BELLISSIMA DISTIBRUZIONE, GRANDISSIMA OPERA ,DEL GRANDE COMPOSITORE, IL SIGROR MAESTRO ROSSINI .GRAZIE AI COLLABORATORI DI QUESTA OPERA CHE MI STO GODENDO.IO HO QUESTO OTELLO CON ALTRI CANTANTI ,MA QUESTA, E VERAMENTE STUPENDA. FELICITAZIONI A TUTTI, UN AMAT0RE DI OPERA CHE VIVO IN CANADA, E SONO ITALIANO ❤😂🎉😅❤
Why can't we have productions like this one nowadays? It was not so long ago and yet they had respect for the music and the text. No arrogant director showing off, no tutu in the New York subway or a spaceship, no absurdities, just talent, professionalism and love of opera and music. Remnants of an era gone by.
Il mio primo Otello rossiniano. Dopo ne ho ascoltati molti altri, ma questo rimane il mio preferito. Blake, Anderson e Merritt insieme erano una trilogia di incredibili interpreti della Rossini renaissance.🙏🌈 Inoltre una scenografia così bella possiamo solo sognarla al giorno d'oggi. 💯🎼🔥
Everything depends on the libreto......VERDI WAS A COLLABORATION WITHOUT WHICH THE OPERA WOULD NEVER HAVE HAPPENED. BOITO PROVED A GREAT FRIEND AND PHSYCOLOGIST FOR VERDI....IF YOU CAN ....LOOK AT THEIR CORRISPONDENCE DURING THESE YEARS...THEN YOU WILL REALISE JUST HOW MUCH THE WORLD OWES TO ARRIGO BOITO! NOTHING LESS THAN THE TWO GREATEST MASTERPIECES OF THE GREATEST OPERA COMPOSER OF ALL TIME....GIUSEPPE VERDI! THANKYOU SHAKESPEARE.....THANKYOU BOITO! AND....THANKYOU ROSSINI!!! WITHOUT ROSSINI....THERE COULD NEVER HAVE BEEN VERDI......! MY KNOWLEDGE OF THIS OPERA IS LIMITED ...BUT IT SOUNDS AND FEELS LIKE AN EARLY TO MIDDLE ROSSINI OPERA......VERY DIFFERENT FROM HIS WILLIAM TELL...HIS LAST OPERA....WHICH IF YOU LISTEN TO IT YOU CAN HEAR ALL SUBSEQUENT COMPOSERS BEING INFLUENCED BY ROSSINI WHO WHILE STILL YOUNG...HAD RETIRED TO A LIFE OF ENJOYMENT AND EXCESS....AFTER CONQUERING THE WORLD! BRAVO MAESTRO!!!!PROOF THAT THERE IS LIFE AFTER ....OPERA
i dont mean to be offtopic but does any of you know a method to log back into an Instagram account?? I somehow forgot my login password. I love any assistance you can give me.
MUSICAL NUMBERS 1:33 Symphony 9:47 N. 1 - Introduction: Viva Otello (Chorus) 13:35 N. 2 - March and Cavatine: Ah sì, per voi già sento (Otello, Jago, Chorus) 29:45 N. 3 - Duet: No, non temer (Jago, Rodrigo) 43:49 N. 4 - Duettino: Vorrei che il tuo pensiero (Desdemona, Emilia) 55:02 N. 5 - Chorus and Finale I: Santo Imen! - Incerta l'anima (Chorus, Desdemona, Elmira, Rodrigo, Emilia, Otello) 1:22:21 N. 6 - Air: Che ascolto! (Rodrigo) 1:40:10 N. 7 - Duet: Non m'inganno (Otello, Jago) 1:48:47 N. 8 - Duet and Trio: Ah vieni, nel tuo sangue (Rodrigo, Otello, Desdemona) 2:06:11 N. 9 - Air and Finale II: Che smania, ohimè, che affanno (Desdemona, Chorus, Elmiro) 2:20:47 N. 10a - Gondolier Song: Nessun maggior dolore (Gondolier) 2:26:39 N. 10b - Air and Pray: Assisa ai pie d'un salice - Deh calma, oh ciel, nel sonno (Desdemona) 2:40:05 N. 10c - Cavatine: Eccomi giunto inosservato (Otello) 2:48:52 N. 10d - Duet: Non arrestare il colpo (Desdemona, Otello) 2:54:47 N. 10e - Che sento? Chi batte? (Otello, Lucio, Doge, Elmiro, Rodrigo, Chorus)
that's the great Rockwell Blake (b. 1951), dramatic Rossini tenor extraordinaire. Do look up his Orestes at the 1987 Pesaro ERMIONE, he is magnificent!
