Customer Reviews

Verdi - Otello / Maazel, Domingo, Ricciarelli [VHS]

5 star:		(7)
4 star:		(7)
3 star:		(3)
2 star:		(2)
1 star:		(5)

 

 

Well, to start, I am huge fan of Otello, Domingo and Zeffirelli. But somehow I was disappointed (sometimes a lot!) with this movie.

Before I bought the DVD I had read some reviews, and most reviewers were chocked by the cuts in the score and I always thought: big deal. But when I watched it I understood: THERE IS ABOUT 25 min OF CUTS!!! Most of Otellos (Levine's, Karajan's, Toscanini's) are about 2h15. This one is 1h55 with over 10 min of music and ballet that Verdi never wrote (You do the math, and remember that Maazel's tempi are much slower than Toscanini's). Also, not only are these cuts of arias or ensembles, but even worse: Phrases are just cut off here and there throughout the Opera. The 1000 words allowed for the review won't be enough to enumerate them. Why??? A reviewer argued that it's to enhance the drama!! Come on, are you going to convince me that the finale of Act II (Si, pel Ciel) needs enhancement. Even this part is cut, and worse it's "Cut IN HALF AND I MEAN IN HALF" as another reviewer pointed.

So what does go right?
Well the scenary is amazing and I mean amazing. But what about the performance (this is Opera after all). Well again much can be said. Domingo once said that his performance was very much influenced by Zeffirelli. He wanted him to go into some deep barytonal voice (à la Ramon Vinay of you will), and the performance suffers.
Maazel conducting is far from being ideal. Should he be blamed? Well yes, like most of the singers who agreed to represent Zeffirelli's Otello and not Verdi's.

Finally, one of the reviewer said that Zeffirelli tried to "adapt" the opera and those who dislike is are not open-minded. Oh Please! When you buy Verdi's Otello, you are expecting to hear some of the most beautiful music ever written adapted to one of the most successfull libretto and won't expect the director to cut off about 25 min of the score.

It is normal to be disappointed. With a cast like this one and a director like Zeffirelli (his Traviata, Cav. Rusticana, and Traviata are awesome) we could have had the most successful opera movie Ever....

Finally, I need to point out that one who doesn't know Otello "as is" could be thrilled with this version. It is after all a real beautiful movie.

If Franco Zeffirelli hadn't tampered with the music and made a couple of awful directorial decisions,this could have been a legendary film of a great opera. The singing and the voices themselves are breathtaking,and the acting is also quite good. The print I saw,however (on cable) has a curious flaw---the voices and orchestra (the famed LaScala Orchestra) are all an octave (or maybe a semi-octave) lower than they should be, and this is NOT true of the film's soundtrack album. But at least the film corrects the album's greatest flaw,of making the orchestra practically blast you out of your seat while the voices sound like they're in some kind of tunnel or drainpipe. The disastrous decisions include cutting important small bits of the opera,inserting the ballet music of the French stage production into the opening celebration, where it does NOT belong,and the most hideous mutilation of all, cutting the awesomely heartrending and beautiful "Salce" (The Willow Song), Desdemona's most important solo aria,from the film. (It can be heard on the soundtrack album--Zeffirelli cheats us by having his singers and orchestra pre-record the ENTIRE opera, so that it can be released complete on a soundtrack album, then cutting chunks of the opera only in the actual film.)

This isn't the only crime Zeffirelli commits against this most beautiful of Verdi operas. He leaves in or inserts sound effects and unnecessary flashbacks right into the middle of his arias,so that while Domingo and Ricciarelli sing their love duet,we see and hear,in a flashback to Otello's childhood,marauding soldiers on galloping horses snatching Otello from his mother while she screams hysterically.(This over the beautiful music and singing!)

On the plus side, Domingo, Ricciarelli and Diaz are memorable, and the photography,sets,and location filming are beautiful.

Yes, this is not a true stage production (is there ever a "true" production? Operas are edited/transposed/cut for the stage all the time). This is a movie. It is intended for a broader audience, and makes the most of different strengths and weaknesses of a different medium. I'm always amused by those who are outraged by the "changes" made to the story. Please! Some of the best parts of Shakespeare's "Othello" (including its entire first act)were left out of Verdi's libretto. And Shakespeare's Iago never delivers a speech anything like the famous "Credo." So for me, cries of "tampering" fall pretty flat. Verdi knew (as does Zeffirelli) that you have to *adapt* the story to the new medium. The important question is: is this adaptation a good movie? Yes. The acting, the visuals, the pacing makes the story and the characters come alive. And like his work in "Romeo and Juliet," Zeffirelli makes the Renaissance almost painfully beautiful to see. I imagine there are many who will respond more favorably to this treatment than a traditional staging. This really is a work of art, and movie buffs shouldn't hesitate. There are several taped stage productions, and if that's more to your taste, check out the Domingo/Solti DVD.

