamentale.Con il tempo il Moro di Mario Del Monaco assunse le sembianze, la psicologia e la voce del gentiluomo veneziano, diventando un Otello "bianco" (una certa tradizione lo identificava infatti con un arabo). That all depends on the caliber of the artists involved. He and Rethberg make a marvelous father-daughter combo, as does the trumpet-like Martinelli (who was also an excellent Otello). Included on this refurbished CD is a studio recording of the Council Chamber scene, with Rose Bampton replacing Rethberg, and Wilfred Pelletier on the podium. He fulfilled every nuance and requirement  — even down to the low F called for in the aria, “Il lacerato spirito.” He dominated at every turn, his booming basso falling pleasantly on the ear, as did that of the mellifluous sounding Joseph Calleja in a memorable portrayal of the hot-headed Gabriele Adorno. Paolo can only blurt out the word, “Orrore!” (“The horror!”), over the blasting of the orchestra. Otello: "Vanne: La Tua Meta Gia Vedo...Credo In un Dio Crudel!" Del Monaco was born in Florence, into a musical upper-class family, to a Neapolitan father and to a mother of Sicilian descent. The only other downside, in my view, was — surprise, surprise — the inconsistent conducting of maestro James Levine. I enjoyed his “Sento avvampar nell’anima” solo, with its rapid articulations indicative of Gabriele’s shifting states of emotion. Recoiling in abject horror, Paolo repeats the curse, “Sia maledetto!” (“Let him be accursed!”), which is picked up by the entire cast and chorus, then whispered twice more in unison. He had also written about the difficulty of serving two masters in the first version of Boccanegra, as well as in the Judgment Scene from Aida and in the multiple revisions to Don Carlo, where public duty clashed with private anguish. Mario Del Monaco è stato il più grande Otello della sua epoca, ma sono convinto (un giudizio condiviso da molti) che sia stato il più grande Otello della storia del teatro. These grievances and slights can serve as the modus operandi  for any number of operatic plot points. In either case, these are historic performances thrillingly captured for posterity. In the emotionally compelling Scene i of Act I, the aged Doge has come to inform Amelia Grimaldi that she is to be married to Paolo as a reward for his unwavering loyalty. Take the character of Paolo Albiani in Simon. Vinay kept that rich, dark timbre from his baritone days, as evidenced in the above excerpt. Released in 1961 on Decca (catalog no. Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* - Otello ‎ (3xLP, 180) London Records, Decca: KIJC … … I’ve been impressed in the recent past by his assumption of the Russian repertoire, in particular a very fine Dimitri in Stephen Wadworth’s staging of Boris Godunov from 2010, and some notable Puccini assignments, including Ramerrez in a Swedish production of La Fanciulla del West by director Christof Loy. Teatro Comunale di Bologna presenta: Otello (1964) Dramma lirico in quattro atti di Arrigo Boito - Musica di Giuseppe Verdi Interpreti principali: Mario Del Monaco (Otello) Marcella Pobbe (Desdemona) Giulio Fioravanti (Jago) Herbert Handt (Cassio) Mario Ferrara (Roderigo) Maestro Concertatore: Oliviero De Fabritiis Regia: Carlo Maestrini Fotografie 1. Anche le ultime interpretazioni in cui Del Monaco come Otello discendeva "nella valle degli anni", se rivelano una minore esuberanza vocale, sono sempre logiche, credibili e vocalmente interessanti. Listen to Verdi: Otello (2 CDs) by Renata Tebaldi, Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia & Alberto Erede on Apple Music. Animated Brazil — Part Two: Won’t You Be My Good Neighbor? Calleja’s been able to tame his quicksilver vibrato to the point that he can concentrate on characterization. Listen to Mario Del Monaco: Arie da opere by Mario del Monaco on Apple Music. Both men were written about extensively in the correspondence between the composer and his librettist Boito. Mario Del Monaco was born on July 27, 1915 in Florence, Tuscany, Italy. The love duet with Gerzmova’s beautifully inflected soprano, came off better than expected. Grazie, signore! Nice, but what about the singers? Una vela! I’ll even take a Renato Bruson, a Giuseppe Taddei, or even a Leo Nucci when pressed hard for examples. Écoutez Verdi: Otello (Digital Only) de Victoria de los Ángeles, Mario del Monaco, Leonard Warren, Choir of the New York Metropolitan Theatre, Fausto Cleva & Orchestra of the New York Metropolitan Theatre sur Apple Music. The conductor was Hungarian-born Ádám Fischer. “He will be caught, imprisoned and condemned to death. Find album reviews, stream songs, credits and award information for Verdi: Otello [1962 Recording] - Mario del Monaco, Georg Solti on AllMusic Born: July 27, 1915 Died: October 16, 1982 Italian tenor. Three great voices who are legendary in this opera include Mario Del Monaco as Otello, Renata Tebaldi as Desdemona, and Aldo Protti as Jago. Today, we ourselves are bearing witness to similar wheeling and dealing, as a new administration begins to take hold via the age-old process of a peaceful transition of power. We were treated to more of that dispiriting “same old, same old” look that most productions have encompassed of late. I have listened to enough broadcasts and recordings of the work, including several live transmissions and actual stage presentations, to form my own opinions about how Otello should be handled. The mighty may yet recover from their fall …. Stream songs including "Otello, Act I: Una vela! ‘V’ is for Verdi: The Met Opera’s ‘Simon Boccanegra’ and ‘Otello’ — How the Mighty Have Fallen (Part Two), https://josmarlopes.wordpress.com/2013/04/14/salad-bowl-italian-opera-style-continues-with-la-traviata/. His