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Otello
Ramón Vinay's legendary portrayal of Otello is given a wonderful showcase from the forces of Covent Garden, lead in a tightly-wound performance by Edward Downes. 1957 was a little late in the day for Vinay's Lion of Venice, captured just three years before he would switch over to singing baritone roles. His understanding of the role is paramount, and if occasionally his tone turns a bit shouty, it is compensated for by moments of unparalleled beauty. Gré Brouwenstijn is a rather timid Desdemona and Otakar Kraus shows why he was London's baritone-in-demand for many years with an elegant, complex take on Iago.
Track List
Act I
1. Una vela! Una vela!
2. Esultate!
3. Roderigo, ebben, che pensi?
4. Fuoco di gioia
5. Inaffia l'ugola! Trinca, tracanna!
6. Olà! Che avvien?
7. Già nella notte
8. Poi mi guidavi
2. Esultate!
3. Roderigo, ebben, che pensi?
4. Fuoco di gioia
5. Inaffia l'ugola! Trinca, tracanna!
6. Olà! Che avvien?
7. Già nella notte
8. Poi mi guidavi
Act II
9. Non ti crucciar.
10. Vanne; la tua meta già vedo...Credo in un Dio crudel
11. Eccola...Cassio...a te...Questo è il momento.
12. Dove guardi splendono
13. D'un uom che geme
14. Desdemona rea!
15. Era la notte, Cassio dormia
16. Si, pel ciel marmoreo giuro!
10. Vanne; la tua meta già vedo...Credo in un Dio crudel
11. Eccola...Cassio...a te...Questo è il momento.
12. Dove guardi splendono
13. D'un uom che geme
14. Desdemona rea!
15. Era la notte, Cassio dormia
16. Si, pel ciel marmoreo giuro!
Act III
17. La vedetta del porto
18. Dio ti giocondi, o sposo
19. Esterrefatta fisso lo sguardo tuo tremendo
20. Dio! mi potevi scagliar
21. Vieni, l'aula è deserta.
22. Quest' è il segnale che annuncia
23. A terra!...si...nel livido
18. Dio ti giocondi, o sposo
19. Esterrefatta fisso lo sguardo tuo tremendo
20. Dio! mi potevi scagliar
21. Vieni, l'aula è deserta.
22. Quest' è il segnale che annuncia
23. A terra!...si...nel livido
Act IV
24. Era più calmo?
25. Piangea cantando nell'erma landa
26. Ave Maria, piena di grazia
27. Chi è là? Otello?
28. Aprite! Aprite!
29. Niun mi tema
25. Piangea cantando nell'erma landa
26. Ave Maria, piena di grazia
27. Chi è là? Otello?
28. Aprite! Aprite!
29. Niun mi tema
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4.8
Based on 4 reviews
✓ Verified Buyer
Germany
Royal Opera House Heritage Series names another date and R. Kubelik als conductor
The recording mentioned below conducted by Rafael Kubelik was performed on 19 October 1955 how to read on the cover. The cast is completely identical, as herald is additionally named Forbes Robinson.
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✓ Top Reviewer
United States
Correction to Below
Somehow I got the wrong idea that Rafael Kubelik conducted this performance; in fact, it was Edward Downes. My apologies to both conductors!
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✓ Top Reviewer
United States
Excellent Performance in Good Sound!
The Royal Opera House Covent Garden issued this performance on their own label about fifteen years ago. That set is long out of print so I am grateful to Opera Depot for issuing it again at such a reasonable price. I'm not sure how this compares to the earlier issue, whether it's a burn of that set or from a different source. Either way the sound is acceptable and seems to be pitched correctly. There are a few one-second dropouts in Act 3 though whether this is in the source tape or a problem with this mastering I don't know.Vinay would only sing this repertoire for a few more years before going back to baritone roles. He gets on and off the highest notes as quickly as he can while still providing some thrilling moments. His death scene is rather histrionic, but I loved it all the same. Brouwenstijn is a beautiful Desdemona and Kraus a suitably nasty Iago. It was supposed to have been Tito Gobbi, but because of a schedule mix-up Kubelik sacked him and hired Kraus (Kubelik later apologized to Gobbi when the problem was explained to him). The supporting cast is also terrific. Kubelik leads a somewhat slow performance that is given without cuts (unusual at that time).An exciting performance with imaginative principals and a strong conductor.
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✓ Top Reviewer
United States
An immortal Otello!
Vinay is the ultimate warrior-poet, stentorian in rage, defenseless in passion, paralyzed by doubt and remorse. Kraus is a master architect of deceit, manipulative, hateful. Brouwenstijn is as delicate and richly colored as Murano glass. Supporting cast is first rate. Downes leads as intense and supple a reading as any of the best. Liken the recorded sound to a finely remastered 78, or a Covent Garden performance thru a London fog. (one star off for sound, a minor carp)
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