Verdi Tebaldi Monaco - Otello (45 tracks) +Album Reviews

In Stereo for the First Time

T. Beers | Arlington, Virginia United States | 11/12/2003

(4 out of 5 stars)

"It's generally conceded that Tebaldi, del Monaco and Protti are all heard to better advantage in their second recording of Otello, recorded by Decca in Vienna with Herbert von Karajan conducting. And there's no question that von Karajan's direction is in a completely different league than Erede's much more approximate and haphazard effort. That said, there are a couple of reasons lovers of this magnificent opera should buy these discs. First, Tebaldi and del Monaco sound fresher in this circa 1954 performance (not surprising given that they are circa six years younger than they were when recording with Karajan). Whereas the difference may not seem great vis-a-vis del Monaco's typically blustery (but extraordinarily exciting) performance, Tebaldi's superb Desdemona is fresher and more touching under Erede. (Protti is neutral and soul-less in both performances. But then, nobody buys Otello for Protti's merely workmanlike Jago.) Second, although previously released on mono Lps, this CD issue is presented in genuine stereo for the first time. Trust me, Decca/London/Richmond's mono Lps always sounded first-rate, but the Erede Otello sounds even more impressive in stereo: full, warm and with believable directional "space" around singers and orchestra. Rough and raw it may be, but all things considered, this is still a very attractive Otello. And indispensable for fans of the great Renata Tebaldi. So don't give up the later Karajan recording, but buy this as a bargain supplement. Certainly, Tebaldi's Desdemona is absolutely priceless!"

For vocal fans only -- Erede is quite poor

Santa Fe Listener | Santa Fe, NM USA | 04/07/2008

(3 out of 5 stars)

"It's been common practice for fans of this 1954 Otello to excuse its two glaring weaknesses: the bland, barely serviceable Iago from Aldo Protti and the lame conducting by Erede. In Protti's case there's nothing to be done. He appears on Decca's remake under Karajan, to even worse effect. But Otello is, among other things, an orchestral masterpiece, and the choice between Erede and Karajan is chalk and cheese. In no way does Erede's flat, funcitonal leadership do justice to Verdi's score, while Karajan, who made a specialty of this opera, offers one of the greatest readings on disc, fully equal to arlos Kleiber and barely short of Toscanini.

As to the lead singers' freshness of voice, one has to agree, but in compensation, Karajan gets more subtlety out of Tebaldi and coaxes Del Monaco to tone down his fire-siren voice. Finally, the recorded sound in the later version is spectacular, while this early stereo set, although good, isn't of the same caliber. In all, I'ld buy the Erede only if you must have Tebaldi or Del Monaco in better voice."

Fresh Voices and Virile Conducting!

Impostazione | New York City Area | 12/01/2004

(5 out of 5 stars)

"This is a fine production. Erede leads a superb cast beginning with del Monaco as the impassioned Otello. My only criticism is that the characters "in control" side does not come through in his delivery. That is difficult to maintain with Verdi's unbelievably forward and imposing composing.

The quality of Tebaldi's voice is so beautiful and she never screams or even sings a forte (that is, a Tebaldi forte which is louder than most...one that she would employ after 1956 very often.) Here is a Desdemona with class and poise. She is utterly divine.

A.Protti is in warm voice and it is charming to hear Del Monaco imitate him in the 2nd act."

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