Many thanks to Shawn Melon for posting this outstanding performance of the 1816 dramatic masterpiece, Otello. Written at age 24 (Verdi at 74, WAS a bit older), it was Rossini's 19th opera and this video showcases the talents of 3 outstanding American artists in a vividly-recorded production. Tenors Chris Merritt and Rockwell Blake sing with masculine passion, and along with soprano June Anderson, possess the necessary bel canto skills to make this version truly a memorable experience. BRAVO!
Wow. What did I just listen to? And poor me who thought Semiramide was unsurpassable? And this at 24 years of age? Rossini deserves a much bigger, broader, and greater presence than he has.
Every time he opens his mouth, Rockwell Blake steals the show !! The 20-second note he holds at 1:09:53 is pure beauty :) To say nothing of his impeccable "Come mai non senti", without doubt the best I've ever heard, powerful, sensitive, passionate, controlled. From 1:30:00 you can see June Anderson, head hung low, thinking "how am I supposed to follow that ?!! How can I sneak off this stage without anyone noticing ?" :-)
Act 1 A public square in Venice The Doge of Venice and all the senators, including a nobleman Elmiro, are waiting for the return of the Venetian fleet, commanded by the North African general, Otello. Under Otello’s command, the Venetian forces have just driven the Turks out of Cyprus, restoring the eastern Mediterranean to Venetian rule. Through the arches at the back of the square can be seen the quayside, thronged with people - ships can be seen approaching, and Otello is proclaimed as a public hero. Otello disembarks and, followed by his two lieutenants, Iago and Rodrigo (the Doge’s son), approaches the Doge. He announces that Cyprus has been liberated and secured against further invasion. His mission is complete, and he lays at the Doge’s feet his own sword and the captured arms and war-flags of the defeated Turkish. forces The Doge asks how the city can reward his bravery and Otello replies that all he wants is that Venice should accept him, a Moor, a son of Africa, as its own. Iago mutters that this is too presumptuous, and Rodrigo replies that Otello’s request is fatal to his, Rodrigo’s, own ambitions. The Doge, however, responds by returning Otello’s unconquered sword, crowning him with the laurel wreath of victory, and confirming that Otello is indeed a son of Venice. Iago and Rodrigo again mutter their disapproval to one another. Otello wonders whether he, an outsider with a different appearance and different customs, can really be accepted, and the Doge tells him that Venice respects heroism without condition. Otello is grateful, and comments to himself that his real happiness will come when love crowns his achievement. Rodrigo overhears this and is incandescent with rage, so much so that Iago has to restrain him, whispering that they must not reveal their plans of revenge against Otello. As the senators and the people leave to celebrate a public triumph ceremony, Otello again talks of love bringing him hope of happiness. Iago moves aside and Elmiro approaches Rodrigo. It now becomes clear that Elmiro has a daughter, Desdemona. Rodrigo is in love with her, and asks how she is. Elmiro replies that she has been weeping and sighing all the time that the fleet has been away. He leaves to join in the celebrations and Iago emerges from the shadows. Rodrigo asks him whether Elmiro is so taken with the Moor’s success that he will sacrifice his only daughter to an unworthy marriage, and Iago replies that Rodrigo should learn to trust him, because he has the means of destroying Otello. He shows Rodrigo a letter, saying that they must maintain silence but act quickly. In a duet, they gloat over their alliance and their plan to bring Otello down. The scene changes to Elmiro’s palace Desdemona is with her maid Emilia. Emilia tells her that now that Otello has returned victorious, Desdemona should be happy again, but Desdemona replies that her earlier anxiety was for Otello’s safety, but that now she is concerned that her father’s hatred of Otello might destroy their happiness. When Otello had left Venice to lead the campaign, Desdemona had sent him a letter containing a lock of her hair, but the letter never reached him - it was intercepted by Elmiro, who read it and assumed that it was intended for Rodrigo. She has received no letters from Otello since then and is terrified that he no longer loves her. Emilia reassures her that lovers often imagine non-existent disasters. Iago approaches and Desdemona and Emilia leave quickly - they do not trust him and Desdemona does not want him to see any anxiety in her face. Iago sees them leave and comments that although he once courted Desdemona he has lost all feeling for her, and since she rejected him for ‘a vile African’, he intends to make her regret it. Elmiro arrives with Rodgrigo, and he tells Rodrigo that he proposes to give him Desdemona’s hand in marriage. He explains that together they can overturn Otello, and urges Rodrigo to persuade the Doge, his father, that Otello has ambitions that are not in Venice’s interests. Elmiro then tells Desdemona that he has arranged something to please her. Full of foreboding, Desdemona asks Emilia what the surprise can be: Emilia wonders whether Elmiro has at last come to like Otello. A group of servants and Elmiro’s friends sing a chorus in praise of marriage, and when Desdemona sees her father with Rodrigo she realises what he has arranged. In a horrified aside, Desdemona reveals that she already has a husband, but no-one hears her. Elmiro is surprised at her reaction to Rodrigo, and Rodrigo pushes her for a response. To add to her confusion, Otello enters, and is horrified to see Desdemona apparently yielding to Elmiro’s pressure and Rodrigo’s passion. His men try to restrain him, but he interrupts and tells them that she has already committed herself; she is married to him. When Desdemona admits that this is true, Elmiro curses her and drags her out. Rodrigo shouts threats at Otello.
