Vickers and Domingo tied for interpretation, Del Monaco for power and Lauri-Volpi for musicality and diction. I also love Vinay's(not here I know) Otello for the quality of the phrasing. Pavarotti's rendition is a worthy attempt but to me that's all it is, I like him very much but when I think of Otello I don't think of Pavarotti. Overall, while Domingo is my personal favourite Otello, I give 1st place to Del Monaco.
All of these are grand in their own way. The only "pea shooter" (in my opinion) is Pavarotti, who shouldn't have even looked at this piece. The color and weight of voice (in spite of the girth) is wrong. But even he makes his points. One who really sang the dickens out of this was James McCracken, but his voice was definitely an acquired taste.
In fact Domingo's voice is amazing,thrilling,powerfull but the main reason make him the worse Otello than Mario del Monaco is the breathtaking control ! He couldn't hold any note above the high B for over 3s ! That make him an idiot when he sings Otello ! And MDM is the KING ! Anh Maestro Corelli is the Prince for sure
I think there are all uniquely wonderful. They are also very different voices and the Esultate is for one one voice type and that is full Dramatic/Helden voice even thought they all sound great.
@peacocktravels if you consider that vickers high notes are poor check out this video of him with Merrill singing cio m'accora from otello watch?v=waZxEHOtaC0.
he sings and excellent high b, and i have like 3 other live recordings of him as otello and he sings perfect all high b
It was Pavarotti`s dream to sing Othello. He knew it is not for his voice to sing it at the stage, so he did the recording at least; and really good one.
@Nicrhind In fact, Rudolf Bing offered Corelli the role for the 1972 premiere of the Franco Zeffirelli hew production of the opera. Corelli thought long and hard, studied and re-studied the opera - and turned Mr. Bing down. I like Corelli, and his performance of the Act I duet with Teresa Zylis Gara (Karl Bohm conducting) from the Bing Gala is very, very good, but I don't think that he had the right kind of voice for the eruptive outbursts of Otello (not for more than a few performances).
Yeah, but he never had the delicacy that you probably have. And I bet he wished he could tackle some of the lighter Verdi rep. that his voice simply didn't have the flexibility for. I agree, he was a lion in 'Otello' but don't knock being a lyric tenor; we have our moments of glory too.
del Monaco 10 e lode, senza discussione Lauri Volpi 9, un po' troppo aulico vickers 7, bravo ma che vociaccia domingo 8, il più umano Pavarotti 6,5 (per la sua splendida carriera) però mancano all'appello: Francesco Tamagno (il primo) Lèon Escalais Giovanni Martinelli Francesco Merli Josè Luccioni Carlo Cossutta (più che onorevole)
I think number one should be John Vickers. He is the strongest dramatic tenor I've ever heard. And Pavarotti shouldn't even be on this list. His voice was never heavy enough for this role.
Hurt you? Lol why? This is one of his best roles, your preference is legitimate, even if i do not share your opinion.
For me it will be Mario del Monaco all the way (naturally ;p) even though I have to say Vickers gives me goosebumps as well.
I just don't understand what is Pavarotti doing in this video... this is unfair, Otello is just not for his kind of voice (lol me defending Pav, can you believe it? xD)...
No, it's a high B in the score, in an 'acciaccatura' to the top A, exactly like Lauri-Volpi sings. His fidelity to the score is notable, by the way. So is the flawless work in-between the registers, and that's why he's my top choice. Vickers second, Del Monaco third and Domingo completes the list of the four Otellos presented.
Many people criticize Domingo's voice compared to other beasts like Pavarotti, Corelli or Del Monaco. However, he is such a great musician that I feel his singing is very compelling.
Yes, camtep, Ramon Vinay was legendary Otello and its pity he isnt in this list.Yes, Toscanini said he was best Otello, however Toscanini didnt make it to see Del Monaco as Otello cause at the time of Del Monacos debut as Otello Toscanini was already 83 and retired or de facto retired, and by the time MDM reached the peak of his career Toscanini was already dead. Ramon Vinay was a true opera genius, no doubt, but dont quote Toscanini, he wasnt there to see&hear Del Monaco.
Hands down Domingo is the king of this excerpt. He had the right metal and bronze color in his voice to prove he owns the role of Otello. MDM is a close second. Pav unfortunately is out of his element here as his voice never really darkened enough to have that baritonal timbre necessary for the role.
Del Monaco e Lauri Volpi insuperabili, Domingo buono, Pavarotti penoso : ma perchè ha osato, non aveva la cognizione dei propri limiti? Era insuperabile per la Boheme, L' Elisir D'amore ,Lucia e simili.
I can't decide between Monaco, Vickers, and Domingo. They all had that lovely metal in their voices, and Monaco and Vickers could control theirs so well--what the earlier commenters said about "vocal shading", but not confined to volume.
The thing that always amazes me about Pav is that he can sing anything reasonably well. He might not be the best at everything, but he is the rare tenor who can do anything. He also records well, and most Otello's (MDM) seem not to.
Pavarotti is my favorite singer of all time, but this role just doesn't suit his voice. I'm glad to know he never did it on stage though...at least I think/hope he didn't >_>
Hands down, it is Mario Del Monaco -- The others (especially Pavorotti) only sing notes --- they have no feeling in their voices. Mario was the COMPLETE opera star --- and always will be to me!!!
Del Monaco was renowned for his Otello. His powerful dramatic voice, the sort of an epic tenor (Heldentenor), was the most suitable for this difficult role. However, I have heard better recordings of him than this one.
As I said before, if I wanted to learn something from someone I'd chose that someone who can do it well instead of that someone who knows it well. One can know the rules of chess extremely well. But that doesn't necessarily make him a chess master, now does it?
Mario Del Monaco is The soupreme Ottelo ever and forever! Lauri Volpi sings amazingly. Placido Domingo is very strong and exspessive. John Vickers is much better in Wagnerian repertoire. Here he is quite good. Pavarotti was soupreme tenor, but not for such a roles. So: 1.Mario Del Monaco 2.Giacommo Lauri-Volpi 3.Placido Domingo 4.John Vickers 5.Luciano Pavarotti
That would make Verdi turn in his grave wouldn't it =)
But I still think Mario del Monaco was the greatest Otello of recent memory. If only I could imagine was Tamagno was like...the human ear was not capable of withstanding the intensity of his voice...it has I believe, been proven.
Matt54-No tenor is perfet. But Domingos flaws are at the very fundamental and appertain to vocal production 101. A "pushed" sound and a huge gap in his passaggio ara a no-no for amateur tenors. And knowingly and willfully decimating 130 roles is unforgivable. There is no rational justification for such a trespass.
