@Nemorino11 RIP Pavarotti - this was a lyric tenor who had no business attempting to sing Otello. Did he really do some excerpts? That goes for Domingo too. Many are called, but few are chosen ... the latter two should have stuck to their lyric repertoire and their "pop-tenor" career at football games. Del Monaco was a true dramatic tenor and should never even be mentioned in the same breath as these two light-weights.
@Bjoerrelli Del Monaco was always a little clumsy with the Celeste Aida, but he really was phenominal in the rest of the opera. Mexico 1951 with Callas is the best I ever heard.MDM also has a wonderful Forza arias on YT with Tebaldi. Bjorling &Pavarotti are perhaps better in the Celest Aida but they are really not suited for the entire opera & cannot compete vocally with MDM in the Dramatic parts and Declamations & Purti Reveggo. Enjoy
@Nemorino11 But of course. Pavarotti was a lyric tenor who at some point started singing heavier roles with varying results. That can never be compared to a tenor who from the beginning is a spinto or a dramatic tenor.
The BEST Esultate recorded is MDM is the 6th one holds a 19 Sec note check it out!!! it wont let me copy paste. its Opera cage match: "Esultate" dall' Otello sing-off
@AfroPoli Vedrai, "carino": Been there, done that - come si dice in inglese. Ho letto lo spartito e ben notato che ci sono tante cose imprecise nell'interpretazione di Del Monaco. La mente capisce, ma il cuore semplicemente ama questa voce . . . Del Monaco non canta Otello, è Otello.
@1993MGB Corelli was really a spinto with some dramatic impact&he certainly could have handled Otello as Martinelli did.If Corelli was a true Dramatic,Otello would have been part of his repertory.Your statement about Martinelli is accurate, But Martinelli sang Rodolfo early on as he was more lyric at a younger age&Radamas later on.Volpe is probably the tenor with the most diversity in the group,because of his wide vocal range,with the ability to sing lyric as well as spinto,with dramatic impact
@Barone Vitellio Scarpia "MDM's voice is bigger than Corelli." Did you ever hear them both live in the same opera or similar operas? Where did you sit? You are talking through your hat again. You listen to records and make oracular pronouncements. There are people who have heard all these guys. They work at the opera house. They are conductors, assistant conductors, repitituers, chorus members. You are not one of these guys. I used to attend the SF opera. I had season tickets for forty years. Toward the end when I had more money I went to every opera in the season, but I knew people who went to very performance of every opera. If Tosca played seven performances they saw all seven. Many of these guys are ushers. I respect their views. You have funny out of the mainstream opinions. I don't trust your judgement although I do like your postings. My advice readers is to watch his videos but ignore his writings.
This is Del Monaco´s best role but if I listen to his Celeste Aida he can be annoyingly flat on the F´s something that would never happened with Pavarotti. But the dramatic voices sounds better on the stage then on a recording. And beautyfull voices like Bjoerling or Pavarotti´s sounds just as or even better on a record.
Gentlemen, Does anybody have any idea when and where was this recorded? As for the performance, best ever or not, one thing is sure: it doesn't need any comment.
Это далеко не так и есть очень конкурентная запись другого тенора,а запись Марио Ланца ,пожалуй наиболее интересен.Наверное при всей незамысловатости мелодии без красивого и мощного голоса,она терчет смысл.Почему ее игнорировали многие тенора можно понять.Приблизиться к уровню Карузо дано не всем.
Who says this is his "best" version? Maybe someone should put together a bunch of his Of course he was born to sing this, and the middle of his voice is fabulous. However, even with its great visceral appeal it is interesting comparing other tenors famous for this role to put it in perspective Probably for the same reasons people find other tenors appealing in the role-might also apply to his Esultate-although in this one section it's hard not to find him exciting
Secondo il mio modesto parere senza nessuna cattiveria i suoni sono forzati e fibrosi, aveva grandi mezzi vocali e una gola d'acciaio,ma il suo canto era così, io preferisco un canto più naturale le vocali limpide più rilassato ma in questo modo le vocali soprattutto centrali sono distorte e appesantite, questa è la mia onesta opinione personale
Its cool, but NOT the best of him. Life recordings are much better. Otello was his role. If you did not know, he is even burried in the costume of Otello!
@VivaRenata Carina, leggi lo spartito per favore. Del Monaco era un tenore che completamente ignora lo spartito. Secondo te, urlare a tutta forza e ignorare le intenzioni del compositore fa un gran cantante, anzi il più grande Otello di tutti i tempi? Per piacere, povero Verdi. Merli, Pertile, Martinelli, Zanelli, Lauri Volpi... loro erano artisti. Del Monaco è volgarissimo.
Unequivocally the greatest Otello of all time! One of the greatest dramatic tenors ever!
Il più grande Otello del dopoguerra💖🌹
@Nemorino11 RIP Pavarotti - this was a lyric tenor who had no business attempting to sing Otello. Did he really do some excerpts? That goes for Domingo too. Many are called, but few are chosen ... the latter two should have stuck to their lyric repertoire and their "pop-tenor" career at football games. Del Monaco was a true dramatic tenor and should never even be mentioned in the same breath as these two light-weights.
He did some better ones live. In any case, the best Otello of recent memory.
@Bjoerrelli Del Monaco was always a little clumsy with the Celeste Aida, but he really was phenominal in the rest of the opera. Mexico 1951 with Callas is the best I ever heard.MDM also has a wonderful Forza arias on YT with Tebaldi. Bjorling &Pavarotti are perhaps better in the Celest Aida but they are really not suited for the entire opera & cannot compete vocally with MDM in the Dramatic parts and Declamations & Purti Reveggo. Enjoy
I agree, as I usually do with you. Smart brains.