They do, they are just fighting to be heard. Having attended a conservatoire for over 5 years now I can happily say that there are some wonderful artists blossoming.
Really are we comparing Rockwell Blake and Cris Merritt to Juan Diego Florez and Lawrence Brownlee? June Anderson to Joyce DiDonato, Patrizia Ciofi and Maria Agresta? Yes they make singers like this and better. Now if it was Lella Cuberli even I'd understand.
Act 2 The garden of Elmiro’s house Rodrigo is still pursuing Desdemona; she pleads with him to placate her father, and then tells Rodrigo that she is Otello’s wife. Rodrigo berates her for spurning his love and leaves swearing that he will punish Otello, referring to him as ‘the traitor’. Distraught, Desdemona tells Emilia that she has revealed the truth to Rodrigo, and Emilia, terrified for Desdemona’s safety, leaves to find some means of escape for her. Otello confesses to Iago that he is eaten up with agony having, as he thinks, seen Desdemona betray his love. Iago reassures him that his victory against the Turks will protect him against his enemies, but hints that he knows more about the situation. Otello insists on knowing the truth and Iago slyly reveals that not only has Desdemona betrayed Otello, but that he has proof of that betrayal and the means of letting Otello take his revenge on Desdemona for her disloyalty: he produces the letter which Desdemona had written to Otello and lets Otello think that it really was written to Rodrigo. Otello reads the letter and believes Iago, who tells him that he must take appropriate revenge. Otello swears to kill her and then himself. Iago, certain now of Otello’s destruction, leaves, gloating. Rodrigo joins Otello and tells him that he knows how to help Otello take revenge. Otello says that he intends to take his revenge on both of them. Desdemona joins them, and both men accuse her of infidelity. Confused, Desdemona hears Otello curse her, and as she begs him to stop, he and Rodrigo leave to fight one another. Desdemona faints, and Emilia comes in and revives her. She tries to lead Desdemona away, but Desdemona is virtually delirious. As a group of her friends try to comfort her, her father reappears and tells her that his pity has turned to cruelty and that she will soon hear what punishment he has devised for her. Act 3 Desdemona’s bedchamber Desdemona and Emilia are trying to comfort one another. In the distance, a gondolier returning to his home across the lagoon can be heard singing a verse from Dante: ‘There is no greater sorrow than to recall a time of happiness in a moment of misery’. Moved by this song, Desdemona observes that he can at least return home to the bosom of his family - she cannot even do that now. Sadly, she sings to Emilia of a friend she once had, Isaura. Accompanying herself on a harp, she sings of Isaura, wounded by a cruel love, sitting under a willow tree in her grief. The song becomes more and more mournful, and it is interrupted by a violent gust of wind from an impending storm which shatters some panes of the window. She sees this as an omen, and cannot finish the next verse of the song. She asks Emilia to kiss her for the last time and then go. Alone, Desdemona prays that sleep might calm her for a while, and that if she is to die, that Otello might come and weep over her ashes. As she sleeps, Otello enters and reveals that Rodrigo lies stabbed. He imagines that Desdemona is dreaming of Rodrigo, and as he looks at her asleep on the bed, he is moved by her beauty - but, certain that it is his looks which have destroyed her love for him, he hardens his heart as he prepares to kill her. Desdemona murmurs ‘Oh, dearest love’ in her sleep and Otello again holds back. As the storm increases, and lighting flashes reveal her beauty, she wakes. Swearing her innocence and her inability to understand what is happening, she urges Otello to end her misery by killing her. He tells her that Iago has already killed Rodrigo and that it is now her turn. At the climax of the storm, Otello stabs her to death. There is a knocking at the door: it is Lucio, a friend. He tells Otello that Rodrigo is safe, and that Iago is now dead, but that he confessed to all his deceit before he died. The Doge, Rodrigo and Elmiro burst in to tell Otello that he is forgiven, that he has Rodrigo’s support, and that he can now marry Desdemona. Otello, distraught, stabs himself, and dies, saying that Desdemona will indeed now have him, but that he will be punished for his crime.
