Released in 1961 on Decca (catalog no. Giuseppe Verdi / Mario del Monaco, Renata Tebaldi, Orquesta Sinfónica Y Coro De La Academia De Santa Cecilia De Roma, Alberto Erede - Otello | Una Vela Una Vela,Esultate,Fuoco di Gioia,Roderigo, Beviam,Vanne la Tua Meta Già Vedo,Credo In Un Dio Crudel,Desdemona Rea,Tu? Su rol más representativo fue Otello, de la ópera homónima de Giuseppe Verdi. Animated Brazil — Part Two: Won’t You Be My Good Neighbor? His wasn’t necessarily a “bad” performance, just not up to his usual high standards. It may remind listeners of the big concertato that closes Act III of Otello. Today, we ourselves are bearing witness to similar wheeling and dealing, as a new administration begins to take hold via the age-old process of a peaceful transition of power. When Amelia insists she is in love with another suitor (the fiery Gabriele Adorno), and especially when Boccanegra realizes that Amelia is his long-lost daughter Maria, he is obliged to renege on his promise to Paolo. Del Monaco was born in Florence, into a musical upper-class family, to a Neapolitan father and to a mother of Sicilian descent. Listen to Verdi: Otello (2 CDs) by Renata Tebaldi, Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia & Alberto Erede on Apple Music. Find album reviews, stream songs, credits and award information for Verdi: Otello - Mario del Monaco, Renata Tebaldi, Leonard Warren, Antonino Votto on AllMusic - 2004 Listen to Verdi: Otello by Mario del Monaco, Renata Tebaldi, Orchestra of the Accademia di Santa Ceilia of Rome, Chorus of the Accademia di Santa Ceilia of Rome & Alberto Erede on Apple Music. Otello, Act I: "Una vela! Ferruccio Furlanetto’s rich-voiced Jacopo Fiesco was an absolute joy to listen to. The Storm Scene from Act I of Verdi’s Otello (Photo: Ken Howard / Met Opera). The ailing James Levine was back at the helm of the Met Orchestra, in the revival of a production by Giancarlo Del Monaco (the mighty tenor’s son), with sets and costumes by Michael Scott, and lighting design by Wayne Chouinard. Included on this refurbished CD is a studio recording of the Council Chamber scene, with Rose Bampton replacing Rethberg, and Wilfred Pelletier on the podium. Not wanting to take the thunder away from his much admired predecessor, he was mindful, too, that Rossini had set out to stage The Barber of Seville in juxtaposition to a prior version by Giovanni Paisiello. For all his skills and ability in this repertoire, Lučić does not sound like your standard Verdi baritone. “I believe in a cruel God,” he thunders forth near the start of the second act, “who has made me in His image and who in wrath I now worship!” Iago’s hatred of the Moor goes beyond his elevation of Cassio to the rank of captain. Overlooking one of the balconies nearest the stage, Anile was dressed in jeans, sneakers, and T-shirt, but with a black cape covering his form, while Antonenko mimed the role onstage. After the disastrous premiere and subsequent successful revivals, the title reverted back to The Barber of Seville. I have spoken about this distortion to the composer’s carefully calculated effects on a number of occasions. But his soft-grained, streamlined variation on the manly, baritonal timbre has short-changed audiences expecting a more viral, penetrating interpretation. He must have had iron filament for lungs! http://vaimusic.com/VIDEO/DVD_4425_Otello.htm Mario Del Monaco & Tito Gobbi sing "Era la notte, Cassio dormia - Si, pel ciel marmoreo giuro!" Écoutez des morceaux comme « Otello: … He had also written about the difficulty of serving two masters in the first version of Boccanegra, as well as in the Judgment Scene from Aida and in the multiple revisions to Don Carlo, where public duty clashed with private anguish. Listen to Verdi: Otello (2 CDs) by Renata Tebaldi, Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia & Alberto Erede on Apple Music. Stream … I’ve been impressed in the recent past by his assumption of the Russian repertoire, in particular a very fine Dimitri in Stephen Wadworth’s staging of Boris Godunov from 2010, and some notable Puccini assignments, including Ramerrez in a Swedish production of La Fanciulla del West by director Christof Loy. Verdi poured his heart and soul into this newly minted sequence, one that supplanted an earlier one that proved entirely inadequate. Nice, but what about the singers? Mario Del Monaco as Otello, 1958 (www.liveinternet.ru). Stream songs including "Otello, Act I: Una vela! In the Prologue, he is the person who proposes that Simon run for the office of Doge of Genoa. Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* - Otello ‎ (3xLP, 180) London Records, Decca: KIJC … Hibla Gerzmova as Desdemona, Aleksandrs Antonenko as Otello, in Act III (Photo: Ken Howard / Met Opera). In the emotionally compelling Scene i of Act I, the aged Doge has come to inform Amelia Grimaldi that she is to be married to Paolo as a reward for his unwavering loyalty. An endless parade of loyalists and appointees have come and gone, with each one vying for a piece of the coming administration’s pie. Find album reviews, stream songs, credits and award information for Verdi: Otello - Mario del Monaco, Renata Tebaldi, Leonard Warren, Antonino Votto on AllMusic - 2004 He served as an unwilling member of the Italian Parliament when the fledgling republic had achieved its longed-for reunification. Mit Mario del Monaco als Othello und Herbert von Karajan am Pult der Wiener Philharmoniker hatte sie natürlich im Vergleich zur Konkurrenz zwei schier unschlagbare Trümpfe in der Hand. Il mitico Otello; Tenore verdiano; Album fotografico. Paolo, too, has his “Iago moment,” coming as it does, coincidentally enough, at the opening of Act II of Simon Boccanegra. He is a tough Otello, that makes you feel from te start that poor Desdemona has no escape! Gobbi, in His World of Italian Opera (published 1984 by Franklin Watts), describes Boccanegra as “a giant, both physically and in character. Protti is masterful as the evil Jago. Mario del Monaco (Florencia, 27 de julio de 1915 - Mestre, 16 de octubre de 1982) fue un tenor italiano.Es comúnmente considerado el mejor tenor dramático del siglo XX. By that, I mean shifting glass-mirrored panels (or window panes — more like “pains,” if you get my drift) taking the place of actual scenery and sets. Shop Barnes & Noble for Otello on DVD by Mario del Monaco, Gabriella Tucci, Tito Gobbi, Anna di Stasio. More to the point, Otello is supposed to be a Moor, a black African man in an all-white Venetian society, serving at that society’s whim to rule, in their name, as a governor on the island of Cypress. The Act ends with Boccanegra ordering Paolo to pronounce a curse on the head of the man responsible for the uproar — in other words, on Paolo himself. In Shakespeare, this villain’s motivation is basically his anger at being passed over for promotion. and more. Genres: Opera, Romanticism. and more. History records that Rossini’s original name for the work was Almaviva, ossia l’inutile precauzione (“Almaviva, or the Useless Precaution”). Here, it vanished into the woodwork, with no sign of the ever-present sea in the staging either, another of this production’s faults. Discover releases, reviews, track listings, recommendations, and more about Herbert von Karajan, Giuseppe Verdi, Mario del Monaco, Renata Tebaldi, Aldo Protti, Vienna Philharmonic Orchestra* - Otello at Discogs. She, on the other hand, is repelled by the money-grubbing Paolo who is only interested in her family’s wealth and status. Écoutez Verdi: Otello (Digital Only) de Victoria de los Ángeles, Mario del Monaco, Leonard Warren, Choir of the New York Metropolitan Theatre, Fausto Cleva & Orchestra of the New York Metropolitan Theatre sur Apple Music. Find album reviews, stream songs, credits and award information for Verdi: Otello - Mario del Monaco, Tito Gobbi, Gabriella Tucci, Alberto Erede on AllMusic - 1998 “Paolo should take an active part in the later uprising of the Guelphs to betray and dethrone the Doge,” he suggested to Verdi. Famous interpreters of the role have included Mario Del Monaco, Jon Vickers and Placido Domingo. Neither opera appeared to have had an especially strong following on 78’s, however, which points up the undeniable fact that even today excerpts from Boccanegra are extremely hard to come by. I enjoyed his “Sento avvampar nell’anima” solo, with its rapid articulations indicative of Gabriele’s shifting states of emotion. Mario Del Monaco è stato il più grande Otello della sua epoca, ma sono convinto (un giudizio condiviso da molti) che sia stato il più grande Otello della storia del teatro. Now to the performance: Mario del Monaco was probably the most famous Otello of the post war era. Mario Del Monaco, Soundtrack: The Untouchables. incarnations à la scène. Mario del Monaco had the perfect Otello voice, and if Tebaldi sounds a little too formidable to be pushed around like that by her husband, and Protti doesn't score all the interpretative points of some other Iagos on disc, it's still a wonderful version, not least for Karajan's incisive conducting and Decca's splendiferous "you-are-there" sound-stage. To begin with, this was another in a long line of tiresome “barebones” production values. Domingo as Boccanegra, with Lianna Haroutounian as Amelia, in the Recognition Scene, Act I, scene i (Photo: Ken Howard / Met Opera), It is in the justly celebrated Council Chamber scene that the kidnapping plot is revealed and foiled. Give me a Leonard Warren, an Ettore Bastianini, a Cornell MacNeil, a Robert Merrill, or a Sherrill Milnes any day of the week. In guiding Boccanegra to the Barber of Seville matched him in vocal quality, with some outpourings... 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