The stories about this Otello are legendary. Di Stefano didn't really have the right type of voice for the title role. What he did have was a stage presence that comes through even on an audio-only performance and enough voice left to bring some lyricism to Otello's more introspective moments. He hasn't quite mastered the text or the music: there are a number of fumbled words and ragged vocal entrances. It's clear which parts of the role he had really prepared. His rage at Desdemona in the last act is terrifying, the howl of despair before the final "Un altro bacio" filled with pain. Like Pavarotti and Bergonzi after him, he probably should've left the role alone - but I'm glad he didn't. Gobbi knows what he's supposed to do and Pobbe sings with lovely tone and passion. She only takes a few phrases down in the third act ensemble, all else she sings confidently (her Act 4 Willow Song and Ave Maria are from the 1957 performance also available from Opera Depot). The Emilia, Kathleen DeSpain, was a well-known voice actress and radio singer who sang the Witch's broomstick sing on Disney's record of Hansel and Gretel. Jensen has his work cut out for him trying to keep everyone together; the orchestra is clearly unfamiliar with score. The sound is listenable and doesn't get in the way.For Di Stefano fans and the curious.

Giuseppe di Stefano only appeared in one production of Verdi's 'Otello', joining other one production Otellos, Bergonzi and Pavarotti. Like them, he was neither a natural for the role nor was he an interpretive victor, but his sincerity of commitment carries him through. It is an entirely respectable performance. Tito Gobbi, not in best voice, was still interpretively, a great Iago. Like Gobbi, Pobbe is not in top form, but is a practiced Desdemona. As is indicated in the little insert, the beginning of the fourth act was missing from the tape, so a performance of Pobbe singing the Willow Song and Ave Maria from nine years earlier has been inserted, probably to the listener's advantage. All in all, the performance is very likeable. A good example of the level our regional companies, in this case Pasadena, are capable of. The sound recording is, at best, just so-so.

Although this is a recording made during dress rehearsal, it is surprising good and a welcome recording. I purchased it with some misgivings: the date and Di Stefano's seeming unsuitability for the role. However, he is deeply committed to the role and sings it better than might be expected. Gobbi is also past his best, but brings his superb dramatic skills to play and makes a terrific Iago. Pobbe is a welcome Desdemona. The recorded sound varies, but is listenable. I expected to listen once and then give it away. It's worth keeping so I can listen to it again.

This recording of Di Stefano's only record of Otello is only for his many fans.He gives it all and then some but he is no Otello.The recorded sound is poor because the recorder sounds like it is in the orchestra pit and distant.However who can pass up this CD a great rembrance

Pobbe and particularly Gobbi were good. Di Stefano barked his way through this ill-advised performance. Nevertheless, it was interesting to hear his attempt. The sound quality was poor.

Indispensable for Di Stefano Collectors