Yes, Also do not forget in the early 40's and 30's Martinelli sang it complete, often with Stella Roman and the 42 Met. Otello in NYC I believe is available and very good, not till Del Monaco did we have as great an Otello.
I saw Del Monaco do it in the house in 59' at La Scala and he was great in the role, simply his best role, Corelli was a spinto, not a dramatic tenor but great as Calaf. Tucker was terrific in Forza, Lescaut and Chenier, saw these guys in the house, much different then on records.
Is GIANNI SAVELLI one of the GREATEST EVER? Come listen to his opera compilation where he sings 6 aria's and leave a comment on how good you think he really is! Search Gianni Savelli
So... now I am really explaining it so that a four year old would understand it: 1.Monaco= great otello 2.Corelli= Brilliant at singing Esultate! (not just the high note but the squillo and virility of voice as well!3. Get over you obsession of Lauritz Melchior, he did great as a wagner singer wether you like him or not, and if he forgot something he probably was not the first.
VivaRenata, surely you must agree that what classifies a tenor are the high-notes... they aren't exactly known for producing beautiful deep notes.. That said, I know the importance of the lower notes in otello as I myself have tried to sing some pieces from the opera (Niun mi tema)
Being able to sing high notes hardly "classifies a tenor". Are Pavarotti and Florez greater than Caruso because they can throw off 9 high C's? Does Matteuzzi become the greatest tenor alive by virtue of having a full voiced high F?
by saying high notes, I did'nt mean High C's and F's necissarily. But very basicly. What makes a tenor is in comparison to most baritones and basses, the ability to produce high notes, look into choral sheets and you will see that. off course colouring is another aspect. But for an operatic tenor high A and B's are common if not expected. and Caruso was perfictly cabable of producing high B's as I am sure you know.
Del Monaco and Corelli were different types of tenors, even though they often sang the same repertoire. I agree that Del Monaco probably should have stayed away from more lyric roles, while Corelli was wise enough never to sing Otello. That being said, aren't we fortunate to live in a world that produced two such magnificent singers?
@billyguns2 I remember reading somewhere on y.t, that Corelli was studying the role&MDM encouraging Corelli to sing it .Aside from the dramatic tenors singing the role as part of their repertory, I think it's every tenors dream to do the role& it's usually taken on later in a tenors career where the voice darkens a little. Right or wrong, I think Corelli would have done a great Otello if he attacked the role before his voice started diminishing.I agree whole heartedly with your comment ABOVE
they were both great tenors who;s better then who how foolish. they were both legends. i.m not into todays opera performers i don;t think anyone comes close to mario del monaco or franco corelli who i knew. my friend took singing leasons from him when he was in new york city. so people just listen to the greats voices
Corelli was a lirico-spinto not dramatico like Del Monaco. For Mario to sing otello was a piece of cake but Calaf distroyed his voice, for Corelli to sing otello was just a dream that never came through but he was the best Calaf of all times, so I thing we should not compare these two wonderful tenors.
And for the comment on my nationality, it is simply pathetic, since your profile says that you are in your fifties why don't you start acting like it.
I regret the praise that is lavished on tenors just because they can take a high note. Melchior could not even get through Tristan and remember the name of his title role (see the Met Broadcast limited edition of 1941, end of act 2 - "das bietet ihr .... hm hm). A single good high note doesn't say much about an artist.How many can produce both tone and sensitivity in "Già nella notte densa ..." Give us another Otello even close to del Monaco!
This point is hard to argue, since opera is so subjective. Some would argue that Domingo is a great Otello, or Giacomini. Both were exciting singers, and Domingo was far more versatile than either Del Monaco or Giacomini...it's all about personal taste. And Just because someone is Danish is really no reason to dislike them. Melchior was the finest heldentenor of his generation; that is indisputable, and anyone who knows opera well would agree. You don't have to like him.
@BeauTenor I saw Domingo live in Pagliacci, and I was surprisingly UNIMPRESSED.He was not very audible.His high notes were strangled& HE LEFT OUT the 2nd B-natural in No Pagliaccio Non Son.I also suspect that the 1st B-natural was a B-flat, transposing the aria down a half a tone,Hardly a suitable performance fora supposedlyworld class tenor.Subjectiveness is1 thing but Domingo does not seem suitable when attacking the more heroic roles.Cutting phrases short,barely touching hi-notes&transposing
Reply to VivaRenata: why thankyou for that wonderful reply. I was never talking about the general role of Otello or what may or may not be the most difficult in that role. I was only talking about the short introduction of Otello known as Esultate! My point here being that many tenors fail to produce the B, and that I find it marvelous how Franco Corelli is cabable of producing such notes as he does in his version of the piece.
Como siempre en del Monaco: ¡Exuberante!, Pero ¿por qué han retirado la otra versión en la que no respira en la frase "dopo l'armi lo vinse l'urugano" en toda una demostración de su capacidad pulmonar y de fraseo tipicamentre "verdiano?