Matt-Domingo had too many flaws. It suffices to say that he sounded throaty, hooted, monochromatic and pushed. His top was nonexistent. His middle and upper register wasn't seamless. Above all, with his 130 roles, he was the King of artistic prostitution which shows a complete lack of respect to artistic excellence!
What's funny is that all of the technical problems you mentioned have to do with the placement of the tongue. He did have most of those problems, but there are some things (non-technical) that young singers can take from him. For instance, I am singing 'A Vucchella' by Tosti for an upcoming recital. One of the things that Domingo talks about is singing the meaning of a word as it pertains to yourself. That bit of advice is very good for young singers.
"Those who can, do. Those who can't, teach." This is not necessarily true of all cases, but Domingo, with technical flaws of which he was VERY aware, could probably spot those problems with students in an instant. The reason I knew about the tongue placement thing was because, when I was 12, I had that very problem, and was able to correct it very early. Also, thinking about interpretation (if you have mastered technique) is a must, because it makes technique more second nature.
Your comments might be a bit over the top-but only a bit.Mostly, I fully agree with you, Domingo over-reached his abilities vocally, and here, at least with his 'Esultate', I think that fact is quite clear.He wasn't the best Otello vocally, and his acting was just so so. IMHO.I was lucky to have been on stage with Vickers- an incredible experience-SCARY!!!Domingo was in a 'divo' recognition fight with Pavarotti for almost his entire career-maybe that pushed him to chose roles unwisely.P.C.knows.
Dooku-What's a joke is your comment. Pava sounds nicely resonant here. Certainly he doesn't have a heavy timbre, but his singing is fine. You might want to think first before you opine.
The problem for Pavarotti was: He should have never sung that role. That's it. You know what i meant. But I appreciated your insights about many other things
Dooku-I'd take Pava over Domingo any day. As I indicated, there's nothing wrong in his singing here. It's a matter of timbre here, which is a matter of taste.
The difference between Gedda and Domingo is this: Gedda's talent was as large as Domingo's talent, while Gedda's ego was a feeble as Domingo's singing! Gedda was an exceptional tenor, and exceptional talent. While his repertoire was excessively wide, Gedda managed to pull it off. He wasn't the King of Transposed Roles and Cracked notes (systemically). Yet, I'd still advocate that one's repertoire should be focused and excellence should be the target, not populism.
Ago-Learning music doesn't mean anything as a tenor if you can not provide and excellent rendition. Domingo sung anything and everything with reproducible mediocrity as compared to the GREATS of opera, which made him the sweetheart of opera houses. He never said no based on artistic grounds.Learning the libretto and yelling through a transposed role is despicable but sums up his career. I hate to tell ya but have been sold on a second class product!
Agorante-Domingo's fans have a very lowered bar on operatic terms. And a massive fraction of his fans are in the hispanic world. And yes, I hate to tell you, you were adoring an inferior tenor. You're free to adore him. But he hasn't done anything exceptional. He was the used car salesman of opera and a very successful at it. The reasons have nothing to do with his operatic artistry. Dig deeper behind the scenes and you'd what his real personality is.
With his 130 roles in 40 years, Domingo is the grand daddy of artistic prostitution. The man had no shame. Think about it! It's ~3 new roles per year for 40 years. Physically it is impossible to neither perfect the role, not have a voice which would fit in all such roles, especially with a limited instrument such as Domingo's. And you wonder today's alleged top tenors sing anything and everything. I am not surprised why the likes of Villazon have no desire to achieve artistic excellence.
What a nasty comment! Let's now critisize singers for being able to learn music. By this reasoning Roswagne and Gedda were also whores. Pavarotti was by this criteria however pure and blameless.
You have to admit that that Domingo must be the king of deceivers. With his "limited instrument" he has recorded over a hundred different operas and trilled audiences worldwide for decades. I heard him live many times - he sure had me fooled.
Actually, Pavarotti's Otello was rather remarkable considering the fact that he did for the kicks. It certainly wasn't his fach per se but his rendition shows that if you're a true master of the instrument, you can do lots of things. The alleged tenore dramatico MINGO still struggled in Otello which is supposedly one of his best roles..go figure!
Lauri-Volpi, del Monaco, Vickers, & Domingo were all great Otellos. Of the latter three, del Monaco, I think, had the voice best suited. However, Vickers & Domingo, for me, have more human Otellos. I've never heard Lauri-Volpi's Otello, but since he's such a great singer, I wouldn't expect anything less. I find that all four fair equally well here in their own unique ways.
"One just did it for kicks late in his career."... I'm afraid I have to agree!
Honestly, though, if I were Pavarotti, I would have jumped at the chance to sing Otello, too. And under the circumstances (i.e. a voice not particularly well suited to the role), he did it quite admirably. He was always in command of his voice, and although he may have done some things that were inappropriate for his instrument, I never thought he sounded bad doing it---unlike some of today's tenors.
Wow, I wrote it the wrong way... I actually think that this Esultalte (given, it was sung in studio) isn't bad. I just think that, given the excerpts I have heard of his Otello, he didn't really care to indulge into any emotional exploration of the role (generally a constant for his singing in the 90s, IMO). I get the felling that he sung it for his repertory's sake.
Of course, he sounded well; his technique, though it underwent natural changes, never deserted him.
The problem with today's singers is that they are expected to do everything; they can't really specialize. Thus, we get relative mediocrity in a repertoire this is actually expanding.
2. I have to say that, regardless that he never sang the complete role, I like Pavarotti's Esultate second best after Del Monaco. It's true: his squillo is out of this world.
3. A tie between Domingo and Lauri Volpi.
4. I'v heard better Vickers' Esultates than this one.
¿Pavarotti's squillo out of this world? Pavarotti's voice was brilliant, maybe a little squillante, but nothing compared to singers like Lauri-Volpi, de Muro, Tamagno, Paoli... Believe me, the voices with true squillo dissapeared after the adventus of gramophone era.
Although Corelli never did the role on stage, he did perform an 'Esultate' at a gala I'm not sure what year. I've got it if you want to hear, but you probably have it too.
I heard Del Monaco sing OTELLO in PHILADELPHIA IN THE 1960,S AND IT WAS GREAT. i heard Vickers at the Met in a Wagner opera with Nilsson and it blew me away. I had a friend who heard Lauri-Volpi at the Met back in the 30,s and said he had an incredible voice. I would say Del Momaco, Lauri-Volpi and Vickers.
