Customer Reviews

Verdi: Otello

5 star:		(18)
4 star:		(8)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

We are fortunate to have a number of excellent recordings of this magnificent opera. There is the earlier version with Domingo and Milnes, the outstanding performance of Vickers and Gobbi, with Serafin conducting, and of course the pioneering version of Toscanini with Vinay and Valdengo. Each one has things to recommend it.

I have been fortunate to have seen Domingo perform Otello on three occasions. Each time his depth and understanding of the role has grown. While his voice has darkened over the years, the subtlety of his interpretation has increased as well. He no longer looks or sounds like the dashing young military hero Otello was, but what musical taste and quality he brings to the role! He is truly the most musical of our group of modern tenors. We in Los Angeles are fortunate to have him assuming the post of Artistic Director of the LA Opera in the 2000-2001 season.

As to the recording at hand, Otello doesn't work if the role of Jago (Iago) isn't convincing. This was the particular strength of the Vickers and Gobbi version. Here Sergei Leiferkus excels. His Jago works. You can understand and believe how he exerts his influence over Otello. The rest of the cast is also convincing. For example, in the first act drinking scene, Ramon Vargas and Michael Schade keep the pulse and tension going, as they play right into Jago's hands. While Cheryl Studer is not quite the Desdemona of, say, Leonie Rysanek, she holds up her role well.

Also remarkable is the conducting of Myung-Whun Chung. After hearing this recording it is even more puzzling why the Opera Bastille let him go. He brings a beautiful sound out of the orchestra, and maintains the line of the music throughout the performance.

Which one to buy? You can't go wrong with any of them. Toscanini had an understanding of the late Verdi operas that I believe is unmatched. Tito Gobbi and Jon Vickers are a very convincing pair. Both Domingo versions are wonderful, and it is with good reason that Otello has become his signature role. For the combination of great singing, a strong cast, and the most modern sound, this version is also outstanding. Perhaps over time you will eventually buy all four. I have.

Despite some heavy competition, this is definitely a candidate for the best recording ever made of Verdi's penultimate opera. Nothing really needs to be said about the opera's merits; everyone recognizes its greatness, and I personally think it's the best opera to come from Verdi's pen--barely. I don't understand why it's not as well loved as La Traviata, Il Trovatore, and others--maybe it's just not as well known, since the tenor role is famously taxing.

Placido Domingo, however, is no ordinary tenor and the role seems to pose no challenges to him. From the opening cry "Esultate!" to the incredibly moving final monologue, he is utterly convincing, somehow managing, as in all his performances, to be both forceful and incredibly beautiful of tone. This may be the role in which his singing, and acting, are displayed to their absolute greatest advantage--it is worthwhile seeing him perform Otello on video. He is a more than worthy hero (listen to his entrance), a suavely convincing lover ("Gia nella notte densa"), a frightening avenger (try the end of act II, "Si pel ciel marmoreo giuro"), and, by the end, a ruined man, but one who has achieved self knowledge ("Niun me tema"). Don't miss this performance; it's probably Domingo's best, though I want to hear his seventies live recording with Kleiber (!) conducting.

Though Domingo dominates this recording vocally (as the Otello should), he is very well supported by the rest of the cast. Cheryl Studer makes a youthful and pure-toned Desdemona, with excellent high notes. Not much can be done with Desdemona's passive character, perhaps, but her music is gorgeous and Studer sings it with beauty and perception. I find her one of the most consistently excellent of modern sopranos, and cannot understand the flak she so often takes from reviewers.

Sergei Leiferkus, with his oddly light and very Russian baritone, is always going to be a controversial Iago. Perhaps my view of his performance is overly informed by having seen him in the famous Solti video of this work, in which he acts the pants off of almost any opera star you could name, but I find his Iago to be marvelous and refreshingly "different". If you're looking for baritonal "beauty", a la Jose van Dam or Eberhard Waechter, you probably won't like Leiferkus' timbre, but his open-throated sound is highly dramatic and convincingly villainous, which strange as this may sound reminds me of a Slavic Tito Gobbi (though with less fullness in the lower register). What's more, he's as good a vocal actor as a physical one, and this reading is impressively intelligent, totally under the character's skin. And don't get me wrong, hs voice is not ugly: it just doesn't provide that honeyed warmth you get from some baritones.