I was lucky enough to have seen his Otello about seven times. Not counting the pirated recordings I've heard. Nothing like it. Nothing will be again.
dear schtickshifter. I have seen Birgit Nilsson about ten times. I would so gladly have traded places with you and heard del Monaco live. I love Otello, which introduced me to the world of opera. I do understand that nothing like del Monacos sound will be heard again - only hoping he may be an inspiration to future artists. Thanks for the tribute, from one who has only heard him on recordings.
with all due respect for MDM who I am sure was a wonderful Otello, I do not think anyone can make an "Esultate!" the way Franco Corelli did it, especially because of the easy high notes
Corelli never sang the role of Otello (many wanted him to do so) and a snipped of Esultate is about all that exists of him in this role (it's enticing). For Del Monaco, Otello was his signature role (he's buried in his Otello costume). Opinion on Del Monaco was always split in his lifetime (loved or 'hated').
Reply to Danetenor: if you really are a tenor, you should know something about the tessitura of this role. The low notes of the tenor are far more important than the single high C, which was sung in full voice for the first time (la vil' cortiggiana, ch'è la sposa d'Otello, act 3) when the opera was first performed. If your signature indicates that you are Danish, I suppose that you can be excused for your ignorance, given that you are a compatriot of Lauritz Melchior. Good luck then.
Yes, Also do not forget in the early 40's and 30's Martinelli sang it complete, often with Stella Roman and the 42 Met. Otello in NYC I believe is available and very good, not till Del Monaco did we have as great an Otello.
pearlmuth3 3 years ago 3
I saw Del Monaco do it in the house in 59' at La Scala and he was great in the role, simply his best role, Corelli was a spinto, not a dramatic tenor but great as Calaf. Tucker was terrific in Forza, Lescaut and Chenier, saw these guys in the house, much different then on records.
pearlmuth3 4 years ago 3
in what way different please explain?
caruso81 2 years ago
el mas grande otello de la historia VIVA MARIO DEL MONACO
caruso741 4 years ago 12
Del Monaco e Otello una cosa sola. Senza alcun dubbio l'unico vero grande infitito Otello era ed è solo Mario
pansan953 4 years ago 9
Is GIANNI SAVELLI one of the GREATEST EVER? Come listen to his opera compilation where he sings 6 aria's and leave a comment on how good you think he really is! Search Gianni Savelli
Jcrewone7 4 years ago
Gianni Savelli sounds thin to me.
phantom4087 3 years ago
So... now I am really explaining it so that a four year old would understand it: 1.Monaco= great otello 2.Corelli= Brilliant at singing Esultate! (not just the high note but the squillo and virility of voice as well!3. Get over you obsession of Lauritz Melchior, he did great as a wagner singer wether you like him or not, and if he forgot something he probably was not the first.
Danetenor 4 years ago
VivaRenata, surely you must agree that what classifies a tenor are the high-notes... they aren't exactly known for producing beautiful deep notes.. That said, I know the importance of the lower notes in otello as I myself have tried to sing some pieces from the opera (Niun mi tema)
Danetenor 4 years ago
Being able to sing high notes hardly "classifies a tenor". Are Pavarotti and Florez greater than Caruso because they can throw off 9 high C's? Does Matteuzzi become the greatest tenor alive by virtue of having a full voiced high F?
mail1280257 4 years ago
no, and that is twisting what I said:-D
by saying high notes, I did'nt mean High C's and F's necissarily. But very basicly. What makes a tenor is in comparison to most baritones and basses, the ability to produce high notes, look into choral sheets and you will see that. off course colouring is another aspect. But for an operatic tenor high A and B's are common if not expected. and Caruso was perfictly cabable of producing high B's as I am sure you know.
Danetenor 4 years ago
Del Monaco and Corelli were different types of tenors, even though they often sang the same repertoire. I agree that Del Monaco probably should have stayed away from more lyric roles, while Corelli was wise enough never to sing Otello. That being said, aren't we fortunate to live in a world that produced two such magnificent singers?
billyguns2 4 years ago
@billyguns2 I remember reading somewhere on y.t, that Corelli was studying the role&MDM encouraging Corelli to sing it .Aside from the dramatic tenors singing the role as part of their repertory, I think it's every tenors dream to do the role& it's usually taken on later in a tenors career where the voice darkens a little. Right or wrong, I think Corelli would have done a great Otello if he attacked the role before his voice started diminishing.I agree whole heartedly with your comment ABOVE
sugarbist 8 months ago
they were both great tenors who;s better then who how foolish. they were both legends. i.m not into todays opera performers i don;t think anyone comes close to mario del monaco or franco corelli who i knew. my friend took singing leasons from him when he was in new york city. so people just listen to the greats voices
michaelantonelli1957 4 years ago
Corelli was a lirico-spinto not dramatico like Del Monaco. For Mario to sing otello was a piece of cake but Calaf distroyed his voice, for Corelli to sing otello was just a dream that never came through but he was the best Calaf of all times, so I thing we should not compare these two wonderful tenors.