Is this Otello on DVD? I could only find the new one with Cecilia Bartolli, in an awful production. This looks and sounds so beautiful. Thank you for uploading. Opera rara? Why?
BUONA LA BATTUTA. E ALLORA, BATTUTA PER BATTUTA: PERO'' AVEVA ASCOLTATO ROSSINI ! PER ME, IL "CIGNO DI PESARO" E' DI UNA GENIALITA' ... GALATTICA ! ! !
Intérpretes ótimos. Apenas em linha geral o libreto de De Salvo reproduz a peça de Shakespeare. Além das situações alteradas, eliminou-se o personagem de Cássio, motivo da tragédia. E o final é completamente fora da obra do dramaturgo inglês. O magistral trabalho de Boito para a ópera de Verdi é, dentro das limitações do gênero, fiel ao Otelo shakespeariano.
I think you're probably right, but they've both got flaws, Blake is of course kind of harsh edged and Merritt (relatively) is kind of thin and sometimes pinched. Rockwell Blake has just historically received a lot of attention because he was among the first "real" coloratura tenors of the bel canto revival, I saw an interview with Marilyn Horne once where she said when they first started doing Rossini operas again there were women who had the coloratura technique to do it well (Callas, Sutherland, etc.), but most of the men were kind of faking it.
Everything depends on the libreto......VERDI WAS A COLLABORATION WITHOUT WHICH THE OPERA WOULD NEVER HAVE HAPPENED. BOITO PROVED A GREAT FRIEND AND PHSYCOLOGIST FOR VERDI....IF YOU CAN ....LOOK AT THEIR CORRISPONDENCE DURING THESE YEARS...THEN YOU WILL REALISE JUST HOW MUCH THE WORLD OWES TO ARRIGO BOITO! NOTHING LESS THAN THE TWO GREATEST MASTERPIECES OF THE GREATEST OPERA COMPOSER OF ALL TIME....GIUSEPPE VERDI! THANKYOU SHAKESPEARE.....THANKYOU BOITO! AND....THANKYOU ROSSINI!!! WITHOUT ROSSINI....THERE COULD NEVER HAVE BEEN VERDI......! MY KNOWLEDGE OF THIS OPERA IS LIMITED ...BUT IT SOUNDS AND FEELS LIKE AN EARLY TO MIDDLE ROSSINI OPERA......VERY DIFFERENT FROM HIS WILLIAM TELL...HIS LAST OPERA....WHICH IF YOU LISTEN TO IT YOU CAN HEAR ALL SUBSEQUENT COMPOSERS BEING INFLUENCED BY ROSSINI WHO WHILE STILL YOUNG...HAD RETIRED TO A LIFE OF ENJOYMENT AND EXCESS....AFTER CONQUERING THE WORLD! BRAVO MAESTRO!!!!PROOF THAT THERE IS LIFE AFTER ....OPERA
Rossini was a pure genius. June Anderson and Chris Merritt are amazing, however Mr Merritt today would be labeled a racist for painting his face black. Just saying. :)
They still do it like it isn’t fucking insulting when you could find a performer of race or simply not paint them at all and have a better director to convey the message
Very good conductor. But in the third part the soprano run out of any voice power, this singer instead of singing start to shouting and in some words sound very often has been loosing articulation, and it is why very terrible understand what she is singing about.
BELLISSIMA DISTIBRUZIONE, GRANDISSIMA OPERA ,DEL GRANDE COMPOSITORE, IL SIGROR MAESTRO ROSSINI .GRAZIE AI COLLABORATORI DI QUESTA OPERA CHE MI STO GODENDO.IO HO QUESTO OTELLO CON ALTRI CANTANTI ,MA QUESTA, E VERAMENTE STUPENDA. FELICITAZIONI A TUTTI, UN AMAT0RE DI OPERA CHE VIVO IN CANADA, E SONO ITALIANO ❤😂🎉😅❤
Why can't we have productions like this one nowadays? It was not so long ago and yet they had respect for the music and the text. No arrogant director showing off, no tutu in the New York subway or a spaceship, no absurdities, just talent, professionalism and love of opera and music. Remnants of an era gone by.