The supporting cast is uniformly excellent, with bass Ildebrando D'Arcangelo taking the part of ambassador Lodovico, the up-and-coming Mexican tenor Ramon Vargas as Cassio, and Denyce Graves sounding distinctive in her small role as Iago's wife Emilia. There are simply no weak links.

But the main thing you're going to notice apart from the three leads is the orchestral playing and conducting. The Orchestre de l'Opera Bastille is a world-class ensemble which responds well to Myung-Whun-Chung's powerhouse direction. "Powerhouse" may actually give the wrong impression--there's nothing bombastic here. Chung maintains dramatic tension by brisk tempi, emphatic accents (though he never breaks up the flow), and perfectly paced buildup to the explosive climaxes. But he somehow does all this without damaging the musical phrases, becoming exhausting, or creating noise for noise's sake. This ought to be played in conducting classes to demonstrate how to maintain the drama in opera.

In a word, this is a sensational performance, with the excitment of a live set but the polish of studio work, and a major event in recorded classical music. It belongs on the shelf of every opera lover--and the shelf of non-opera lovers too, because despite this work's general lack of "hit" arias, it is crammed with memorable tunes and the Shakespearean libretto is free of most of the dramatic goofiness we so often have to put up with in opera--and so could very well convert you to the genre. Not just a performance, but an experience. Don't miss it.

What an "Otello"!! This is Placido's signature role, and I suspect there was never a better voice and personality to suit this taxing part. The character development is so finely presented, it is hauntingly real. He has further improved the marvelous dark coloration of his voice, making it what must've been the composer's dream for Otello, from powerful "Esultate!" to mournful "Niun mi tema". On "Dio, mi potevi scagliar" we see these dark notes at their best. Studer's rendition of Desdemona's tragedy is one of the best I ever heard. Her breath control here is excellent and she conveys the feeling of fate nicely all throughout the opera. Her love duet with Domingo glows. Leifercus's light ringing baritone makes his character seem only more pernicious, and allows for interesting vocal effects: at certain points Iago sounds frightfully close to Otello himself and thus really becomes a voice of Otello's inner suspicions. Maestro Chung provides an ideal background for the characters' emotions: the music of love is enchanting and the moments of storm are ravishing. To make this recording better still, we hear very impressive Cassio (Ramon Vargas) and Lodovico (Ildebrando d'Arcangelo). Placido's prior recordings, particularly with Milnes as Iago, were great too, but this one has it all: great singing, fabulous recording quality and even beautiful packaging. Don't miss!

This 90's Deutsche Grammophone recording of Otello is Placido Domingo's third studio recording but is not by any means his best. Although he sings with great passion and power, he has sung better Otellos. Look to his Otello with Mirella Freni ( a rare one and his first) RCA Otello with Renata Scotto and Sherill Milnes and the Zefferelli film (and soundtrack) with Katia Ricciarelli and Justino Diaz. Compared to those Otellos, he is totally underpowered in this one. He lacks the supercharged singing technique, squillo and radiant quality he once had. However, Domingo is the best part of this recording, even if I've heard better Otellos from him.

Cheryl Studer sings a beautiful and very vulnerable Desdemona. She sings beautifully opposite Domingo in the Act 1 Duet and she is flexible so that in the final scene she colors her voice to effectively sound distressed and frightened. However, even with a fine voice like Studer, it's certainly no match next to Katia Ricciarelli, who, for me, remains the definative Desdemona. Also, Mirella Freni and before her Renata Tebaldi have excelled in the role. Studer is only a lesser light, but it is still beautiful.