Cesaare 4 years ago
And for the comment on my nationality, it is simply pathetic, since your profile says that you are in your fifties why don't you start acting like it.
Danetenor 4 years ago
I regret the praise that is lavished on tenors just because they can take a high note. Melchior could not even get through Tristan and remember the name of his title role (see the Met Broadcast limited edition of 1941, end of act 2 - "das bietet ihr .... hm hm). A single good high note doesn't say much about an artist.How many can produce both tone and sensitivity in "Già nella notte densa ..." Give us another Otello even close to del Monaco!
VivaRenata 4 years ago
This point is hard to argue, since opera is so subjective. Some would argue that Domingo is a great Otello, or Giacomini. Both were exciting singers, and Domingo was far more versatile than either Del Monaco or Giacomini...it's all about personal taste. And Just because someone is Danish is really no reason to dislike them. Melchior was the finest heldentenor of his generation; that is indisputable, and anyone who knows opera well would agree. You don't have to like him.
BeauTenor 3 years ago
@BeauTenor I saw Domingo live in Pagliacci, and I was surprisingly UNIMPRESSED.He was not very audible.His high notes were strangled& HE LEFT OUT the 2nd B-natural in No Pagliaccio Non Son.I also suspect that the 1st B-natural was a B-flat, transposing the aria down a half a tone,Hardly a suitable performance fora supposedlyworld class tenor.Subjectiveness is1 thing but Domingo does not seem suitable when attacking the more heroic roles.Cutting phrases short,barely touching hi-notes&transposing
sugarbist 8 months ago
Reply to VivaRenata: why thankyou for that wonderful reply. I was never talking about the general role of Otello or what may or may not be the most difficult in that role. I was only talking about the short introduction of Otello known as Esultate! My point here being that many tenors fail to produce the B, and that I find it marvelous how Franco Corelli is cabable of producing such notes as he does in his version of the piece.
Danetenor 4 years ago
Como siempre en del Monaco: ¡Exuberante!, Pero ¿por qué han retirado la otra versión en la que no respira en la frase "dopo l'armi lo vinse l'urugano" en toda una demostración de su capacidad pulmonar y de fraseo tipicamentre "verdiano?
ruffo37 4 years ago
Fantastic! I thought I never should have the pleasure to see Del Monaco sing his Otello entrance music. Mille grazie!
klokheten 4 years ago
I was lucky enough to have seen his Otello about seven times. Not counting the pirated recordings I've heard. Nothing like it. Nothing will be again.
schtickshifter 4 years ago
dear schtickshifter. I have seen Birgit Nilsson about ten times. I would so gladly have traded places with you and heard del Monaco live. I love Otello, which introduced me to the world of opera. I do understand that nothing like del Monacos sound will be heard again - only hoping he may be an inspiration to future artists. Thanks for the tribute, from one who has only heard him on recordings.
VivaRenata 4 years ago
Legendary brass bull- the live version with Victoria de los angeles, the spine-tingling "esultate". Bravo MDM.
2ndAveLine 4 years ago
Titanic power.
highcking 4 years ago
with all due respect for MDM who I am sure was a wonderful Otello, I do not think anyone can make an "Esultate!" the way Franco Corelli did it, especially because of the easy high notes
Danetenor 5 years ago
Absolutely....and such a sensuous sound that was so primal. Corelli was the finer of the two singers
Ahdren 4 years ago
Hi Danetenor,
Corelli never sang the role of Otello (many wanted him to do so) and a snipped of Esultate is about all that exists of him in this role (it's enticing). For Del Monaco, Otello was his signature role (he's buried in his Otello costume). Opinion on Del Monaco was always split in his lifetime (loved or 'hated').
Regards,
Pete
Legacy383 4 years ago
i got Corelli singing "Niun mi tema" from his last concert.
xavierfersanta 4 years ago
Reply to Danetenor: if you really are a tenor, you should know something about the tessitura of this role. The low notes of the tenor are far more important than the single high C, which was sung in full voice for the first time (la vil' cortiggiana, ch'è la sposa d'Otello, act 3) when the opera was first performed. If your signature indicates that you are Danish, I suppose that you can be excused for your ignorance, given that you are a compatriot of Lauritz Melchior. Good luck then.
VivaRenata 4 years ago
MDM was unique and unsurpassable in this role as well as Andrea Chenier and La Fanciulla del West. He ruled for ever.
MarioArnold 5 years ago
Thank you!
2ndAveLine 5 years ago
Unique Otello
Zoricic 5 years ago