Corelli, indeed did have terrible stage fright, but wouldn't any-body if they knew people were looking at their watches and timing how long he held his High C's as Corelli once mentioned in an interview. The audacity of some people is just appalling. Yes i agree "Otello" would have been Corelli's crown jewel.MDM was very fortunate Corelli never did it i don't think MDM would have solely been called the Otello of the day.
From what you have hear 1. Lauri-Volpi 2.Del Monaco.3 Vickers. 4.Domingo 5.Pav. Oh My Word Luciano you embarrassed yourself here,should have never tried this.Maybe my ears are failing a bit but it sounded like Domingo sang it a half-tone down,if so i am not surprised Dom never could sustain a High C and frequently had them transposed down. This list is missing 2 Great Otello's Martinelli and McCraken. Also Franco Corelli did a rousing "Esultate" but i dont think he ever did an Otello performance
You are correct, Corelli never performed Otello, though many thought it would have been his greatest role. I have heard that his stage fright problem prevented him from ever taking it on.
If you have recordings of Tamagno and Zanelli, post them as a response! I couldn't get my hands on a Tamagno recording as I was compiling this, and I have not heard Zanelli do it.
Sadly I haven't got them to hand but they are on youtube, or at least on the net, I'm sure. Great list though! I'd never come across John Vickers before, he's pretty good. I've never been wild about Del Monaco, although I like his voice. I wonder if there is an earlier Lauri-Volpi version of Esultate - his voice is so fresh and vibrant in the earlier records. Although he did 'cover' quite a lot - the track I'm thinking of sounds like 'Esultorte'! Thanks for these clips.
agree about Charles Craig - wonderful, anyone remember Atlantovs Otello - quite superb, saw him double cast with Domingo and no competition, the Russian won hands down.
What luxury we opera surfers have! In the theatre, any of these singers live would have blown us to bits. ps. English tenor Charles Craig, 20+ years ago not so dusty; Heppner right on top of the music, and Johan Botha now totally in command of it.
I don't like much Domingo's Otello, but he received the largest ovation registered in The Guiness Records, two hours for Otello. Maybe to see him in the teathre is different from listening a CD.
Is legendary the presence of del Monaco in Otello, more than 420 times sang this role and maybe has not pair in this, in my opinion is the best, even the roughest directors couldn't cover his voice with the power of the orchestra. The second place is not posted here but is Vinay, he was a dramatic voice with a passionate role interpretation. Other absence is Corelli, in this aria he was impressive.
The only esultate here, that has excellent quality is Lauri-Volpi´s!
Domingo is ridiculous. Maybe he has a great voice for Cassio, but this is only Otellino!! Pavarotti is not serious too.
Vickers is nice, Del Monaco is loud, but this is not "canto", this is an ugly screaming - as the most Del Monaco recordings are-maybe the best is the 1949 Calaf with Callas.
If you one of the Martinelli or Zenatello-Recordings, you know how to sing Otello!
for me delmonaco definitely sounds best here, but vickers is my favorite others. His singing wasn't the greatest by any stretch but he acted the role so passionately that even when his voice when all gritty, it held just as much theatrical power, perhaps even more.
Obviously it isn't possible to please everyone in making a selection of "contestants"; the ones you've chosen provide interesting listening experiences, and if others feel so troubled by some imagined shortcoming, let them post their own video response. It's surprising, as someone else has suggested, how effective was Pavarotti's effort, going by this excerpt.
The problem of course is that Otello must have several shades of voice. His next extended piece is the gentle voiced duet with Desdemona, then the rage of Si pel ciel, the choking emotion of Dio mi potevi etc. I have always liked Martinelli, but like to imagine Caruso's Esultate
You are correct about vocal shading.That's why Mario del M, who seemed to shout everything and had no ppp on hand is really a dissappointment.The tender scenes with Desdemona are lost without it.Domingo did a fair job, but Vickers with that highly controlled head voice was masterful in soft singing passages.Vocally he could be a lion and a lamb.That is artistry, and not just technique.
Domingo sounds the best here, but I know there are del Monaco recordings and live presentations - many available on youtube - where he just blows Domingo and everybody else out of the water (maybe literally, as this is Otello's opening lines coming from sea, hehe)
Pavarotti is the least impressive, but he sings suprisingly well considering that this role is not really "his" role.
I have to say that I've heard quite a few of MDM's recordings, but the one that strikes me as the most impressive is the widely available 1962 studio recording that I included. I was actually surprised to see that so many people preferred Domingo over him!
no TAMAGNO!!! the creator!! corelli also had a fine one. LOTS of homework needed on this homework assignment!! go boy, go boy! do YOUR homework!!! A for effort!
Iagree! I would also add Zenatello's 1926 recording of the Esultate which is the most searing and powerful version I have come across. Apparently it is exceeded by private recordings from Covent Garden which are in circulation. For the sake of completeness Tamagno's Esultate should be included. It is somewhat pedestrian but Verdi himself taught him to sing it at the Piano and it is a fascinating insight into the creator of the role...
del Monaco, for me, is the best here -- he has the most power and abandon, as well as the least technical concern or technical issues -- Domingo I would put second -- Pav is better than I would have thought -- Vickers said in an interview that the orchestra was lousy, requiring multiple re-takes, so all the singers were tired -- he does sound kinda tired here to me --
Part TWO!: Lauri-Volpi is good, and he has perhaps the most beautiful tone, but he takes more breaths than some of the other guys at this stage in his career, and he has to work harder at the acuti than in his prime -- "Esultate" aside, my favorite Otellos are (in order) Vickers, Domingo, McCracken and del Monaco -- Pav's voice isn't ideal in size, but he does indeed have sufficient squillo to be impressive --
All are wonderful - equally - in their own signature style. Interesting to note that only Vickers and Pavarotti sing the final, challenging notes as written. Conductor Tullio Serafin, who actually heard Tamagno sing the role, preferred Vickers.
everyone says how horrible Pavarotti was at Otello, but I thought he did pretty good. i was surprised I liked the Domingo recording the best here, but I'll always like del Monaco's acting and singing together. I really liked Vickers as well
Given the quality of recording varies, Domingo still seems to stand out. But there is also Martinelli, a great Otello, as well as Zenatello and Vinay, not to mention the legendary Tamagno, in a primitive recording but monumental nonetheless.
I prefer del Monaco's rendition, but Domingo is a close second. They are both very exciting, but I prefer the overall timbre of MDM's voice. Does anyone have a recording of Melchior singing this?