As one who directs opera for a living, I am dismayed by some of the comments by other reviews here. They sound like they were written by college students trying to impress themselves with their new-found intelligence. They could never dream of making a film on this scale. I was greatly moved when I first saw this film. Yes, the willow song is missing. Why? Because it doesn't (as beautiful as it is) further the dramatic story. Would I cut it from the staged version? No. But, what people many involved in the field often forget is that opera was always intended as a synthesis of the dramatic and musical arts. It is NOT just about the music. A good director tells a story. In addition, telling a story in film is not the same as telling a story on the stage. When people see this film (and I have shown it to many) they love it! They even weep at the end. Of course these are people who have no preconceived notions or generally have not seen the staged version. It does its job. It is absolutely beautiful, powerful, breathtaking and dramatic. Iago getting harpooned was a stroke of genius. We all wanted it. Composers write the music and do not pretend to write the staging. So what--if it wasn't written in the score as a dramatic notation. The film did not draw attention to the director but had the opposite effect--it drew us into a different world and made me personally forget that I was watching a film. That is the mark of a good director. Were their flaws? Sure. But all artists are flawed. Get over it. This is a monumental work. From a dramtic standpoint, I prefer it to most staged productions. If you want something from a musical standpoint, get the CD. Those who hate the fact that opera is a synthesis, should stay out of the opera house. The art form has been ruined by these kinds of people (especially at the Met) where fat singers dying of consumption "park and bark" their way through a piece intended to be dramatic--where two singers will stand on opposite sides of the stage and sing undying love to one another without any connection at all. Bravo to directors who are not afraid to take risks and actully tell a believable story.

I disagree that this is a poor version - it's just different from the score and most staged productions. The cut of the "Willow Song" was bad judgment, perhaps, but I found the flashbacks regarding his childhood and the ballet interesting and well done. Zeffirelli always has the courage to be innovative and tries to bring some new vision to his productions. I have all the filmed versions that are available and have this one on VHS and LD, therefore, have shared it with many friends and those new to opera. Everyone just loved it without having a staged production to compare it to. The staged production from Covent Garden, Solti and Te Kanawa is wonderful and highly recommended (5+ stars). However, I liked the excellent performances in this movie, the settings and photograpy if not Domingo's makeup and teeth, which I can live with. Katia, Placido and Justino were a great cast and did a very good job of acting and singing. I feel it is a credible MOVIE version of this, which required dubbing. It is one of my all time FAVORITE operas, (I've seen Placido perform live 25 times between LA and NY with various other cast members). The best version is one from The Met with Placido, Fleming and Morris but not available commercially. Write to The Met and request they release it for production on DVD - then the best would be available. Placido wasn't totally pleased with this film either and it was shot at a sad time in his life as well, having just lost his beloved father. I recommend this as a really good buy if you like opera movie videos. It sure beats anything Hollywood has churned out in the last 10 years! Thanks to Amazon for making all these opera videos available! We Opera Buffs can never get enough of the sport and need videos to keep us going in between live performances! They are a great way to initiate others into a wonderful world for which they get little or no exposure in today's public "educational" system and crass mass media/ entertainment void.

Here's the bottom line: Zefferelli made the lengthy Verdi opera into a 2 hour mainstream movie. It will always be more a movie than a traditional opera. A stage version can run up to 3 hours and in the case of Wagner's Gotterdammerung 6 hrs. A movie is limited in time. Zefferelli' intentions are noble. He wishes to get audiences turned on to opera, through the seductive medium of visual cinematography and powerful Oscar-worthy drama. The omissions in this film do not minimize the plot and the spirit of the work is never sacrificed. Even Shakespeare himself would be proud of this version. Think of it as a highlights of Verdi's opera, too. Do we really need Desdemona's pretty little "Willow Song" ? Its omission does not take away from the power of the drama. And so what if there is new additional dance music. It's appropriate for the feast scenes. And the Overture during the closing credits is nothing to fear. From the opening scene of the sea storm, to the doubts of seeds planted by interludes between Cassio and Desdemona, to the lower levels of the castle where Iago plots and rages against God, to the sumptuous feasts, to the grim finale, this is the best Otello ever made.