performance is preserved on a film version with Tulio Serafin conducting also from the late 50's. Getting to the new Bartlett Sher/Es Devlin production of Otello, heard on April 23rd, the listening audience was in for more than its fair share of surprises. Next to Iago’s perfidy, however, Paolo is an outright amateur. Stream songs including "Otello: Act I", "Otello: Act II" and more. For all his skills and ability in this repertoire, Lučić does not sound like your standard Verdi baritone. Seemingly cornered and unable to escape his accusers, Paolo becomes the focus of the great ensemble that begins with Boccanegra’s outcry of “Fratricidi!” (“Fraticide!”), and soon after by his splendid oration whereby he quotes the poet Francesco Petrarca, aka Petrarch, pleading for peace and love between combatants: “E vo gridando: pace! Let’s hope, too, that another star tenor, i.e., Aleksandrs Antonenko, can recover from this ill-fated episode to re-emerge as the talented individual he no doubt is. 4:56: 5 Otello: "Tu?! The two works, composed roughly 30 years apart (which takes into account Simon Boccanegra’s 1881 revival), are more alike than they seem to the untrained eye. (Edizione 1972 Bruxelles, in sottofondo), Per fermare il testo scorrevole a destra, posizionare il puntatore del mouse sul testo, Nessun tenore ha mai superato il numero di recite in teatro del ruolo di Otello come Mario Del Monaco, infatti il celebre tenore è stato Otello per ben 427 volte nei teatri di tutto il mondo, un record che difficilmente potrà essere superato, anche perché praticamente tutti i tenori che si sono cimentati in questo ruolo che richiede non comuni qualità vocali ed artistiche, lo hanno fatto in tarda età e si sono limitati a poche recite, mentre Mario Del Monaco ha iniziato a cantare Otello a soli 35 anni di età e continuando fino all'età di 57 anni con l'ultima recita a Bruxelles, 22 anni in questo ruolo non trascurando altri ruoli drammatici, continuando fino a 60 anni di età quando una grave malattia renale lo ha allontanato definitivamente dai teatri e dal suo pubblico. She, on the other hand, is repelled by the money-grubbing Paolo who is only interested in her family’s wealth and status. Auto Suggestions are available once you type at least 3 letters. Mario del Monaco: Decca Recitals 1952–1969 – 5 CDs, recordiad stiwdio - arias opera, cerddoriaeth gysegredig, caneuon Napoli, Sbaeneg a Saesneg. Mario Del Monaco as Otello, 1958 (www.liveinternet.ru) Do live performances supersede their recorded counterparts? More problematic was Antonenko’s inability to find his comfort zone with Otello’s daunting tessitura. Il miglior Esultate che io abbia mai sentito: occhio alla prodezza sul fiato! Domingo as Boccanegra, with Lianna Haroutounian as Amelia, in the Recognition Scene, Act I, scene i (Photo: Ken Howard / Met Opera), It is in the justly celebrated Council Chamber scene that the kidnapping plot is revealed and foiled. Tibbett spearheaded the Verdi revival at the Met of the 1930s. Indietrot Fuggi! To begin with, this was another in a long line of tiresome “barebones” production values. on WordPress.com. This was partially due to the deference he paid to the late Gioachino Rossini, who had premiered his own version of Otello back in December 1816. Grande interprete verdiano, al suo nome è legato il ruolo di Otello, ma molti lo ricordano come splendido Andrea Chènier, Des Grieux, Manrico e tutti quei ruoli che richiedono il tenore drammatico per eccellenza. S'il est bien un ténor qui est indissociablement lié au rôle d'Otello, c'est bien Mario del Monaco. That, plus an intriguing last-minute substitution by debuting Italian tenor Francesco Anile as Otello, put this radio transmission on the radar. This has given short shrift to a part Verdi himself considered to be “a thousand times more difficult” than Rigoletto. In the Prologue, he is the person who proposes that Simon run for the office of Doge of Genoa. Mario del Monaco (Florencia, 27 de julio de 1915 - Mestre, 16 de octubre de 1982) fue un tenor italiano.Es comúnmente considerado el mejor tenor dramático del siglo XX. Mario Del Monaco and Tito Gobbi were the greatest Otello and Jago of their time. So little was left of his vocal apparatus that he barely got the words out. By that, I mean shifting glass-mirrored panels (or window panes — more like “pains,” if you get my drift) taking the place of actual scenery and sets. A quick switcheroo took place behind the curtains, as Antonenko’s cover was moved into position for Act IV. “I believe in a cruel God,” he thunders forth near the start of the second act, “who has made me in His image and who in wrath I now worship!” Iago’s hatred of the Moor goes beyond his elevation of Cassio to the rank of captain. Giuseppe Verdi / Mario del Monaco, Renata Tebaldi, Orquesta Sinfónica Y Coro De La Academia De Santa Cecilia De Roma, Alberto Erede - Otello | Una Vela Una Vela,Esultate,Fuoco di Gioia,Roderigo, Beviam,Vanne la Tua Meta Già Vedo,Credo In Un Dio Crudel,Desdemona Rea,Tu? In Verdi and Boito’s reconfiguration of the play for the operatic stage, Iago is evil incarnate, as his magnificent “Credo” makes plain. Giuseppe Verdi,Verdi Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra*, Herbert von Karajan: Giuseppe Verdi,Verdi Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra*, Herbert von Karajan - Otello ‎ (3xLP + Box) London Records: 411 618-1: US: 1961: Sell This Version That sound can be heard to best advantage rol más representativo fue Otello, Act I Verdi. La que nos ocupa that he often referred to the point that he can on... Dispiriting “ same old, same old, same old ” look that most productions encompassed! 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