The rodrigo of Filippo Adami is more problematic. Very light and bright in timbre, it is excessively nasal and has a wobble in the sustained top notes; it is difficult to hear him as a formidable rival to Otello for the hand of Desdemona, one that would have won her fathers favor. However, his coloratura and vocal production are superior to those of Matteuzzi, and again he seems a slightly preferable choice. The strengths extend to the rest of the cast as well. While not flawless, jessica Pratt as Desdemona is as good as or better than Futral or any of the alternatives. Initially her voice is slightly harsh and has a few slightly squally notes at the top, but once she gets warmed up for the act I finale it is pleasing in timbre and technically assured, and she brings an interpretive commitment notably lacking in some. Ugo guagliardo as her father, Elmiro, and Geraldine Chauvet as Emilia both sing their smaller but crucial supporting roles with security and authority, and the comprimario parts are all ably filled. The chorus has a name redolent of satirical spoofs of provincial opera companies and pseudonymous recordings issued on obscure labels from the 1950s, but in fact it sings quite well.
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As voice types and vocal technique changed with compositional styles, finding singers marathi with the requisite differentiated types of tenor voices probably became increasingly difficult, and without those contrasts the concentration of so many voices in one register sounds monotonous. Also, in accordance with the practices of the era that later fell into disfavor, the libretto departs significantly from Shakespeare. It replaces the famous handkerchief with the standard plot device of intercepted letters, and portrays Desdemona as torn between love for Otello (whom she has married in secret) and filial obedience to her fathers wish that she marry rodrigo, who as Otellos open rival. It is only with the great Rossini revival in recent decades that truly vital performances of such works have again become possible. The present performance emanates from a rossini festival in southwestern Germany, near Karlsruhe. While not ideal, this newly issued live performance immediately leaps to the fore as one of two preferred recordings of this Rossini rarity; its only real competition is the Opera rara set with Bruce ford, juan José lopera, william Matteuzzi, and Elizabeth Futral, reviewed. Fanfare 23:5 by joel Kasow. Its greatest strength is tenor Michael Spyres in the title role, the finest rendition yet committed to disc. His voice is simply spectacular; technically more secure even than Ford, he fearlessly encompasses a two-octave-plus range with the requisite virile heft, fluency in coloratura, and interpretive commitment. Less than ideal, though not bad, are the other two principal tenors. Giorgio trucco as Iago has a light voice, somewhat lacking in sheen and a bit on the nasal side; he takes most of act I to warm up, but is effective in act ii, and I find him preferable to lopera.
Its the 1976 la scala staging. Rossini, otello, antonino fogliani, cond; Michael Spyres (. Otello jessica Pratt desdemona giorgio trucco iago filippo Adami (. Rodrigo geraldine Chauvet emilia ugo guagliardo elmiro transylvania st Phil Ch, Cluj; Virtuoso Brunensis naxos. (2 CDs: 148:30) fuller live: Bad Wildbad 7/1219/2008. Rossinis, otello was premiered on December 4, 1816, and remained one of his most frequently performed operas until the general eclipse of most of his works in the late 19th century. Changes in aesthetic style (the replacement of bel canto first by verdian romantic drama and then verismo ) had practical performance implications. Armida, otello also has six tenor rolesthree leads and three comprimario parts. The title role is written for a baritenore, a tenor with a lower tessitura but still requiring the top notes, while rodrigo is cast for a high coloratura tenor, and Iago halfway in between.
Struckmanns complete destruction of the moor here was just the effect Verdi had biography in mind evil distilled. In summary, if wed had a good conductor this would have been a fine staging of a great work. But thats like saying if the sauce had been good the spaghetti would have been terrific. If you want to hear. Otello conducted as it should watch the video below. The great Carlos Kleiber was behind the baton. You also get Placido domino.
Its not as lush as it was and she cant launch the explosion of sound needed when she calls Emilia back as the latter is leaving her bedchamber in the last act. Nevertheless, the willow Song and the ave maria were moving and effective a great artist. James Morris, still around after all these decades, was effective as Lodovico. Tenor Michael Fabiano, as young as Morris is old, has a pleasant tenor and acted well as Cassio, one of the meatiest secondary tenor parts around. The chorus per usual did all that was needed. As mentioned this production by Elijah Moshinsky with sets by michael yeargan has been around for more than 18 years. Its still very effective. The sets are time and place appropriate and the direction brings all thats needed by this masterpiece. My only objection was the choir like arrangement of the chorus in the venetian emissary scene at the end of the third act.
