I do understand this, but leaving out the most dramatic moment in the scene, one that sheds a special light on the following "death" verse, is not an artistically valid option. If you listen to Lucia Valentini Terrani's impeccablly stylish version, it runs complete at 9.58, so some people (not Bartoli!) go for rather dragging tempi.
Everything here is beautiful, but I am concerned about what isn't here. I wonder why the significant episode between verse 3 and 4, with its ominous gust of wind (inspiring Verdi) was cut. It weakens the scene considerably to perform all 4 verses ensuite like here. I hope Bartoli recorded the scene without this cut later on.
The scene is too long, so perhaps for allowing more disc space (on CD) for more music, they had to make edits and cuts. Larmore's is complete at over 13 minutes, and DiDonato's is also complete (and perhaps too complete, with the long dragging recitative) overall robbing space for something else in her disc such as something from "Ermione" perhaps.
Does it? I think Desdemona as a role is quite central, 100% mezzo. It is not as low in tessitura as as Elena (La donna del lago) but it's mezzo. Armida on the other hand...it has phrases that stay in lyric soprano tessitura with a number of scales up to high C.
yes there is some high C's even if as you said it's a quite central part .but there is some tense pages for a basic mezzo... we just did it in lausanne 1 month ago..
Do you know if there are any high D's for Otello? I looked through the score rather quickly when I had the chance to look at it. It was an exact copy of the manuscript (laser scan) so it was difficult to read.
Yes there is one high D written for both Otello and Rodrigo in the cadenza of their duet: Ah Vieni nel tuo sangue.... but as it is a cadenza some Otellos dont do it... the rodrigos kind of always do it cause they are naturally a lightest voice... in Lausanne John Osborne added 2 high D's more : on in his first aria and one in the final duet on his last word: infedel!
Von Stade is glorious, and Caballe on her Rarities CD is brilliant also. Correct me if I'm wrong, but isn't this from Bartoli's first Rossini CD? Wasn't she in her early 20's at the time of recording? Either way, this is technically assured and beautifully emotive singing. She truly has the touch for Rossini.
I usually love Bartoli - and she's wonderful in this, but I have to say Flicka has the edge, simply by virtue of the timbre of her voice. Bartoli is brilliant, Stade is more melancholic, and that suits this aria best.
I love Flickas version, too, but I think Cecilia's is even more wonderful. It is unbelievable how she can sing like she does for example in 3:30, she sounds like a bird and the whole aria always drives me to tears...
I do understand this, but leaving out the most dramatic moment in the scene, one that sheds a special light on the following "death" verse, is not an artistically valid option. If you listen to Lucia Valentini Terrani's impeccablly stylish version, it runs complete at 9.58, so some people (not Bartoli!) go for rather dragging tempi.
helgeevju 3 months ago
Everything here is beautiful, but I am concerned about what isn't here. I wonder why the significant episode between verse 3 and 4, with its ominous gust of wind (inspiring Verdi) was cut. It weakens the scene considerably to perform all 4 verses ensuite like here. I hope Bartoli recorded the scene without this cut later on.
helgeevju 3 months ago
@helgeevju
The scene is too long, so perhaps for allowing more disc space (on CD) for more music, they had to make edits and cuts. Larmore's is complete at over 13 minutes, and DiDonato's is also complete (and perhaps too complete, with the long dragging recitative) overall robbing space for something else in her disc such as something from "Ermione" perhaps.
primohomme 3 months ago
Thanks for sharing this with us! :)
norisv 1 year ago
Great voice!
Gioachino82 1 year ago
Actually the role of Desdemona has high C's in one ensemble....
sonqualnave 1 year ago
@sonqualnave
Does it? I think Desdemona as a role is quite central, 100% mezzo. It is not as low in tessitura as as Elena (La donna del lago) but it's mezzo. Armida on the other hand...it has phrases that stay in lyric soprano tessitura with a number of scales up to high C.
primohomme 1 year ago
Comment removed
sonqualnave 1 year ago
This has been flagged as spam show
yes there is some high C's even if as you said it's a quite central part .but there is some tense pages for a basic mezzo... we just did it in lausanne 1 month ago..
sonqualnave 1 year ago
@sonqualnave
Do you know if there are any high D's for Otello? I looked through the score rather quickly when I had the chance to look at it. It was an exact copy of the manuscript (laser scan) so it was difficult to read.
primohomme 1 year ago
Yes there is one high D written for both Otello and Rodrigo in the cadenza of their duet: Ah Vieni nel tuo sangue.... but as it is a cadenza some Otellos dont do it... the rodrigos kind of always do it cause they are naturally a lightest voice... in Lausanne John Osborne added 2 high D's more : on in his first aria and one in the final duet on his last word: infedel!
sonqualnave 1 year ago
@primohomme Ds!!!!!!!!!!!!!!!!! How can you talk about music if you cannot even differentiate between a plural and a genitive?
DrLohengrin 1 year ago
@DrLohengrin
How can you talk about music if you think Mariella Devia can sing? LOL
Go listen to your drag queens, bye bye
primohomme 1 year ago
Von Stade is glorious, and Caballe on her Rarities CD is brilliant also. Correct me if I'm wrong, but isn't this from Bartoli's first Rossini CD? Wasn't she in her early 20's at the time of recording? Either way, this is technically assured and beautifully emotive singing. She truly has the touch for Rossini.
dolcefico 2 years ago
I usually love Bartoli - and she's wonderful in this, but I have to say Flicka has the edge, simply by virtue of the timbre of her voice. Bartoli is brilliant, Stade is more melancholic, and that suits this aria best.
But I still love Ceci
Hearnoevil8 2 years ago 2
This is indeed a lovely scene/aria. I can hardly decide whether I prefer it or von Stade's version. Both have a wonderful feel for this music.
nclysander 2 years ago
I love Flickas version, too, but I think Cecilia's is even more wonderful. It is unbelievable how she can sing like she does for example in 3:30, she sounds like a bird and the whole aria always drives me to tears...
isimice 2 years ago
It's 3:29, as I see now...
isimice 2 years ago