In fact, a few years after the opera's premiere, Rossini created a version for a baritone Iago, and that became the most frequently performed version for the rest of the 19th century. So, if this recording uses Rossini's version (I have no way of knowing), there's nothing inauthentic about the baritone Iago. However, to enjoy this--and I do recommend it--you really do have to be prepared for what it is: the goal in 1957, when this opera was totally unknown, appears to have been to do whatever it took to present as much of the opera's best music as possible, while cutting as much as possible of everything else. This includes some drastic and musically unnatural resequencing and even the transfer of some music from one character to another. Recitativo is cut to the barest of minimums. As a result, the flow and pacing of scenes is sometimes quite different from what Rossini had in mind, and at times the opera also becomes dramatically odd--for example, this version ends abruptly with the murder of Desdemona. In addition, the overall feel of the performance emphasizes passion over grace, so this becomes a very Verdian take on Rossini's music. All of this said, though, if you can accept it for what it is, and forget about what it isn't, this is really a quite wonderful performance.

If you are looking forward to luxuriating in hours of note-complete opera seria, this highly abridged concert performance is not for you. What does impress is that in 1957, a cast of American artists and orchestral musicians was assembled to perform Rossini as to the manner born. Each contributes to a musically graceful, dramatically sophisticated whole. The crown jewels are Farrell’s Willow Song and the enchanting Desdemona/Emilia duet in Act 1. Sadly absent is Rodrigo’s aria, which Rossini later repurposed for his “Cat Duet”. Sound good.

One one hand here is the problem, that this is very abridged version of Rossini's Otello. It is less than 90 minutes long, on the other hand this is also advantage, because it is more concentrated, with skillful, sensual, even sublime conducting of Arnold Gamson. It was perhaps better to make an abridged version of Otello, since it is beginning of Rossini's revival, to motivate listeners and artists to discover the wonderful world of Rossini. There are some differences with original. For example Iago is baritone Hugh Thompson, who sings very nice. It is a nice joke, bringing nearer Verdi and Rossini. Perhaps was easier to find a good baritone, than to find a third good tenor. Loren Driscoll (tenor) is Rodrigo and does a great job in his role. He was better known as creator of many tenor roles in the operas of 20th century. Farrell as Desdemona and Hayward in the title role are simply amazing. Farrell's Assisa a' piè d'un salice is breathtaking, her coloraturas are good, Heyward sings with great conviction, some stamina and manages coloraturas well.