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Verdi: Otello
 
 
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Verdi: Otello

~ Giuseppe Verdi (Composer), Tullio Serafin (Conductor), Rome Opera Chorus (Orchestra), Rome Opera Orchestra (Orchestra), Jon Vickers (Performer), et al.
5.0 out of 5 stars  See all reviews (3 customer reviews)
Price: £15.98 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

  • Performer: Jon Vickers, Leonie Rysanek, Tito Gobbi, Florindo Andreolli
  • Orchestra: Rome Opera Chorus, Rome Opera Orchestra
  • Conductor: Tullio Serafin
  • Composer: Giuseppe Verdi
  • Audio CD (1 May 1999)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Living Stereo
  • ASIN: B00000B9KO
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 105,020 in Music (See Bestsellers in Music)

    Popular in this category:

    #66 in  Music > Opera & Vocal > Song > Baritone

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Disc: 1
1. Lyric Drama In Four Acts: Una vela! - (Act 1)
2. Lyric Drama In Four Acts: Esultate! - (Act 1)
3. Lyric Drama In Four Acts: Fuoco di gioia! - (Act 1)
4. Lyric Drama In Four Acts: Roderigo, beviam! - (Act 1)
5. Lyric Drama In Four Acts: Inaffia l'ugola! - (Act 1)
6. Lyric Drama In Four Acts: Capitano, v'attende - (Act 1)
7. Lyric Drama In Four Acts: Ola! che avvien? - (Act 1)
8. Lyric Drama In Four Acts: Gia nelle notte - (Act 1)
9. Lyric Drama In Four Acts: Quando narrivi - (Act 1)
10. Lyric Drama In Four Acts: Venga la morte! - (Act 1)
See all 20 tracks on this disc
Disc: 2
1. Othello - Lyric Drama In Four Acts: Introduction - (Act 3)
2. Othello - Lyric Drama In Four Acts: La vedetta del porto - (Act 3)
3. Othello - Lyric Drama In Four Acts: Dio ti giocondi, o sposo - (Act 3)
4. Othello - Lyric Drama In Four Acts: Dio! mi potevi scagliar - (Act 3)
5. Othello - Lyric Drama In Four Acts: Vieni, l'aula e' deserta - (Act 3)
6. Othello - Lyric Drama In Four Acts: Questa e' una ragna - (Act 3)
7. Othello - Lyric Drama In Four Acts: Come la uccidero'? - (Act 3)
8. Othello - Lyric Drama In Four Acts: Viva il Leon di San Marco! - (Act 3)
9. Othello - Lyric Drama In Four Acts: A tera!...si...nel livido fango - (Act 3)
10. Othello - Lyric Drama In Four Acts: Era piu'calmo? - (Act 4)
See all 15 tracks on this disc
On this CD:
  1. Otello
    Composed by Giuseppe Verdi
    Performed by Rome Opera Chorus, Rome Opera Orchestra
    with Jon Vickers, Leonie Rysanek, Tito Gobbi, Florindo Andreolli, Mario Carlin, Miriam Pirazzini, Ferruccio Mazzoli, Franco Calabrese, Robert Kerns
    Conducted by Tullio Serafin

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Customer Reviews

3 Reviews
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Average Customer Review
5.0 out of 5 stars (3 customer reviews)
 
 
 
 
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12 of 14 people found the following review helpful:
5.0 out of 5 stars The essential "Otello"., 26 Jul 2001
Serafin opens the score with terrifying force, and things just keep getting better! As a vehicle for Jon Vickers' monumental assumption of the title role, this set is essential. He is in craggy but poetic form, forceful, loving, enraged and broken by turns in a performance of Shakespearian intensity and Verdian grandeur. Tito Gobbi is his nemisis, the voice all charm one moment then vicious the next - a portrait worthy to set beside Vickers' Otello. Leonie Rysaneck may trouble some listeners, but her Desdemona is a unique creation that deserves careful listening. If the voice seems too Germanic in the role, there are many rewards to be had by simply accepting the sound for what it is and listening through it. This is the Otello to own - none of the more recent releases comes quite as close to it's tragic heart.
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8 of 10 people found the following review helpful:
5.0 out of 5 stars SHAKESPEARE'S OWN OPERA, 5 Mar 2007
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
Recordings of Verdi's Otello free from major shortcomings are in my experience so rare that I am only too happy to award the full 5 stars when I find such a recording, perfect or ideal though it may not be.