Melchior recorded it commercially, when he was 70. Don't have it here or I would post it. He's impressive in the low and middle ranges, but the high voice (not surprisingly) is pretty effortful. Melchior sang Otello at Covent Garden, Paris and (I think) San Francisco during the 1930s. I've often wondered if any of those performances were recorded -- sure would love to hear them:) --
I will try my damnedest to find that recording of Melchior and post it. I heard that when he "retired" from the Met in his mid 60's, the voice was still extremely powerful and impressive.
Vickers and Domingo tied for interpretation, Del Monaco for power and Lauri-Volpi for musicality and diction. I also love Vinay's(not here I know) Otello for the quality of the phrasing. Pavarotti's rendition is a worthy attempt but to me that's all it is, I like him very much but when I think of Otello I don't think of Pavarotti. Overall, while Domingo is my personal favourite Otello, I give 1st place to Del Monaco.
Beth29252 3 months ago
I'm gonna put in a vote for Vickers :)
EleniH 6 months ago
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NMEnrique 6 months ago
Pava is out of his league here. Domingo takes the cake
TheCatcherkid 7 months ago
All of these are grand in their own way. The only "pea shooter" (in my opinion) is Pavarotti, who shouldn't have even looked at this piece. The color and weight of voice (in spite of the girth) is wrong. But even he makes his points. One who really sang the dickens out of this was James McCracken, but his voice was definitely an acquired taste.
1155north 8 months ago
The best is Gianfranco Cecchele
take6es 10 months ago
Mario del Monaco is a tad more lyrical but Vickers is stentorian, magnificent and overwhelming.
Pywacket2 1 year ago
you should do a contest of the high b on "...amore e gelosia vadan dispersi insieme"
ezev8logos 1 year ago
This is great to listen to, but you guys are all insane !
ybravura 1 year ago
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its del monanco it always has been it always will be
vocetenor 1 year ago
In fact Domingo's voice is amazing,thrilling,powerfull but the main reason make him the worse Otello than Mario del Monaco is the breathtaking control ! He couldn't hold any note above the high B for over 3s ! That make him an idiot when he sings Otello ! And MDM is the KING ! Anh Maestro Corelli is the Prince for sure
tranxuannghia 1 year ago
Del Monaco all the way, then Domingo, then the others.
musicg1978 1 year ago
I think there are all uniquely wonderful. They are also very different voices and the Esultate is for one one voice type and that is full Dramatic/Helden voice even thought they all sound great.
issachahsavage 2 years ago
everyone always makes excuses for vickers poor high notes
peacocktravels 2 years ago
@peacocktravels if you consider that vickers high notes are poor check out this video of him with Merrill singing cio m'accora from otello watch?v=waZxEHOtaC0.
he sings and excellent high b, and i have like 3 other live recordings of him as otello and he sings perfect all high b
ezev8logos 1 year ago
The one you chose for Vicker is in poor sound quality, unlike the one I heard from CD. It's unfair to Vicker.
wildeny 2 years ago
Del Monaco è imbattibile, secondo me.
Gentario 2 years ago
vickers--love the depth of his voice. excellent color.
Del Monaco
Lauri-Volpi
Domingo
Pavarotti
djschlom 2 years ago
I just can't help but think how thrilling Corelli would have been in this role... ha, Pavarotti just came on. What was he thinking?!
Nicrhind 2 years ago
It was Pavarotti`s dream to sing Othello. He knew it is not for his voice to sing it at the stage, so he did the recording at least; and really good one.
BassoNero 2 years ago
@Nicrhind In fact, Rudolf Bing offered Corelli the role for the 1972 premiere of the Franco Zeffirelli hew production of the opera. Corelli thought long and hard, studied and re-studied the opera - and turned Mr. Bing down. I like Corelli, and his performance of the Act I duet with Teresa Zylis Gara (Karl Bohm conducting) from the Bing Gala is very, very good, but I don't think that he had the right kind of voice for the eruptive outbursts of Otello (not for more than a few performances).
jmccracken1963 1 year ago
Vickers sans hésitation. Suivi de Domingo.
En revanche ce n'est pas un rôle pour Pavarotti.
isabelle070209 2 years ago
Del monaco is the tenor of the century. I'm a lyric tenor and I know my limits as a tenor. MDM has no limit !
Paris2Memphis 2 years ago
Yeah, but he never had the delicacy that you probably have. And I bet he wished he could tackle some of the lighter Verdi rep. that his voice simply didn't have the flexibility for. I agree, he was a lion in 'Otello' but don't knock being a lyric tenor; we have our moments of glory too.
Nicrhind 2 years ago
mongemark 2 years ago
sono d'accordo con te anche se mi piace piu domingo che lauri volpi in otello
andyroma72 2 years ago
Lauri-Volpi per me.
blichilde 2 years ago 5
@blichilde Lauri Volpi non è intonato
KathleenFerrier 1 month ago
Unquestionably Del Monaco for me - both for timbre, power and expressivity.
librettist46 2 years ago
Mario! Mario! Mario!
baroquepopfan 2 years ago
I think number one should be John Vickers. He is the strongest dramatic tenor I've ever heard. And Pavarotti shouldn't even be on this list. His voice was never heavy enough for this role.
boxingin 2 years ago
you missed VINAY!!
lyricarts 2 years ago
Del Monaco is the most brazen and risky tenor I have heard sing this role.
Vickers- Sick voice, awesome Otello but I don't care for his upper covered notes, it almost sounds like he can't cut it though he clearly can.
Domingo is good but kind of not like any other Otello, which is either good for you or not, though this is a sweet recording
Pav- no. I love the man, he's an idol. But no way should he have ever tried this!
marcomeatball 2 years ago 2
I actually like Domingo's the best. I seem to be a minority...please don't hurt me.
happyactor6 2 years ago
Hurt you? Lol why? This is one of his best roles, your preference is legitimate, even if i do not share your opinion.
For me it will be Mario del Monaco all the way (naturally ;p) even though I have to say Vickers gives me goosebumps as well.
I just don't understand what is Pavarotti doing in this video... this is unfair, Otello is just not for his kind of voice (lol me defending Pav, can you believe it? xD)...
PickBit 2 years ago
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1 D E L M O N A C O !!!!
bodiloto 2 years ago
(in the score at least, i mean)
HMW 2 years ago
it's a high c
HMW 2 years ago
No, it's a high B in the score, in an 'acciaccatura' to the top A, exactly like Lauri-Volpi sings. His fidelity to the score is notable, by the way. So is the flawless work in-between the registers, and that's why he's my top choice. Vickers second, Del Monaco third and Domingo completes the list of the four Otellos presented.
maferreira1984 2 years ago
yes, i realized my mistake a little while ago. you're correct. lauri-volpi's high d's were also phenomenal (just saying).
