Othello class

From the last work Falstaff apart, Othello is the greatest masterpiece of Giuseppe Verdi, a rich experience unites it but just like a new concept, for the operas of Richard Wagner was certainly not without some impact, even if there is no question that Giuseppe Verdi was guided only by their own ideas and their own inspiration. The love duet in the first act is the most beautiful of Italian opera literature in general.

Renata Tebaldi and Mario del Monaco contact their sonorous voices exemplary standards by capturing all facets of the drama with consummate expression. Your thrilling roller design is convincing in every detail. The recording has emerged in its heyday, in which they had been regarded as opera dream couple. In an interview Renata Tebaldi had referred the Otello evenings with Mario del Monaco as the highlights of their career. With the slight coolness of her angelic voice and the soulful warmth of expression in temperament permeates the role of Desdemona interpretation like no other.

In an article in Times Online, 5.1.2005, the author and critic Jürgen Kesting singer his article about Renata Tebaldi under the title: The second number one with the subtitle was characteristically: always sang the soprano Renata Tebaldi against Maria Callas at the other beautiful voice of her century. It needs to be noted here, however, that the repertoire of the two rivals has not been fully congruent and both have different styles pursued. So far as I know the role of Desdemona was never played by Maria Callas. Renata Tebaldi mastered the technique of sound unit by means of which it was to break loose change of register, as well as being able to do without in height with the use of head voice. She was therefore the ideal partner of Mario del Monaco, who has not spared thanks to his dazzling vocal technique over three decades by continuous work and until recently celebrated great triumphs.

Mario Del Monaco was primarily as Othello world acclaimed opera hero. He had a great voice, which had an enormous and wide-bearing capacity. As far as he is accused of a certain part of the criticism and shortcomings in the subtle shading, where the allegations seems to stick a certain fanatical and unerfindlicher dogmatism that is as unjust as wrong. To banish such a great voice on the microphone, is technically difficult. The vocal emissions of the artist is limited to corresponding exposed areas. You can hear him just as beautiful piano (such as the great love duet with Desdemona) as grandiose slurs. Even in the highly dramatic moments, the scenarios between disappointment and hatred furiously up to despair, Mario del Monaco is capable of generating voltage appearing as electrically charged. Thus leaves itself in the collapse as Othello Mario del Monaco is not the ground of her singing expression in role just aesthetics, to make them appear without the voice brittle itself - though the last words are declaimed in recitative and even the breath of the last breaths can be heard. Again, in all phases rousing vocal representation in which Mario Del Monaco each comparison with the competition is easy. Who, however, a fragile vocal image that seems rather to be based on shortcomings voting technical means rather than mastery of all facets of the performance of the song, understood as a subtle and nuanced, announced arbitrary phrases and are not least the diversity in the art that the well with the concept Freedom has a lot in common, no space: The criticism degenerates into petty monotonous grumbling.

Opposite partly unauthorized attacks by others that seem the saying much fine confirm much honor, I would like to quote Tito Gobbi from his autobiography My Life as follows: Del Monaco was the finest Othello my generation. As Tito Gobbi, who had also sung Iago alongside Mario del Monaco, also Aldo Protti belongs to the eternal world leader in baritone. Although he likes to give a not quite as sharp accented expression as Tito Gobbi the abysmal evil of Iago, but he understands it in his own way, with cunning craftiness to soak the soul of Othello with deadly jealousy. It finally is primarily a psychological act: In the relevant phases Jago must his hatred rather hide, or he would undermine his credibility with Othello. With skill Aldo Protti convinced as cunning villain. No less copes with Aldo Protti also expressive phases with the expressive power of his great voice overwhelming.

Despite considerable reluctance for reasons of their presentation I disregard this, I would like to refer to the following quote from the book by Jürgen Kesting "The great singers of the 20th century": "There is no doubt that Del Monaco steely bronze tone still able to impress. Who denies it, denies the sensual effect that can be caused by such a virile voice. His Otello recordings show this is still impressive.

Finally Herbert von Karajan have earned including the Vienna Philharmonic Orchestra as well as the Vienna Children's Choir and the Vienna State Opera Chorus kudos. Opulent and dynamic music in the dramatic escalations convey equally electrifying high voltage such beautiful sounds produce gorgeous full color moods during pianissimo with firmer tempo style, so that the listener experiences a thrilling atmosphere in all respects. All participants confirm that it is the best through-composed, most mature work of Giuseppe Verdi from Othello. The sound balances are excellently managed, as ever, the recording technology has made possible best work by lively stage reality is suggested that the participants seem to move freely on the stage. Dynamics in depth and breadth of the action at selected smart microphone distances and rich sonority, in which all voices come into their own. Thanks to excellent performance of all participants a lively century recording is created.