Placido Domingo was the successor of Mario Del Monaco who in the 50's made the role his own. Domingo may not have the glass-shattering, roofshaking power of a Del Monaco or Pavoratti, but he doesn't need it. His integrity as a performer and his rich, flexible voice makes him the best Otello to ever grace the stage. He performed the role numerous times, and there are plenty of recording albums. He has nailed the role of Otello more than any other tenor before or after him. He is a majestic Moor, a roaring lion of jealousy and fierce passions, while being a romantic, tragic hero straight out of Shakespeare. Lawrence Olivier once said he performed Othello better than he did "And he can sing too!" he was heard to remark. For me, the best Otello would have to be a black tenor, not in big supply in the opera world. To portray the Moor, most white/European tenors have had to wear heavy body make up to look black.

Katia Ricciarelli and Justino Diaz sing the roles of Desdemona and Iago. Urbano Barberini sings Cassio. The relationship between Desdemona and Cassio is designed to look sexual, so as to make us believe that perhaps there is some truth to Iago's story. Cassio does have feelings for Desdemona, having even lost interest in a current girlfriend, even having sexual dreams about Desdemona. But while Desdemona and Cassio never engaged in sex, Iago used the fact that the feelings were probably in there, even if repressed, to provoke the jealousy of Otello and to ruin him for good. Ricciarelli as the tragic Desdemona is radiant, with a dramatic, high, lyric and sweet but powerful voice. She plays the wronged heroine so well that we feel her desperation, her frustrations, her sufferings so keenly, emitting from voice to physical gestures to our own hearts. Justino Diaz may be the weakest in the cast, but not in his vocal abilities. As a bass/baritone he is pure gold. But he is not acting as great as Domingo and Ricciarelli. But he has his moments, especially in his blasphemous "Credo" scene, in which he mocks God and praises the evil in man in front of the Cross. His Oath Duet with Domingo is also thrilling. His laughter, so demonic and grandiose, further enhances his villain character development. But I do wish Samuel Ramey, who is more of an actor than Diaz (purely a singer) had been cast in the role in this movie. Certainly Ramey was at his height in the 80's. But we can't have perfection. Watch this movie...the classic tale, an opera about passions, jealousy and murder.

As soon as I started playing the DVD I knew that something was terribly wrong. A quick comparison with my CD set of the soundtrack, and other recordings of 'Otello', confirmed my fear: the film has been transferred at a slower frame rate than was originally intended, and thus everything sounds lower than the correct pitch.

MGM DVD gets zero stars for an unforgivable error.

This is one of the most disappointing opera (film) I have ever seen. Not because it was particularly bad. I still rate it highly. But because of several senseless blunders. Otherwise, it could have achieved legendary status.

Mr. Zeffirelli makes a mysterious decision to insert a ballet music in first act only to cut off the Desdemona's beautiful willow song later in act 4. Even worse, he cut off another famous duet "Si, pel ciel marmoreo giuro" (Otello-Iago, end of act 2) in the middle. I mean in the MIDDLE! I, too, believe Otello-Desdemona duet in the end of act 1 without sound effects, but I can live with it. To me, it is just a joke to claim one can stand cracks and hissings of old recordings and dislikes movie sound effects.

Singings and actings were generally good. Domingo's Otello was superb, Ricciarelli's Desdemona was good. Was beautiful, too, physically, in addition to vocally. Diaz has neither Gobbi's evil darkness (with Vickers- Rysanek-Seraffin, RCA) nor Leiferkus' disgusting lightness (with Domingo-Studer-Chung, DG). I didn't like his Iago very much. However, the visual effect for his "Credo in un Dio" was spectacular. When pondering about death and afterlife, Zeffirelli shoots sky looked through a well and then a bottomless pit at the other side, as he sings "E poi? E poi?" before he bursts out "La Morte e il Nulla". I'll give my thumb up only for this one scene. Overall, this film is a mixture of such ingenuity and insensitivity.

Domingo's Otello would justify seeing even if Britney Spears and Groucho Marx took Desdemona and Iago. He's at his peak here, and his thrilling, passionate, and tremendously powerful voice is astounding. Ricciarelli is no less impressive as Desdemona, whose silvery tone makes on think of Kiri te Kanawa. Justino Diaz as Iago . . . well, the voice isn't quite Milnes or Gobbi, but his acting was impressive and his voice was acceptable. Zeffirelli's directing was great, but the cuts are UNacceptable. "Fuoco di gioia," most of Act 3's finale, the opening of Act 2 ("Non ti crucciar")and, most shockingly, the Willow Song!!!!!!! Great film and cast, but hear an uncut one first.

Zeffirelli`s version of Otello is first of all a splendid orgy of beautiful pictures. Sadly, it cuts a lot of Verdi`s gorgeous music (e.g. Desdemona`s Willow song)while the rest is admittedly very well made. If you want to indulge in oriental atmosphere then this video is an excellent choice. But if you want to enjoy Verdi in the first place at least listen to the full-version soundtrack afterwards.