Fully agree with you , there has been some pathetic productions over the past few years that must have embarrassed the heck out of the cast.
Il mio primo Otello rossiniano. Dopo ne ho ascoltati molti altri, ma questo rimane il mio preferito. Blake, Anderson e Merritt insieme erano una trilogia di incredibili interpreti della Rossini renaissance.🙏🌈
Inoltre una scenografia così bella possiamo solo sognarla al giorno d'oggi. 💯🎼🔥
Everything depends on the libreto......VERDI WAS A COLLABORATION WITHOUT WHICH THE OPERA WOULD NEVER HAVE HAPPENED.
BOITO PROVED A GREAT FRIEND AND PHSYCOLOGIST FOR VERDI....IF YOU CAN ....LOOK AT THEIR CORRISPONDENCE DURING THESE YEARS...THEN YOU WILL REALISE JUST HOW MUCH THE WORLD OWES TO ARRIGO BOITO!
NOTHING LESS THAN THE TWO GREATEST MASTERPIECES OF THE GREATEST OPERA COMPOSER OF ALL TIME....GIUSEPPE VERDI!
THANKYOU SHAKESPEARE.....THANKYOU BOITO!
AND....THANKYOU ROSSINI!!!
WITHOUT ROSSINI....THERE COULD NEVER HAVE BEEN VERDI......!
MY KNOWLEDGE OF THIS OPERA IS LIMITED ...BUT IT SOUNDS AND FEELS LIKE AN EARLY TO MIDDLE ROSSINI OPERA......VERY DIFFERENT FROM HIS WILLIAM TELL...HIS LAST OPERA....WHICH IF YOU LISTEN TO IT YOU CAN HEAR ALL SUBSEQUENT COMPOSERS BEING INFLUENCED BY ROSSINI WHO WHILE STILL YOUNG...HAD RETIRED TO A LIFE OF ENJOYMENT AND EXCESS....AFTER CONQUERING THE WORLD!
BRAVO MAESTRO!!!!PROOF THAT THERE IS LIFE AFTER ....OPERA
Un'edizione splendida! Ancora con i veri grandissimi interpreti rossiniani. Stupendo.
i dont mean to be offtopic but does any of you know a method to log back into an Instagram account??
I somehow forgot my login password. I love any assistance you can give me.
@Wallace Ramon instablaster ;)
Bellissimo spettacolo!!
Grazie per questo regalo!
MUSICAL NUMBERS
1:33 Symphony
9:47 N. 1 - Introduction: Viva Otello (Chorus)
13:35 N. 2 - March and Cavatine: Ah sì, per voi già sento (Otello, Jago, Chorus)
29:45 N. 3 - Duet: No, non temer (Jago, Rodrigo)
43:49 N. 4 - Duettino: Vorrei che il tuo pensiero (Desdemona, Emilia)
55:02 N. 5 - Chorus and Finale I: Santo Imen! - Incerta l'anima (Chorus, Desdemona, Elmira, Rodrigo, Emilia, Otello)
1:22:21 N. 6 - Air: Che ascolto! (Rodrigo)
1:40:10 N. 7 - Duet: Non m'inganno (Otello, Jago)
1:48:47 N. 8 - Duet and Trio: Ah vieni, nel tuo sangue (Rodrigo, Otello, Desdemona)
2:06:11 N. 9 - Air and Finale II: Che smania, ohimè, che affanno (Desdemona, Chorus, Elmiro)
2:20:47 N. 10a - Gondolier Song: Nessun maggior dolore (Gondolier)
2:26:39 N. 10b - Air and Pray: Assisa ai pie d'un salice - Deh calma, oh ciel, nel sonno (Desdemona)
2:40:05 N. 10c - Cavatine: Eccomi giunto inosservato (Otello)
2:48:52 N. 10d - Duet: Non arrestare il colpo (Desdemona, Otello)
2:54:47 N. 10e - Che sento? Chi batte? (Otello, Lucio, Doge, Elmiro, Rodrigo, Chorus)
Thank you!!!
veramente una splendida esecuzione (anche scene-costumi) per un'opera con grandi bellezze. Blake incredibile! ma bravi anche gli altri...
Grazie
The tenor who sing vocal part of Rodrigo in this opera "Otello" by Rossini has the best singing ability for all tenors . BRAVO!.... BRAVO!
that's the great Rockwell Blake (b. 1951), dramatic Rossini tenor extraordinaire. Do look up his Orestes at the 1987 Pesaro ERMIONE, he is magnificent!