Shame on whoever cast Sergei Leiferkus as Iago. This is the worst Iago on record. There is no real power in his voice, not enough "bite" and slimy villainousness. Compared to Justino Diaz' Iago or even Tito Gobbi, this is a supremely weak Iago. He ruined this recording. Again, please check out other Otellos, like the following:

Mario Del Monaco, Renata Tebaldi on Decca/London

Jon Vickers and Mirella Freni

Placido Domingo, Renata Scotto, Sherill Milnes/Levine

Placido Domingo, Katia Ricciarelli, Justino Diaz/Maazel

It is great to report that Domingo' s latest Otello is a triumph. Perhaps a moment here and there lack the squillo of old, but his musicianship and understanding are never in doubt. Leiferkus is an odd choice for Iago but works well. Cheryl Studer is her usual anonymous self, but doesn' t disgrace the set as she did in La Traviata. (I wonder if DG has ever heard of Julia Varady, one of the greatest sopranos of our time). A very special mention must go to the young and exciting conductor Myung Whun-Chung, his reading of Otello is all of a piece, dramatic, theatrical and gloriously beautiful. In our sad Age when great Verdi recordings are rare, this is a triumph.

I already own Domingo's EMI version of Otello under Maazel (an arbitrarily abridged version done for a Franco Zefferelli movie), his early RCA version under Levine, and two semi-pirate live performances under Kleiber with La Scalla forces. All four are better than this late recording for DG, in which Domingo sounds worn and tired. Leiferkus was a bad piece of casting for Iago--he has a very lean Slavic baritone and no sense of Verdi style. Even Studer sounds rather impersonal and a bit too large vocally--can a Salome really do justice to Desdemona? The sonics are shrill on top as well, without bloom or orchestral richness.

All in all, an unnecessary replication of one of Domingo's signature roles.

This is Domingo's third attempt on the difficult part of Otello. It is not his best accomplishment. He is a good Otello, very good indeed. Certainly the best Otello in newer time, far better than Pavarotti ever have been. Not since the Canadian tenor Jon Vickers was at he's best, have we heard a more convincing Otello. Domingo is not as raw an Otello as Vickers, but he could very well be the first choice in many ways. As mentioned he has recorded the part three times. First in 1978 with Levine as conductor, second time with Maazel in 1985. Chungs Otello is recorded in 1993. I prefer Domingo in Levine's recording. But Domingo does not differ so much as one could expect with a 15-year gap between the first and the third recording. Anyway he is a good Otello and he doesn't try to sound like any previous Otello. This, DG's first Otello, could have been so much more than it became. First of all, Chung doesn't possess the ability to make a convincing score of Verdi's masterpiece. He is many times to fast, and skates over the subtle details in Verdi's orchestration. Why not have used Giuseppe Sinopoli as conductor? Second Chung has the smallish light voiced Leiferkus as Iago. He lower register is thin and hasn't got the `evil' voice an Iago must have. What a pity. He has never had and will never possess the aura and finesse of Gobbi (Serafin/60) and Glossop (Karajan/73). Cheryl Studer as Desdemona is a good choice, and she does achieve quite a bit but if one want to hear the part of Desdemona as I think Verdi had in mind, listen to Mirella Freni's Desdemona. That is pure innocence. Once again Karajan proves that he was a master in picking the right voices in he's recordings. If you want the best Otello bye Karajan's 1973 recording on EMI. If you want Domingo in the part of Otello bye Levine 1978 recording on RCA. Chung simply doesn't have it. It's not all bad; there are just so many other good recordings to choose from. NOT recommendable!

Which Otello to get ? There are many outstanding Otellos on recording and captured on film- Mario Del Monaco (still considered the definative Otello and is found on recording and in a 1950's black and white film) Jon Vickers (who appears in the Karajan film opposite Mirella Freni) and Luciano Pavoratti also sang the role. But Placido Domingo discovered the best in himself in the role, which fits him like a glove. Way back in the 70's, and to many at a time when he was a seasoned tenor having such all the traditional Italian Vedi/Puccini rolse, he took on this challenging role. For Domingo, the role would most effectively push him to color his voice. Otello is not just a roaring lion, a jealous and savage man, though he can be that, too. He is very very human and frail, almost simple and uncomplicated in his black-and-white view of the world. He is a product of nature, and the arias and recitatives that do not call for him to shout and rage find him in deep meditation, torment and pathetic moaning. Domingo is surprisingly both a Wagnerian heldentenor, heroic tenor and a lyric tenor with a softer voice. He can darken his voice in all the right moments. This Otello finds him in great voice, having already sung the role numerous times. Passionate, dramatic, Shakespearean, he makes opera a thrilling sensational night of theater. From his opening Esultate to the Oath Duet, to his Love Duet to his condemnation of Desdemona to the final scene of his death, he is a one man opera, as if he didnt even need all the other cast to support him.