HMW 2 years ago
-!Del Monaco!-, Vickers, Lauri-Volpi, Domingo, ( Pavarotti )
TomekkPolska 2 years ago
Del Monaco is the clearly the best. Lauri-Volpi was very good too.
leadoffeohippus 2 years ago
Vickers all the way for Otello!!!
Joeleole 2 years ago
Vickers è svociato
gattoamoremio 2 years ago
Tutti bravissimi, escluso Pavarotti. Ma per me vince Volpi.
dermotafan 2 years ago
Alle gut!!!!!!
vocede 2 years ago
reli... MDM is the best of best when u say anything about verdi and him
dn827 2 years ago
Although del Monaco is my fav. Otello I prefer Lauri-Volpi in this case for his Esultate!
greghauser 2 years ago
Cioè agli altri quattro anche se Luciano è giuducabile solo per quest'aria, non per l'opera intera.
Nemorino11 2 years ago
Many people criticize Domingo's voice compared to other beasts like Pavarotti, Corelli or Del Monaco. However, he is such a great musician that I feel his singing is very compelling.
pochombo 2 years ago
DEL MONACO IS THE BEST!
nomsdufrere 3 years ago 7
nooooo.. ramon vinay was the best of all of them... even mr. toscanini said it.
camtep1 2 years ago
All great, but I think Mario Del Monaco WAS Otello
Dondinin 3 years ago
nooo ... toscanini choose ramon vinay over all of them. long live ramon vinay the true otello
camtep1 2 years ago
Yes, camtep, Ramon Vinay was legendary Otello and its pity he isnt in this list.Yes, Toscanini said he was best Otello, however Toscanini didnt make it to see Del Monaco as Otello cause at the time of Del Monacos debut as Otello Toscanini was already 83 and retired or de facto retired, and by the time MDM reached the peak of his career Toscanini was already dead. Ramon Vinay was a true opera genius, no doubt, but dont quote Toscanini, he wasnt there to see&hear Del Monaco.
markovican 2 years ago
Wonderful voices all, Hard to chose between Placido Domingo & Jon Vickers. Both excel, but Vickers seems a bit more effortless & melodic.
bluenose10 3 years ago
Ma sei sordo Bluenose: Vickers non è nemmeno paragonabile agli altri tre !!!!
Nemorino11 2 years ago
Comment removed
macciboma 2 years ago
Ma in questa aria Del Monaco è il RE. Grazie
macciboma 2 years ago
Del Monaco è il più grande Otello di tutti i tempi e su questo non ci sono discussioni .
Nemorino11 2 years ago
Chacun a son gout!
rabengeraun 3 years ago
Hands down Domingo is the king of this excerpt. He had the right metal and bronze color in his voice to prove he owns the role of Otello. MDM is a close second. Pav unfortunately is out of his element here as his voice never really darkened enough to have that baritonal timbre necessary for the role.
primobaritono77 3 years ago
Del Monaco e Lauri Volpi insuperabili, Domingo buono, Pavarotti penoso : ma perchè ha osato, non aveva la cognizione dei propri limiti? Era insuperabile per la Boheme, L' Elisir D'amore ,Lucia e simili.
ClaudioGiovannini 3 years ago
I can't decide between Monaco, Vickers, and Domingo. They all had that lovely metal in their voices, and Monaco and Vickers could control theirs so well--what the earlier commenters said about "vocal shading", but not confined to volume.
forallyouknow 3 years ago
The thing that always amazes me about Pav is that he can sing anything reasonably well. He might not be the best at everything, but he is the rare tenor who can do anything. He also records well, and most Otello's (MDM) seem not to.
bluefish990 3 years ago
MDM strikes the right dramatic interpretation, but it has a quality that recalls the aphorism that opera singing is cultured shouting.
Lauri Volpi's interpretation is dramatically way off, but his is the "prettiest" of these. (His "l'uragano" melts like butter, and no, I'm
ghost9yankee 3 years ago
... not afraid to admit that "pretty" is okay to like.)
For my money, Domingo strikes the right balance between dramatic fidelity and lyrical beauty...
ghost9yankee 3 years ago
Pavarotti is my favorite singer of all time, but this role just doesn't suit his voice. I'm glad to know he never did it on stage though...at least I think/hope he didn't >_>
LordMoe9 3 years ago
Hands down, it is Mario Del Monaco -- The others (especially Pavorotti) only sing notes --- they have no feeling in their voices. Mario was the COMPLETE opera star --- and always will be to me!!!
bettygirven8 3 years ago 3
This comment has received too many negative votes show
Well. Thanks for your comment. You surely are tone deaf and it's definitely not a matter of age in your case.
TheInquisitive4Ever 3 years ago
Del Monaco was renowned for his Otello. His powerful dramatic voice, the sort of an epic tenor (Heldentenor), was the most suitable for this difficult role. However, I have heard better recordings of him than this one.
Aetion 3 years ago
Someone should post Renato Zanellis version, I've always liked that one.
Revener666 3 years ago
well-balanced and lower larnyx supported on a supple breath in an open throat. . .anyone?
2ManyHighCs 3 years ago
All equally brilliant in their own ways; hasn't the world been a better place with even just one of them as Otello?
rabengeraun 3 years ago 2
As I said before, if I wanted to learn something from someone I'd chose that someone who can do it well instead of that someone who knows it well. One can know the rules of chess extremely well. But that doesn't necessarily make him a chess master, now does it?
TheInquisitive4Ever 3 years ago
It's a shame you didn't put Franco Corelli in with this lot.
Listern, if you can to Franco Corelli singing "Esultate"
It's no contest Corelli all the way,
elrodfk 3 years ago
you forgot McCracken, one of the great otello's of all time
njtenor57 3 years ago 3
sandrik100 3 years ago 3
better list-
1-tamagno
2-tamagno
3-vinay
4-domingo (1976 version)
5-vickers
6-del monaco
7-melchior
8-slezak
operabitch77 3 years ago
Where is Del Monaco?!
sandrik100 3 years ago
Del Monaco, though I do like him, does not qualify for best Otello, because he ignored many (if not, almost all) markings in the score.
phantom4087 3 years ago
Del Monaco was not only the best Otello, but the greatest tenor!
sandrik100 3 years ago
That would make Verdi turn in his grave wouldn't it =)
But I still think Mario del Monaco was the greatest Otello of recent memory. If only I could imagine was Tamagno was like...the human ear was not capable of withstanding the intensity of his voice...it has I believe, been proven.
