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Otello
The sound on this 1952 Otello ranges from "good" to "acceptable". The performance, on the other hand, ranges from "good" to "great". Predictably, Ramón Vinay pulls out all the stops in a heartfelt, thunderous Otello, never better than when he is losing control. Renata Tebaldi offers a melting willow song (unfortunately marred by a dip in the sound quality) and an impeccably floated Ave Maria. Gino Bechi's Iago is nicely nasty, though perhaps lacking in finesse, and Piero de Palma makes Cassio unusually memorable. Gabriele Santini conducts expertly in a performance that features an arresting vitality from the artists.
Track List
Act I
1. Una vela! Una vela!
2. Esultate! L'orgoglio musulmano
3. Roderigo, ebben, che pensi?
4. Fuoco di gioia, l'ilare vampa
5. Inaffia l'ugola! Trinca, tracanna!
6. Olà! Che avvien? Son io fra i Saraceni?
7. Già nella notte densa
8. Poi mi guidavi ai fulgidi deserti
2. Esultate! L'orgoglio musulmano
3. Roderigo, ebben, che pensi?
4. Fuoco di gioia, l'ilare vampa
5. Inaffia l'ugola! Trinca, tracanna!
6. Olà! Che avvien? Son io fra i Saraceni?
7. Già nella notte densa
8. Poi mi guidavi ai fulgidi deserti
Act II
9. Non ti crucciare. Se credi a me, tra poco
10. Vane, la tua meta già vedo...Credo in un Dio crudel
11. Eccola. . .Cassio. . .a te
12. Dove guardi splendono
13. Desdemona rea!
14. Era la notte
15. Sì, pel ciel marmoreo giuro!
10. Vane, la tua meta già vedo...Credo in un Dio crudel
11. Eccola. . .Cassio. . .a te
12. Dove guardi splendono
13. Desdemona rea!
14. Era la notte
15. Sì, pel ciel marmoreo giuro!
Act III
16. La vedetta del porto ha segnalato
17. Dio ti giocondi, o sposo dell'alma
18. Esterrefatta fisso lo sguardo tuo tremendo
19. Dio! mi potevi scagliar tutti i mali
20. Vieni, l'aula è deserta
21. Il Doge ed il Senato salutano l'eroe trionfatore
22. A terra!. . .sì. . .nel livido fango
17. Dio ti giocondi, o sposo dell'alma
18. Esterrefatta fisso lo sguardo tuo tremendo
19. Dio! mi potevi scagliar tutti i mali
20. Vieni, l'aula è deserta
21. Il Doge ed il Senato salutano l'eroe trionfatore
22. A terra!. . .sì. . .nel livido fango
Act IV
23. Era più calmo?
24. Piangea cantando nell'erma landa
25. Ave Maria
26. Chi è là? Otello?
27. Calma come la tomba
28. Niun mi tema s'anco armato mi vede
24. Piangea cantando nell'erma landa
25. Ave Maria
26. Chi è là? Otello?
27. Calma come la tomba
28. Niun mi tema s'anco armato mi vede
Customer Reviews
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3.0
Based on 4 reviews
✓ Verified Buyer
United States
Verdi otello/ vinay,tebaldi Naples 1952
Great performance. Hoping for better sound. I've heard it before.
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✓ Verified Buyer
United States
. Otello, (Vinay, Bechi)
The sound of this live performance, here & there, may not be the best but I'll sill listen to for what it's worth
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✓ Top Reviewer
United States
Great Performance in Mediocre Sound!
All three principals deliver in this performance from Naples circa 1952. The sound is for the most part acceptable, but the Italians hadn't learned yet where to put the mics so some voices (and even the chorus at times) are inaudible. Pitch isn't too bad though there are some dicey moments in the last act. The young Tebaldi sings like an angel and is fully immersed in the drama. She cries out when thrown to the ground in the third act and the murder scene is hair-raising. Her stunning Ave Maria is spoiled by the shouts of the enthusiastic audience. One can't imagine that happening today or a diva who could inspire it. Vinay is terrific as is Bechi (he sings some great top A's in the Brindisi). The supporting cast is good when they can be heard. The sound, as mentioned above, is what it is. I wish it were better, but there we are. Whoever prepared the second disc inserted those silly pauses between tracks, the second time this has occurred in an Opera Depot release (the other one I know of is the Covent Garden Traviata with Scotto and Pavarotti).
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✓ Top Reviewer
Australia
John Stanton
Ramon Vinay was one of the two most sought after Otellos of the post war years( the other being Mario Del Monaco). Originally a baritone his tenor voice was big and resonant, his Othello grand and imposing.Gino Bechi was one of the pre-eminent Verdi baritones of the 40's and 50's, his gritty slightly nasal sound perfect for Iago, and of course Tebaldi possessed the most beautiful Italianate voice, her Desdemona gentle and vulnerable.The sound is so-so, but these three great voices mostly cut through. It might encourage new comers to Vinay's Othello, to seek out the 1947 recording with Toscanini.
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