Shawn Melon ::
You have no idea the pleasure you give to people who like opera w / these full presentations.
*_Thank You !_*
This is wonderful!
Amazing June Anderson! 🌹👏👏👏💐❤
Many thanks to Shawn Melon for posting this outstanding performance of the 1816 dramatic masterpiece, Otello. Written at age 24 (Verdi at 74, WAS a bit
older), it was Rossini's 19th opera and this video showcases the talents of 3 outstanding American artists in a vividly-recorded production.
Tenors Chris Merritt and Rockwell Blake sing with masculine passion, and
along with soprano June Anderson, possess the necessary bel canto skills
to make this version truly a memorable experience.
BRAVO!
Wow. What did I just listen to? And poor me who thought Semiramide was unsurpassable? And this at 24 years of age? Rossini deserves a much bigger, broader, and greater presence than he has.
Triomphe mérité pour un Otello de légende . Viva ROSSINI !
ROSSINI forte! Rossini era è sarà sempre ricordato...
Every time he opens his mouth, Rockwell Blake steals the show !! The 20-second note he holds at 1:09:53 is pure beauty :) To say nothing of his impeccable "Come mai non senti", without doubt the best I've ever heard, powerful, sensitive, passionate, controlled. From 1:30:00 you can see June Anderson, head hung low, thinking "how am I supposed to follow that ?!! How can I sneak off this stage without anyone noticing ?" :-)
Bravo !
Están todos enormes!!!! Pero lo de Chris Merrit es maravilloso,
Thank you so much for this wonderful opera!!!
June Anderson 💙
Rockwell Blake 🤍
Chris Merrit ❤️
Act 1
A public square in Venice
The Doge of Venice and all the senators, including a nobleman Elmiro, are waiting for the return of the Venetian fleet, commanded by the North African general, Otello. Under Otello’s command, the Venetian forces have just driven the Turks out of Cyprus, restoring the eastern Mediterranean to Venetian rule. Through the arches at the back of the square can be seen the quayside, thronged with people - ships can be seen approaching, and Otello is proclaimed as a public hero. Otello disembarks and, followed by his two lieutenants, Iago and Rodrigo (the Doge’s son), approaches the Doge. He announces that Cyprus has been liberated and secured against further invasion. His mission is complete, and he lays at the Doge’s feet his own sword and the captured arms and war-flags of the defeated Turkish. forces The Doge asks how the city can reward his bravery and Otello replies that all he wants is that Venice should accept him, a Moor, a son of Africa, as its own. Iago mutters that this is too presumptuous, and Rodrigo replies that Otello’s request is fatal to his, Rodrigo’s, own ambitions. The Doge, however, responds by returning Otello’s unconquered sword, crowning him with the laurel wreath of victory, and confirming that Otello is indeed a son of Venice. Iago and Rodrigo again mutter their disapproval to one another. Otello wonders whether he, an outsider with a different appearance and different customs, can really be accepted, and the Doge tells him that Venice respects heroism without condition. Otello is grateful, and comments to himself that his real happiness will come when love crowns his achievement. Rodrigo overhears this and is incandescent with rage, so much so that Iago has to restrain him, whispering that they must not reveal their plans of revenge against Otello. As the senators and the people leave to celebrate a public triumph ceremony, Otello again talks of love bringing him hope of happiness. Iago moves aside and Elmiro approaches Rodrigo. It now becomes clear that Elmiro has a daughter, Desdemona. Rodrigo is in love with her, and asks how she is. Elmiro replies that she has been weeping and sighing all the time that the fleet has been away. He leaves to join in the celebrations and Iago emerges from the shadows. Rodrigo asks him whether Elmiro is so taken with the Moor’s success that he will sacrifice his only daughter to an unworthy marriage, and Iago replies that Rodrigo should learn to trust him, because he has the means of destroying Otello. He shows Rodrigo a letter, saying that they must maintain silence but act quickly. In a duet, they gloat over their alliance and their plan to bring Otello down.