Such reservations as I have about this set are largely concerned with the recorded sound. This is in general not bad at all, being a digital remastering of sound dating originally from 1960. Where it seems less than totally successful is in treating the voices with a rather variable and inconsistent focus - sometimes closer, sometimes more remote. I suspect that the engineering may even have deprived us of the full benefit of the singing at times. The trills that characterise Iago's music, for one thing, were probably more vivid from Gobbi in real life than they come across here. For another, Gobbi is allowed to dominate Vickers more than I suspect he really did in the oath-taking; and while I doubt that Vickers or anyone else ever equalled (if memory serves) del Monaco at `Sangue, sangue, sangue' or in the thrilling flash on the top notes as they swear their oath, I doubt also that we are getting the full value of the treatment that Vickers gave these passages.

Other criticism that I have seen of this set centres on the perception - indisputable indeed if hardly startling - that Serafin is not Toscanini. Toscanini was unique indeed, and there is terrific fury and tension from him at the start that I never heard equalled. However such details, impressive though they are, do not provide a basis for assessing performances of Otello. That is provided by the conducting and the casting overall.

I would say that all three of Serafin's principals, but in particular his Desdemona, surpass Toscanini's. When it comes to the direction, Serafin in his way seems to me to understand this great and difficult score as well as Toscanini does. There is a peculiar atmosphere to Otello, and not everyone really grasps it. Dyneley Hussey in his book on Verdi cites some of the composer's remarks concerning Iago as indicating that Verdi was not a true Shakespearean critic, and thereby blunders straight into the smokescreen of self-attributed simplicity that Verdi liked to hide behind. Sir Edward Heath found Otello `not life-enhancing like Fidelio'. I can well believe that the naïve idealised message of Fidelio with its prisoners being released from their chains would have meant a lot more to Heath as he aspired to free Britain from the Wilson Terror, and that the electric sense of sexual tension that crackles through Otello was a territory as unknown to Heath as to Beethoven himself. Verdi's comments on Iago do not seem simplistic to me, and the character clearly fascinated him. Iago acts from pure calculated malice, something he even believes in as a doctrine. To trigger his malice all it takes is to get on his nerves, as Othello does; and while Iago's malevolence only acts on a small scale many critics have seen his character as typifying one aspect of pure evil. The music Verdi gives him, by turns portentous, grotesque and ingratiating, is complex and elusive in expression, and it is this aspect that Serafin captures with exceptional success.

Shakespeare's Othello is a very operatic tragedy in its own right, before Verdi and his librettist Boito set their own stamp on it. In many ways it might seem the simplest of the Bard's tragedies, but the character of Iago makes it, for me at least, actually the most elusive. As well as having an acute ear for that portrayal Serafin grasps what for me is another key element, namely the way Verdi stands back from the love interest despite the savage drama it gives rise to. The love duet is surpassingly beautiful in an idyllic way, but one has only to think of Tristan to hear the difference between a genuinely erotic drama and the hypertense atmosphere of suspected sexual betrayal and vengefulness out of control that Verdi evokes.

All that, plus the singing of Vickers and Gobbi, leaves me wanting to rate this performance in the highest bracket. The set includes an elaborate booklet containing everything necessary, such as a summary of the plot together with the full libretto (translated into English only, you may be pleased to hear.). There are also two sympathetic and informative, if slightly rambling, liner essays. Perfection remains elusive, but I wonder whether I would even know it if I encountered it when it comes to this work.
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5 of 6 people found the following review helpful:
5.0 out of 5 stars Otello, 4 Feb 2007
By Giancarlo Gemin "Gee Gee" (London United Kingdom) - See all my reviews
(REAL NAME)   
This is a tremendous recording of "Otello". With the number of choices available on the market it's a fine option. Serafin seems to cut to the heart of the piece even more so than Toscannini (dare I suggest). Vichers portrayal is inteligent (and considering the tenors available around 1960 it was brave casting). Gobbi fills the role of Iago with a rainbow of colours. The sound is fantastic for it's time and whilst I still value my Domingo, Vinay and yes, even my Del Monaco recordings, this is the one I'd take with me if the house was on fire.
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