@Nemorino11 But of course. Pavarotti was a lyric tenor who at some point started singing heavier roles with varying results. That can never be compared to a tenor who from the beginning is a spinto or a dramatic tenor.
His singing torn souls and hearts!
A brilliant tenor!
I agree, this is great. Though there are other versions of MDM that are wonderful too. He really set the standard for this role
L'Otello di tutti i tempi. L'esponente classico di questo ruolo.
Terrific version. Thanks, MT.
COME NESSUNO MAI
MDM, unico. El mas grande exponente de Otello de todos los tiempos. S.T.
The BEST Esultate recorded is MDM is the 6th one holds a 19 Sec note check it out!!! it wont let me copy paste. its Opera cage match: "Esultate" dall' Otello sing-off
Magnifico!
L'Otello più grande di tutti i tempi! Viva MDM 4ever.
@AfroPoli Vedrai, "carino": Been there, done that - come si dice in inglese. Ho letto lo spartito e ben notato che ci sono tante cose imprecise nell'interpretazione di Del Monaco. La mente capisce, ma il cuore semplicemente ama questa voce . . . Del Monaco non canta Otello, è Otello.
a
oari iñ vi ze e e incluso te,
I think that this is his best version.
more, certainly.
Sad there's no chorus!
@1993MGB Corelli was really a spinto with some dramatic impact&he certainly could have handled Otello as Martinelli did.If Corelli was a true Dramatic,Otello would have been part of his repertory.Your statement about Martinelli is accurate, But Martinelli sang Rodolfo early on as he was more lyric at a younger age&Radamas later on.Volpe is probably the tenor with the most diversity in the group,because of his wide vocal range,with the ability to sing lyric as well as spinto,with dramatic impact
@Barone Vitellio Scarpia And Lauri-Volpi or Gigli the best lyric, and Schipa the best leggero.
@Kay Young
Yes he did.
@Barone Vitellio Scarpia
"MDM's voice is bigger than Corelli."
Did you ever hear them both live in the same opera or similar operas? Where did you sit? You are talking through your hat again. You listen to records and make oracular pronouncements. There are people who have heard all these guys. They work at the opera house. They are conductors, assistant conductors, repitituers, chorus members. You are not one of these guys.
I used to attend the SF opera. I had season tickets for forty years. Toward the end when I had more money I went to every opera in the season, but I knew people who went to very performance of every opera. If Tosca played seven performances they saw all seven. Many of these guys are ushers. I respect their views.
You have funny out of the mainstream opinions. I don't trust your judgement although I do like your postings. My advice readers is to watch his videos but ignore his writings.
This is Del Monaco´s best role but if I listen to his Celeste Aida he can be annoyingly flat on the F´s something that would never happened with Pavarotti. But the dramatic voices sounds better on the stage then on a recording. And beautyfull voices like Bjoerling or Pavarotti´s sounds just as or even better on a record.
@bacassa I think, this is not a problem to hold it for 19 seconds.
@MusashiTzu IN HEAVEN
Gentlemen,
Does anybody have any idea when and where was this recorded?
As for the performance, best ever or not, one thing is sure: it doesn't need any comment.
@MusashiTzu i prefer this live version: watch?v=B-feXlMPdFY
but it's more into spinto than this one and it has a few imperfections.
@VivaRenata you are completely right!
BHAHAHA, this made me laff, pavarotti doesn't even register next to those two.
Non è questa la versione migliore.
...great as always, but by no means his best.
Это далеко не так и есть очень конкурентная запись другого тенора,а запись Марио Ланца ,пожалуй наиболее интересен.Наверное при всей незамысловатости мелодии без красивого и мощного голоса,она терчет смысл.Почему ее игнорировали многие тенора можно понять.Приблизиться к уровню Карузо дано не всем.
Who says this is his "best" version? Maybe someone should put together a bunch of his
Of course he was born to sing this, and the middle of his voice is fabulous.
However, even with its great visceral appeal it is interesting comparing other tenors famous for this role to put it in perspective Probably for the same reasons people find other tenors appealing in the role-might also apply to his Esultate-although in this one section it's hard not to find him exciting
als otello auf d.bühne erlebt 1963 seit der zeit kein besserer.w.böke
He cracked here in the begining on Esultate .....😉😕😞
No he didn't
GROSSARTIG
Secondo il mio modesto parere senza nessuna cattiveria i suoni sono forzati e fibrosi, aveva grandi mezzi vocali e una gola d'acciaio,ma il suo canto era così, io preferisco un canto più naturale le vocali limpide più rilassato ma in questo modo le vocali soprattutto centrali sono distorte e appesantite, questa è la mia onesta opinione personale
Pavarotti wasn't a power tenor.
Its cool, but NOT the best of him. Life recordings are much better.
Otello was his role. If you did not know, he is even burried in the costume of Otello!
@VivaRenata Carina, leggi lo spartito per favore. Del Monaco era un tenore che completamente ignora lo spartito. Secondo te, urlare a tutta forza e ignorare le intenzioni del compositore fa un gran cantante, anzi il più grande Otello di tutti i tempi? Per piacere, povero Verdi.
Merli, Pertile, Martinelli, Zanelli, Lauri Volpi... loro erano artisti. Del Monaco è volgarissimo.
do you have any or know of any recordings where zanelli sings esultate
Peccato che il resto del mondo la pensi diversamente da lei,per fortuna
Horrible