The scene changes to Elmiro’s palace
Desdemona is with her maid Emilia. Emilia tells her that now that Otello has returned victorious, Desdemona should be happy again, but Desdemona replies that her earlier anxiety was for Otello’s safety, but that now she is concerned that her father’s hatred of Otello might destroy their happiness. When Otello had left Venice to lead the campaign, Desdemona had sent him a letter containing a lock of her hair, but the letter never reached him - it was intercepted by Elmiro, who read it and assumed that it was intended for Rodrigo. She has received no letters from Otello since then and is terrified that he no longer loves her. Emilia reassures her that lovers often imagine non-existent disasters. Iago approaches and Desdemona and Emilia leave quickly - they do not trust him and Desdemona does not want him to see any anxiety in her face. Iago sees them leave and comments that although he once courted Desdemona he has lost all feeling for her, and since she rejected him for ‘a vile African’, he intends to make her regret it. Elmiro arrives with Rodgrigo, and he tells Rodrigo that he proposes to give him Desdemona’s hand in marriage. He explains that together they can overturn Otello, and urges Rodrigo to persuade the Doge, his father, that Otello has ambitions that are not in Venice’s interests. Elmiro then tells Desdemona that he has arranged something to please her. Full of foreboding, Desdemona asks Emilia what the surprise can be: Emilia wonders whether Elmiro has at last come to like Otello. A group of servants and Elmiro’s friends sing a chorus in praise of marriage, and when Desdemona sees her father with Rodrigo she realises what he has arranged. In a horrified aside, Desdemona reveals that she already has a husband, but no-one hears her. Elmiro is surprised at her reaction to Rodrigo, and Rodrigo pushes her for a response. To add to her confusion, Otello enters, and is horrified to see Desdemona apparently yielding to Elmiro’s pressure and Rodrigo’s passion. His men try to restrain him, but he interrupts and tells them that she has already committed herself; she is married to him. When Desdemona admits that this is true, Elmiro curses her and drags her out. Rodrigo shouts threats at Otello.
BRAVO!!!!
Otello di Rossini, l'Opera più bella mai scritta. Detto da Verdi.
@philuip No! Verdi said: this is the most beautiful Opera ever written
Prima che Verdi scrivesse la sua. Resta comunque una bella lotta tra i due massimi giganti.
🇻🇦🌺💒🪅⛑💞🦁📚🌺🇻🇦🌺💞🌿🇲🇬🏵🍥🎶😇✒🎶💐🫂🍥🍭💮💝✝️💞🪅⛑🇻🇦🌺💒🌺🇻🇦💝✝️✒🎶🌿🏵🇲🇬🍥😇💐🫂🍭💮🍥❤💮🙋♂️
Rockwell Blake al massimo della forma, bravissimo Di Cesare, bene tutti gli altri
M
Great cast! Thank you for this post
THANKS a lot
anche io ero presente un ricordo straordinario. gazie
The orchestra sounds so much better on period instruments. Especially the horn solo in Desdemona's entrance.
*wistful sigh* They don't make singers like this anymore. Thank you so much Shawn Melon.
They do, they are just fighting to be heard. Having attended a conservatoire for over 5 years now I can happily say that there are some wonderful artists blossoming.
Really are we comparing Rockwell Blake and Cris Merritt to Juan Diego Florez and Lawrence Brownlee? June Anderson to Joyce DiDonato, Patrizia Ciofi and Maria Agresta? Yes they make singers like this and better. Now if it was Lella Cuberli even I'd understand.
Florez has *nothing* on Rocky ---except a large ego, and limited acting skills
😎😎😎
1:48:47 "Ah! vieni nel tuo sangue "
Amazing Rockwell Blake. See 1.22.30.
Absofreakinglutely!!!
😊😊😊
Act 2
The garden of Elmiro’s house
Rodrigo is still pursuing Desdemona; she pleads with him to placate her father, and then tells Rodrigo that she is Otello’s wife. Rodrigo berates her for spurning his love and leaves swearing that he will punish Otello, referring to him as ‘the traitor’. Distraught, Desdemona tells Emilia that she has revealed the truth to Rodrigo, and Emilia, terrified for Desdemona’s safety, leaves to find some means of escape for her. Otello confesses to Iago that he is eaten up with agony having, as he thinks, seen Desdemona betray his love. Iago reassures him that his victory against the Turks will protect him against his enemies, but hints that he knows more about the situation. Otello insists on knowing the truth and Iago slyly reveals that not only has Desdemona betrayed Otello, but that he has proof of that betrayal and the means of letting Otello take his revenge on Desdemona for her disloyalty: he produces the letter which Desdemona had written to Otello and lets Otello think that it really was written to Rodrigo. Otello reads the letter and believes Iago, who tells him that he must take appropriate revenge. Otello swears to kill her and then himself. Iago, certain now of Otello’s destruction, leaves, gloating. Rodrigo joins Otello and tells him that he knows how to help Otello take revenge. Otello says that he intends to take his revenge on both of them. Desdemona joins them, and both men accuse her of infidelity. Confused, Desdemona hears Otello curse her, and as she begs him to stop, he and Rodrigo leave to fight one another. Desdemona faints, and Emilia comes in and revives her. She tries to lead Desdemona away, but Desdemona is virtually delirious. As a group of her friends try to comfort her, her father reappears and tells her that his pity has turned to cruelty and that she will soon hear what punishment he has devised for her.
