Verdi: Otello

Renata Tebaldi (Artist), Mario Del Monaco (Artist), Piero de Palma (Artist), Aldo Protti (Artist), Luisa Ribacchi (Artist), Verdi (Composer), Alberto Erede (Conductor), Rome Accademia Santa Cecilia Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Rome Accademia Santa Cecilia Orchestra
• Conductor: Alberto Erede
• Composer: Verdi
• Audio CD (April 12, 1994)
• Number of Discs: 2
• Label: London / Decca
• ASIN: B00000421W
• Also Available in: MP3 Download
• Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #331,969 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

13 of 14 people found the following review helpful:

4.0 out of 5 stars In Stereo for the First Time, November 12, 2003

By 

T. Beers (Arlington, Virginia United States) - See all my reviews
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This review is from: Verdi: Otello (Audio CD)

It's generally conceded that Tebaldi, del Monaco and Protti are all heard to better advantage in their second recording of Otello, recorded by Decca in Vienna with Herbert von Karajan conducting. And there's no question that von Karajan's direction is in a completely different league than Erede's much more approximate and haphazard effort. That said, there are a couple of reasons lovers of this magnificent opera should buy these discs. First, Tebaldi and del Monaco sound fresher in this circa 1954 performance (not surprising given that they are circa six years younger than they were when recording with Karajan). Whereas the difference may not seem great vis-a-vis del Monaco's typically blustery (but extraordinarily exciting) performance, Tebaldi's superb Desdemona is fresher and more touching under Erede. (Protti is neutral and soul-less in both performances. But then, nobody buys Otello for Protti's merely workmanlike Jago.) Second, although previously released on mono Lps, this CD issue is presented in genuine stereo for the first time. Trust me, Decca/London/Richmond's mono Lps always sounded first-rate, but the Erede Otello sounds even more impressive in stereo: full, warm and with believable directional "space" around singers and orchestra. Rough and raw it may be, but all things considered, this is still a very attractive Otello. And indispensable for fans of the great Renata Tebaldi. So don't give up the later Karajan recording, but buy this as a bargain supplement. Certainly, Tebaldi's Desdemona is absolutely priceless!

5 of 5 people found the following review helpful:

5.0 out of 5 stars Raw, elemental and immediate, July 12, 2006

By 

Ralph Moore "Ralph operaphile" (Bishop's Stortford, UK) - See all my reviews
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This review is from: Verdi: Otello (Audio CD)

I'm never quite sure why this recording doesn't get a look in when critics compare it to the later, 1960, Karajan set with the same principals. Yes, it's rough in parts but that's precisely what gives it the feeling of a live performance; it's all thrills and visceral emotion - and all three main singers are six years younger, hence fresher and more powerful than in the Karajan. The occasional unsteadiness in del Monaco's emission of tone could be said to anticipate Otello's mental breakdown and Tebaldi is sweeter at the top of her voice than she was to become. Protti's no Gobbi -still less a Tibbett - but the basic quality of voice is attractive and he does characterise successfully; he certainly does not let the side down. This recording is in bright 1954 stereo and really delivers. I do not think that the perfect recording of "Otello" exists and some would come no further forward in time than Serafin's account with a restrained, intense Vickers, an insinuating, yet often dry-toned Gobbi, and a wavery but moving Rysanek. I have no time for the Domingo recordings; as much as I admire him in other roles, his is simply not an "Otello" voice. Instead, I would go back to the veteran Toscanini and Busch sets, both with Vinay, in clean, clear, mono sound and both with good Desdemonas and superb Iagos in Valdengo and Warren respectively - actually both have more voice than, and as much artistry as, Gobbi. Or, best of all, according to taste, is the 1991 live Forlane recording with the under-rated Giacomini, whose thrilling baritonal timbre and trumpeting top notes encompass all the demands of this role. He is ably supported by the veteran Manuguerra, still singing amazingly well at 66, and Margaret Price meltingly beautiful as Desdemona. But this Erede set is cheap and strongly sung, too; don't hesitate.

6 of 8 people found the following review helpful:

3.0 out of 5 stars For vocal fans only -- Erede is quite poor, April 7, 2008

By 

Santa Fe Listener (Santa Fe, NM USA) - See all my reviews
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This review is from: Verdi: Otello (Audio CD)

It's been common practice for fans of this 1954 Otello to excuse its two glaring weaknesses: the bland, barely serviceable Iago from Aldo Protti and the lame conducting by Erede. In Protti's case there's nothing to be done. He appears on Decca's remake under Karajan, to even worse effect. But Otello is, among other things, an orchestral masterpiece, and the choice between Erede and Karajan is chalk and cheese. In no way does Erede's flat, funcitonal leadership do justice to Verdi's score, while Karajan, who made a specialty of this opera, offers one of the greatest readings on disc, fully equal to arlos Kleiber and barely short of Toscanini.

As to the lead singers' freshness of voice, one has to agree, but in compensation, Karajan gets more subtlety out of Tebaldi and coaxes Del Monaco to tone down his fire-siren voice. Finally, the recorded sound in the later version is spectacular, while this early stereo set, although good, isn't of the same caliber. In all, I'ld buy the Erede only if you must have Tebaldi or Del Monaco in better voice.