Search - Verdi, Del Monaco, Tebaldi :: Giuseppe Verdi: Otello

The Complete Otello

Chrysorrhoas | Ft. Laud, FL USA | 06/28/2008

(5 out of 5 stars)

"This CD version of the almost legendary Von Karajan-Del Monaco-Tebaldi recording of Otello is the true "complete" version of the vinyl recording.



The Ballabile section in the Third Act, the instrumental part that accompanies the procession of dignataries, is missing from other versions. My assumption is that at the time of the recording's conversion to CD format there was a "space issue" which prompted the editing out of the section."

Otello Del Monaco

Grant C. Creeger | Plano, Texas | 02/03/2009

(5 out of 5 stars)

"This recording has never received the respect it has deserved. The sound has been cleaned up and it is a Culshaw production with the VPO. It is fairly early in Karajan's career so the mannerisms that people fault him for are not so much in evidence. Del Monico is in great voice. This role needs an Italianate voice which is why I have never warmed to Domingo performances of the role. A great deal."

If you like Karajan this is it, if you like the singers this

Pietro Zanette | 03/30/2010

(4 out of 5 stars)

"This edition was plagued by various problems, Ettore Bastianini was supposed to sing Jago but he could not memorize the part and he was finally put aside in favor of Protti who had recorded it in 1954 with the same superstars colleagues. The presence of strong personalities like Del Monaco (who always thought of Otello as his personal domain) and Karajan notoriously dictatorial did not go without sparks. Other stirs were when the first LP edition was issued with the name of Karajan printed larger than the singers names, only to print them all the same size in all subsequent re-issues. Decca went for a marketing blow hiring Karajan and the Vienna Philharmonic and the results as mere sound are superb, but to me, it ends there. This edition finds Del Monaco tired at times and with the very first signs of the vocal crisis which affected him around 1963/4 worsened by the terrible road accident he was involved, that caused him to stay away from stage (and from vocal exercise) for quite a while. Tebaldi's voice lost flexibility and while the mid range is still unbeatable, the high notes (never her best domain anyway) are hard and forced, close to shrieks at times. Still we are talking about superstars inferior to themselves in their prime but untouchable by others in this repertoire and their interpretation is somewhat more refined than in 1954 always for Decca. Protti is vocally in great shape and definitely more accustomed to the role than he was 7 years earlier. There must have been a problem with the mixing (I think Karajan had something to do with this)because the sound of the orchestra is far too loud dwarfing the singers at times and they were powerhouses vocally speaking("Credo in un Dio" just to name one or the end of "Si pel Ciel Marmoreo giuro!" duet Del Monaco/Protti)and if this is pleasant at the start before the Esultate! then it becomes tedious and bothering in many other instances, despite the great sound. So in the end if you want music this is the one to pick, if you want voices go to Decca 1954 with the same guys in top top shape, just listen to the rock solid "Esultate!" or to the sculpted "Niun mi tema" at the end, to shiver.

"