GermanOperaSinger 3 years ago
Intelligent comment.Pavarotti seems well off the score,at least with'Esultate'.Vickers(my favourite Otello)- seems spot on.
vickersman 3 years ago
yep, Vickers all the way
wotansschwert 3 years ago 2
Comment removed
Matt54e 3 years ago
Matt54-No tenor is perfet. But Domingos flaws are at the very fundamental and appertain to vocal production 101. A "pushed" sound and a huge gap in his passaggio ara a no-no for amateur tenors. And knowingly and willfully decimating 130 roles is unforgivable. There is no rational justification for such a trespass.
TheInquisitive4Ever 3 years ago
Comment removed
Matt54e 3 years ago
Matt-Domingo had too many flaws. It suffices to say that he sounded throaty, hooted, monochromatic and pushed. His top was nonexistent. His middle and upper register wasn't seamless. Above all, with his 130 roles, he was the King of artistic prostitution which shows a complete lack of respect to artistic excellence!
TheInquisitive4Ever 3 years ago
What's funny is that all of the technical problems you mentioned have to do with the placement of the tongue. He did have most of those problems, but there are some things (non-technical) that young singers can take from him. For instance, I am singing 'A Vucchella' by Tosti for an upcoming recital. One of the things that Domingo talks about is singing the meaning of a word as it pertains to yourself. That bit of advice is very good for young singers.
phantom4087 3 years ago
It's better to take advice from someone who does it superbly than who knows it superbly. Domingo is the latter and NOT the former.
TheInquisitive4Ever 3 years ago
"Those who can, do. Those who can't, teach." This is not necessarily true of all cases, but Domingo, with technical flaws of which he was VERY aware, could probably spot those problems with students in an instant. The reason I knew about the tongue placement thing was because, when I was 12, I had that very problem, and was able to correct it very early. Also, thinking about interpretation (if you have mastered technique) is a must, because it makes technique more second nature.
phantom4087 3 years ago
Your comments might be a bit over the top-but only a bit.Mostly, I fully agree with you, Domingo over-reached his abilities vocally, and here, at least with his 'Esultate', I think that fact is quite clear.He wasn't the best Otello vocally, and his acting was just so so. IMHO.I was lucky to have been on stage with Vickers- an incredible experience-SCARY!!!Domingo was in a 'divo' recognition fight with Pavarotti for almost his entire career-maybe that pushed him to chose roles unwisely.P.C.knows.
vickersman 3 years ago 3
He can't help it - he's a strunzo.
LouisMenchise 3 years ago
Pavarotti was a joke here...I wanna laugh
Doooku 3 years ago
Dooku-What's a joke is your comment. Pava sounds nicely resonant here. Certainly he doesn't have a heavy timbre, but his singing is fine. You might want to think first before you opine.
TheInquisitive4Ever 3 years ago
The problem for Pavarotti was: He should have never sung that role. That's it. You know what i meant. But I appreciated your insights about many other things
Doooku 3 years ago
Dooku-I'd take Pava over Domingo any day. As I indicated, there's nothing wrong in his singing here. It's a matter of timbre here, which is a matter of taste.
TheInquisitive4Ever 3 years ago
@TheInquisitive4Ever you are totally right
NMEnrique 6 months ago
PLEASE! DONT compare Nicolai Gedda the Great to the feable Placido Domingo the Chicken Voice!!!!
Doooku 3 years ago 2
The difference between Gedda and Domingo is this: Gedda's talent was as large as Domingo's talent, while Gedda's ego was a feeble as Domingo's singing! Gedda was an exceptional tenor, and exceptional talent. While his repertoire was excessively wide, Gedda managed to pull it off. He wasn't the King of Transposed Roles and Cracked notes (systemically). Yet, I'd still advocate that one's repertoire should be focused and excellence should be the target, not populism.
TheInquisitive4Ever 3 years ago
Comment removed
Matt54e 3 years ago
Ago-Learning music doesn't mean anything as a tenor if you can not provide and excellent rendition. Domingo sung anything and everything with reproducible mediocrity as compared to the GREATS of opera, which made him the sweetheart of opera houses. He never said no based on artistic grounds.Learning the libretto and yelling through a transposed role is despicable but sums up his career. I hate to tell ya but have been sold on a second class product!
TheInquisitive4Ever 3 years ago
Comment removed
Matt54e 3 years ago
Agorante-Domingo's fans have a very lowered bar on operatic terms. And a massive fraction of his fans are in the hispanic world. And yes, I hate to tell you, you were adoring an inferior tenor. You're free to adore him. But he hasn't done anything exceptional. He was the used car salesman of opera and a very successful at it. The reasons have nothing to do with his operatic artistry. Dig deeper behind the scenes and you'd what his real personality is.
TheInquisitive4Ever 3 years ago
With his 130 roles in 40 years, Domingo is the grand daddy of artistic prostitution. The man had no shame. Think about it! It's ~3 new roles per year for 40 years. Physically it is impossible to neither perfect the role, not have a voice which would fit in all such roles, especially with a limited instrument such as Domingo's. And you wonder today's alleged top tenors sing anything and everything. I am not surprised why the likes of Villazon have no desire to achieve artistic excellence.
TheInquisitive4Ever 3 years ago 2
What a nasty comment! Let's now critisize singers for being able to learn music. By this reasoning Roswagne and Gedda were also whores. Pavarotti was by this criteria however pure and blameless.
You have to admit that that Domingo must be the king of deceivers. With his "limited instrument" he has recorded over a hundred different operas and trilled audiences worldwide for decades. I heard him live many times - he sure had me fooled.
Agorante 3 years ago
He's a monomaniac, don't care about his stupid "mission"! :-)
csupor 3 years ago
Actually, Pavarotti's Otello was rather remarkable considering the fact that he did for the kicks. It certainly wasn't his fach per se but his rendition shows that if you're a true master of the instrument, you can do lots of things. The alleged tenore dramatico MINGO still struggled in Otello which is supposedly one of his best roles..go figure!
TheInquisitive4Ever 3 years ago
Pavarotti should never sang Otello.
samuraitaliano77 3 years ago
Can't have this conversation without including Giacomini.
bwerth 3 years ago
Lauri-Volpi, del Monaco, Vickers, & Domingo were all great Otellos. Of the latter three, del Monaco, I think, had the voice best suited. However, Vickers & Domingo, for me, have more human Otellos. I've never heard Lauri-Volpi's Otello, but since he's such a great singer, I wouldn't expect anything less. I find that all four fair equally well here in their own unique ways.