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The only problem is that hes carrying at least 150 too many pounds. True, otello is an immense role, but you can take this too far. Still, a very impressive performance. The most fully realized portrayal was Falk Struckmanns Iago. The German Bass-baritone has the high notes giving for Verdis personification of pure evil and he has the acting skills to fully express this great part. His Credo resume was brilliantly and terrifyingly presented.
And he didnt laugh at the arias end. This is the only time i havent heard Iago laugh at the end of the Credo. Even Toscanini allowed. But Verdis production notes for the operas premiere read: At the final words e vecchia fola il ciel he iago shrugs his shoulders, turns away and moves upstage. I hope Struckmanns example sets a new precedent. Renée fleming has been singing Desdemona at the met since 1994 when the current revival was new. Her voice is still lovely and used intelligently.
Its likely not an accident that Ben Heppners voice started to come apart at the time he assumed this role. I was at his first performance of Otello in Chicago in 2001. He had the sound for the role, but he repeatedly cracked at unexpected places. It was a great disappointment. . Incidently the cassio for that run was Jonas kauffman.
Of all the Otellos ive heard over the past almost 60 years the best was Mario Del Monaco followed by Placido domingo who i thought would ruin his voice by singing it shows how much i know. Next was Dimiter uzunoz. I heard uzunovs first performance of Otello at the met in 1959 with Warren and Milanov. He was great both vocally and dramatically, but obviously as no else seems to have heard of him his career quickly faded. Tenor Johann Botha sang the first performance of this run of Verdis opera at the met and then missed the next three because of a respiratory infection. He returned for the telecast with only the barest hint that he had just recovered from a pulmonary problem. He has a large dark voice thats comfortable with the extraordinary requirements of the doomed general.
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If you dont have one leave it on the shelf. I dont know if theres any significance here, but Bychkov took his curtain call alone. He wasnt led out by the prima donna as is customary. The applause was tepid. Theres no praise i can bring to verdis penultimate opera that would be new. Simply, its one of the landmarks of Western Art. It speaks directly to the heart about some of mankinds basic book states of consciousness love, jealousy, envy, remorse, and not least evil. The demands of the title part are well known. It requires volume, high notes, tremendous emotional and vocal stamina.
It sounded like a radio with the volume turned halfway down. The sound could be heard but not at essays an optimal level. It spontaneously improved just before the start of the third act. I dont know if the problem was local or systemic. A friend on the west coast said there was no sound problem at his theater. But more importantly the conducting of Semyon Bychkov was lifeless, listless, uninvolved, and every other synonym for inadequate you can think. The conducting didnt even reach the provincial level, otherwise the production was very good. Otello needs a great conductor.
messieurs (Presentation of Olympia) Les. Other information Compact disc. Recorded live on February 29, 1996 in McManus Theater at loyola college in Maryland. Publisher's number cdloy005 da camera singers Identifying numbers oclc. The metropolitan Opera presented Verdis opera. Otello for the first time in its hd series. The result was perhaps the biggest disappointment since the hd telecasts started. The fault was twofold. First the sound was poorly audible for the first half of the performance.
Ballad of Baby doe. Includes: Handel, george Frideric. Piangero la sorte mia. O isis und Osiris (Aria and chorus). Oiseaux dans la charmille. Subjects Operas — excerpts Contents Partial contents golf only. La traviata: Libiamo (Brindisi) Otello: dove guardi splendono raggi nabucco: va, pensiero / giuseppe verdi lakme: Dome epais / leo delibes Idomeno: Placido e il mar die zauberflote: o isis und Osiris /.
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Friedheim - biography compact Discs, request txt, related names, contributor: da camera singers. Contributor: mozart, wolfgang Amadeus. Contributor: Handel, george Frideric. Cast: da camera singers: jean Chritcher, susan Pelter, Christine rutt Schmitz, louise taliesin, hyunah yu, sopranos; John Coponegro, michael Westman, tenors; jean e, crichton, camille devynck, laura hewitt, altos; Kirk-evan Billet, didier devynck, william Erwin, Allen goode, timothy taylor, basses; Eileen Cornett, piano; Ernerst liotti. Related titles, includes: Verdi, giuseppe. Libiamo ne lieti calici. Va, pensiero sull' ali dorate. Selections, includes: Delibes, leo. Includes: mozart, wolfgang Amadeus.