But thank God he does. Cheryl Struder is a great Desdemona, with a big but lyric voice, able to produce beautiful but dramatic sounds. Maria Callas never sang Desdemona, and that was because Desdemona is not necessarily a diva role, or even a dramatic one. It is purely a lyric voice. Therefore, voices like Renee Fleming, Beverly Sills (had she performed the role but she never did) Anna Moffo, Mirella Freni, Kiri Te Kenawa and Katia Ricciarelli make the role of the distressed heroine a miracle. She is an innocent woman, and her voice cries innocence and submission. Because Otello is blinded by jealousy and rage, he victimizes her, though he himself is a victim of Iago's plot. The fines Iagos for me are Samuel Ramey, Sherill Milnes, Tito Gobbi and Justino Diaz. The role ranks up there with opera's darkest villains such as Baron Scarpia in Puccini's Tosca. Leiferkus is not that great an Iago. The strongest in this recording are without a doubt Domingo and Struder, who also worked together in Lucia Di Lammermoor. Now question about it. This is the best recording of the many Domingo has, but if you want to be riveted by a great performance, check out the movie version of Franco Zefferelli (with Katia Ricciarelli and Justino Diaz) or the album with Sherill Milnes and Renata Scotto.

Whoever said that the golden age of conducting is over. There are people who are always mourning about the golden age of this and the golden age of that. I say that every generation has its own talent. It's just that we always overlook our own generation because "a prophet is not honored in his own country" principle. We always overlook our own talent. Look at Renee - she's a superstar today. But few people know that she was rejected over and over again during auditions in her early days.

This Otello is stunning - the biggest credit goes to 3 persons - Domingo (who is legendary as Otello), Leifarkus (who has worked so many times with Domingo in Otello on stage) and last but not least - Chung himself!! I couldn't believe my ears when I heard him conducting the Paris opera. His conducting is simply stunning - just like his Samson Et Dalila (also with Domingo). There are so many details I've never heard before. And it's not just details - he conducts it with consummate expertise so that while in other recordings the music drags, here it skips along. Studer is excellent.

Strongly recommended

This is the third and arguably the best of Domingo's studio recordings of Otello. He has performed the role on stage so many times that he has learnt it very well both dramatically and artistically. Many believe that his darker more baritonal voice is better suited to the title role, while many others have the exact opposite opinion. I belong to the first group. He has a darker voice and at the same moment he manages to hit some exciting high notes and proves his worthisness all along. He is the best modern Otello since Vickers and this is undeniable.
Secondly, we have Cheryl Studer as Desdemona. Maybe she is not a Tebaldi or a Rysanek but she manages to do a quite nice job and she is adequate. I like her voice very much and, though her techique isn't faultless, she gives a very nice performance of the role, better than many modern Desdemonas. (I believe it is a pity Domingo didn't record the role with Dame Kiri. She is perfect for the role in the video from Covent Garden with both of them).
Finally, we have Leiferkus. There has been a debate whether his voice and he himself are suitable for the role or not. His voice is quite light and pecculiar but I must say quite sinister. This last characteristic fits the role of Jago like a glove! Leiferkus manages to give a very sinister performance and really shows us how bad Jago is. Maybe he doesn't give an exciting performance in the league of Gobbi or Valdengo but he is very good indeed (but you must get used to his voice first to admire his performance).
Chung's conducting isn't something spectacular but his tempi are quite right and he gets in the heart of the opera.
All in all, this is a wonderful recording of Verdi's masgterpiece, with Domingo in his signature-role. I believe it is worth its money.