"One just did it for kicks late in his career."... I'm afraid I have to agree!
VivaMariaCallas 3 years ago
Honestly, though, if I were Pavarotti, I would have jumped at the chance to sing Otello, too. And under the circumstances (i.e. a voice not particularly well suited to the role), he did it quite admirably. He was always in command of his voice, and although he may have done some things that were inappropriate for his instrument, I never thought he sounded bad doing it---unlike some of today's tenors.
baritonoguapo 3 years ago
Wow, I wrote it the wrong way... I actually think that this Esultalte (given, it was sung in studio) isn't bad. I just think that, given the excerpts I have heard of his Otello, he didn't really care to indulge into any emotional exploration of the role (generally a constant for his singing in the 90s, IMO). I get the felling that he sung it for his repertory's sake.
Of course, he sounded well; his technique, though it underwent natural changes, never deserted him.
VivaMariaCallas 3 years ago
The problem with today's singers is that they are expected to do everything; they can't really specialize. Thus, we get relative mediocrity in a repertoire this is actually expanding.
VivaMariaCallas 3 years ago
Domingo with all his limitations, on the stage, is the best Otello ever, to me of course. Then, Del monaco; Vickers; Lauri-Volpi; Pavarotti.
I'm sorry Luciano, you're my idol but Otello isn't for you.
fecheverriam 3 years ago
Bello!
1-Del Monaco
2-Domingo
3-Lauri-Volpi
4-Pavarotti
5-Vickers
34fgsfgsdtu48w7qtaqt 3 years ago
Mi correggo Vickers più di Pavarotti.
34fgsfgsdtu48w7qtaqt 3 years ago
Ok, this is my opinion:
1. MDM: He was Otello, end of the story.
2. I have to say that, regardless that he never sang the complete role, I like Pavarotti's Esultate second best after Del Monaco. It's true: his squillo is out of this world.
3. A tie between Domingo and Lauri Volpi.
4. I'v heard better Vickers' Esultates than this one.
Thanks for this clip!!!
TheAleph74 3 years ago
¿Pavarotti's squillo out of this world? Pavarotti's voice was brilliant, maybe a little squillante, but nothing compared to singers like Lauri-Volpi, de Muro, Tamagno, Paoli... Believe me, the voices with true squillo dissapeared after the adventus of gramophone era.
TrovadorManrique 3 years ago
Have you heard the whole opera with Pavarotti? If you haven't, I recommend you to do it.
TheAleph74 3 years ago
Although Corelli never did the role on stage, he did perform an 'Esultate' at a gala I'm not sure what year. I've got it if you want to hear, but you probably have it too.
GermanOperaSinger 3 years ago
I heard Del Monaco sing OTELLO in PHILADELPHIA IN THE 1960,S AND IT WAS GREAT. i heard Vickers at the Met in a Wagner opera with Nilsson and it blew me away. I had a friend who heard Lauri-Volpi at the Met back in the 30,s and said he had an incredible voice. I would say Del Momaco, Lauri-Volpi and Vickers.
deeandgeorgeg 3 years ago
Corelli, indeed did have terrible stage fright, but wouldn't any-body if they knew people were looking at their watches and timing how long he held his High C's as Corelli once mentioned in an interview. The audacity of some people is just appalling. Yes i agree "Otello" would have been Corelli's crown jewel.MDM was very fortunate Corelli never did it i don't think MDM would have solely been called the Otello of the day.
Etnalleb 3 years ago
From what you have hear 1. Lauri-Volpi 2.Del Monaco.3 Vickers. 4.Domingo 5.Pav. Oh My Word Luciano you embarrassed yourself here,should have never tried this.Maybe my ears are failing a bit but it sounded like Domingo sang it a half-tone down,if so i am not surprised Dom never could sustain a High C and frequently had them transposed down. This list is missing 2 Great Otello's Martinelli and McCraken. Also Franco Corelli did a rousing "Esultate" but i dont think he ever did an Otello performance
Etnalleb 3 years ago
You are correct, Corelli never performed Otello, though many thought it would have been his greatest role. I have heard that his stage fright problem prevented him from ever taking it on.
baritonoguapo 3 years ago
Martinelli and Corelli the best! Please, add them..
murashov2005 3 years ago 2
Martinelli and Corelli the best!
murashov2005 3 years ago
It is a shame Corelli never did the role.
redsox2213 3 years ago
The chronological order is the quality decreasing order too... :)
TrovadorManrique 3 years ago
GIACOMO LAURI-VOLPI is the best out of doubt!!
TrovadorManrique 3 years ago
It's got to be Lauri-Volpi! Shame Tamagno and Zanelli are absent from the list though.
rm946 3 years ago
If you have recordings of Tamagno and Zanelli, post them as a response! I couldn't get my hands on a Tamagno recording as I was compiling this, and I have not heard Zanelli do it.
baritonoguapo 3 years ago
Sadly I haven't got them to hand but they are on youtube, or at least on the net, I'm sure. Great list though! I'd never come across John Vickers before, he's pretty good. I've never been wild about Del Monaco, although I like his voice. I wonder if there is an earlier Lauri-Volpi version of Esultate - his voice is so fresh and vibrant in the earlier records. Although he did 'cover' quite a lot - the track I'm thinking of sounds like 'Esultorte'! Thanks for these clips.
rm946 3 years ago
agree about Charles Craig - wonderful, anyone remember Atlantovs Otello - quite superb, saw him double cast with Domingo and no competition, the Russian won hands down.
rentetenore 3 years ago
1. Lauri-Volpi
2. Del Monaco
3. Vickers
4. Domingo
5. Pavarotti
tehen162 3 years ago
Lauri-Volpi is greatest.
qzuo 3 years ago 2
I love Domingo, but del Monaco and Vickers are still THE Otellos of our age
kgus123 3 years ago
It's Vickers for me....like who else am I going to choose...lol
vickersman 3 years ago
What luxury we opera surfers have! In the theatre, any of these singers live would have blown us to bits. ps. English tenor Charles Craig, 20+ years ago not so dusty; Heppner right on top of the music, and Johan Botha now totally in command of it.
hedgechair 3 years ago
Del Monaco tenía la fuerza, el poder vocal y el dramatismo necesarios para el papel y, desde luego, para esta entrada titánica.
ubedajils 3 years ago
the most power DEL monaco, PLACIDO too tight not a tenor, vickers very good.Luciano go sing la donna.
OperaticVoice 3 years ago
LMAO@ Luciano go sing la donna...
Grandtenore 3 years ago
I don't like much Domingo's Otello, but he received the largest ovation registered in The Guiness Records, two hours for Otello. Maybe to see him in the teathre is different from listening a CD.
dedal141 4 years ago
Is legendary the presence of del Monaco in Otello, more than 420 times sang this role and maybe has not pair in this, in my opinion is the best, even the roughest directors couldn't cover his voice with the power of the orchestra. The second place is not posted here but is Vinay, he was a dramatic voice with a passionate role interpretation. Other absence is Corelli, in this aria he was impressive.
dedal141 4 years ago 2
The only esultate here, that has excellent quality is Lauri-Volpi´s!
Domingo is ridiculous. Maybe he has a great voice for Cassio, but this is only Otellino!! Pavarotti is not serious too.
Vickers is nice, Del Monaco is loud, but this is not "canto", this is an ugly screaming - as the most Del Monaco recordings are-maybe the best is the 1949 Calaf with Callas.
If you one of the Martinelli or Zenatello-Recordings, you know how to sing Otello!
Dekyi1210 4 years ago
Del Monaco is the only one who brings excitement and emotions, the rest is good for one purpose only - as a lullaby.
tlarina 4 years ago
There is a live Esultate by MDM (with Victoria de los Angeles as Desdemona) that is astounding, even better than here.
2ndAveLine 4 years ago
for me delmonaco definitely sounds best here, but vickers is my favorite others. His singing wasn't the greatest by any stretch but he acted the role so passionately that even when his voice when all gritty, it held just as much theatrical power, perhaps even more.
raythetse 4 years ago
Del Monaco and Domingo take the cake. Vickers and Lauri-Volpi are the worst here.
kawai1 4 years ago
Obviously it isn't possible to please everyone in making a selection of "contestants"; the ones you've chosen provide interesting listening experiences, and if others feel so troubled by some imagined shortcoming, let them post their own video response. It's surprising, as someone else has suggested, how effective was Pavarotti's effort, going by this excerpt.
rupepill 4 years ago
The problem of course is that Otello must have several shades of voice. His next extended piece is the gentle voiced duet with Desdemona, then the rage of Si pel ciel, the choking emotion of Dio mi potevi etc. I have always liked Martinelli, but like to imagine Caruso's Esultate
ciroalb3 4 years ago
You are correct about vocal shading.That's why Mario del M, who seemed to shout everything and had no ppp on hand is really a dissappointment.The tender scenes with Desdemona are lost without it.Domingo did a fair job, but Vickers with that highly controlled head voice was masterful in soft singing passages.Vocally he could be a lion and a lamb.That is artistry, and not just technique.
vickersman 3 years ago 3
Domingo sounds the best here, but I know there are del Monaco recordings and live presentations - many available on youtube - where he just blows Domingo and everybody else out of the water (maybe literally, as this is Otello's opening lines coming from sea, hehe)
Pavarotti is the least impressive, but he sings suprisingly well considering that this role is not really "his" role.
Milordvega 4 years ago
I have to say that I've heard quite a few of MDM's recordings, but the one that strikes me as the most impressive is the widely available 1962 studio recording that I included. I was actually surprised to see that so many people preferred Domingo over him!
baritonoguapo 4 years ago
Pavarotti's is the most beautifully sung, IMHO. Pretty good for a "late career" assumption.
drdre333 4 years ago
no TAMAGNO!!! the creator!! corelli also had a fine one. LOTS of homework needed on this homework assignment!! go boy, go boy! do YOUR homework!!! A for effort!
operabitch77 4 years ago
Giacomini. The best
aneliaso 4 years ago
What, no Vinay?
Chiliarches 4 years ago
Iagree! I would also add Zenatello's 1926 recording of the Esultate which is the most searing and powerful version I have come across. Apparently it is exceeded by private recordings from Covent Garden which are in circulation. For the sake of completeness Tamagno's Esultate should be included. It is somewhat pedestrian but Verdi himself taught him to sing it at the Piano and it is a fascinating insight into the creator of the role...
blackdog978 4 years ago
I agree... Vinay is largely known just for his Otello.
drdre333 4 years ago
Domingo, and del Monaco, but Pavarotti is surprisingly powerful
operadm 4 years ago
del Monaco, for me, is the best here -- he has the most power and abandon, as well as the least technical concern or technical issues -- Domingo I would put second -- Pav is better than I would have thought -- Vickers said in an interview that the orchestra was lousy, requiring multiple re-takes, so all the singers were tired -- he does sound kinda tired here to me --
stevevandien 4 years ago
Part TWO!: Lauri-Volpi is good, and he has perhaps the most beautiful tone, but he takes more breaths than some of the other guys at this stage in his career, and he has to work harder at the acuti than in his prime -- "Esultate" aside, my favorite Otellos are (in order) Vickers, Domingo, McCracken and del Monaco -- Pav's voice isn't ideal in size, but he does indeed have sufficient squillo to be impressive --
stevevandien 4 years ago
All are wonderful - equally - in their own signature style. Interesting to note that only Vickers and Pavarotti sing the final, challenging notes as written. Conductor Tullio Serafin, who actually heard Tamagno sing the role, preferred Vickers.
noosphere23 4 years ago
everyone says how horrible Pavarotti was at Otello, but I thought he did pretty good. i was surprised I liked the Domingo recording the best here, but I'll always like del Monaco's acting and singing together. I really liked Vickers as well
mcknighty11 4 years ago
Given the quality of recording varies, Domingo still seems to stand out. But there is also Martinelli, a great Otello, as well as Zenatello and Vinay, not to mention the legendary Tamagno, in a primitive recording but monumental nonetheless.
meltzerboy 4 years ago
I prefer del Monaco's rendition, but Domingo is a close second. They are both very exciting, but I prefer the overall timbre of MDM's voice. Does anyone have a recording of Melchior singing this?
baritonoguapo 4 years ago
Melchior recorded it commercially, when he was 70. Don't have it here or I would post it. He's impressive in the low and middle ranges, but the high voice (not surprisingly) is pretty effortful. Melchior sang Otello at Covent Garden, Paris and (I think) San Francisco during the 1930s. I've often wondered if any of those performances were recorded -- sure would love to hear them:) --
stevevandien 4 years ago
I will try my damnedest to find that recording of Melchior and post it. I heard that when he "retired" from the Met in his mid 60's, the voice was still extremely powerful and impressive.
baritonoguapo 4 years ago
As I recall, it was on a double album that came out circa 1960, in celebration of Melchior's 70th birthday. It feat