Act 3
Desdemona’s bedchamber
Desdemona and Emilia are trying to comfort one another. In the distance, a gondolier returning to his home across the lagoon can be heard singing a verse from Dante: ‘There is no greater sorrow than to recall a time of happiness in a moment of misery’. Moved by this song, Desdemona observes that he can at least return home to the bosom of his family - she cannot even do that now. Sadly, she sings to Emilia of a friend she once had, Isaura. Accompanying herself on a harp, she sings of Isaura, wounded by a cruel love, sitting under a willow tree in her grief. The song becomes more and more mournful, and it is interrupted by a violent gust of wind from an impending storm which shatters some panes of the window. She sees this as an omen, and cannot finish the next verse of the song. She asks Emilia to kiss her for the last time and then go. Alone, Desdemona prays that sleep might calm her for a while, and that if she is to die, that Otello might come and weep over her ashes. As she sleeps, Otello enters and reveals that Rodrigo lies stabbed. He imagines that Desdemona is dreaming of Rodrigo, and as he looks at her asleep on the bed, he is moved by her beauty - but, certain that it is his looks which have destroyed her love for him, he hardens his heart as he prepares to kill her. Desdemona murmurs ‘Oh, dearest love’ in her sleep and Otello again holds back. As the storm increases, and lighting flashes reveal her beauty, she wakes. Swearing her innocence and her inability to understand what is happening, she urges Otello to end her misery by killing her. He tells her that Iago has already killed Rodrigo and that it is now her turn. At the climax of the storm, Otello stabs her to death. There is a knocking at the door: it is Lucio, a friend. He tells Otello that Rodrigo is safe, and that Iago is now dead, but that he confessed to all his deceit before he died. The Doge, Rodrigo and Elmiro burst in to tell Otello that he is forgiven, that he has Rodrigo’s support, and that he can now marry Desdemona. Otello, distraught, stabs himself, and dies, saying that Desdemona will indeed now have him, but that he will be punished for his crime.
Thanks for sharing this beautiful and detailed synopsis
Una versión magnifica
Alguien habla español por fin
Ein sehr guter Tenor wie Video Dirigent Theater
Golden Age of Belcanto cast
Premio maggior di questo
da me sperar non lice.
Ma allor sarò felice
quando il coroni amor.
Did Rossini really write a low A for a tenor (21:42)?!? Insane...
and with a lower pitch (435 hz ?)
Remember, the first Otello was Andrea Nozzari, a tenor of very baritonal quality.
@@tiberiuscave4617 in Zelmira caballeta Chris merrit descends from high D to low A too
Why am I here? I have a paper due tomorrow? For science?
Hello Melon.
The DVD is wonderful.
Where can I buy it?.
Thank you so much.
Is this Otello on DVD? I could only find the new one with Cecilia Bartolli, in an awful production. This looks and sounds so beautiful. Thank you for uploading. Opera rara? Why?
Eine gute sopranistin
Come si vede che Verdi non aveva ancora mai ascoltato Verdi!
BUONA LA BATTUTA. E ALLORA, BATTUTA PER BATTUTA: PERO'' AVEVA ASCOLTATO ROSSINI ! PER ME, IL "CIGNO DI PESARO" E' DI UNA GENIALITA' ... GALATTICA ! ! !
Intérpretes ótimos. Apenas em linha geral o libreto de De Salvo reproduz a peça de Shakespeare. Além das situações alteradas, eliminou-se o personagem de Cássio, motivo da tragédia. E o final é completamente fora da obra do dramaturgo inglês.
O magistral trabalho de Boito para a ópera de Verdi é, dentro das limitações do gênero, fiel ao Otelo shakespeariano.
It is very easy to perceive Rossini after Wagner.
👍😊
2:49, "piano, piano, terra terra"
ソプラノの肩幅どうなってるねん
SE VOLETE VEDERE ME, ANDATE DIRETTAMENTE AL TEMPO 2:55...
I keep getting distracted by Merrit in blackface.
Otello, ossia il MORO di Venezia. Why are you distracted?
Перша тема з Россініани 1 М. Джуліані 2:26:38
A lot of talk about Blake, while I think Merritt was the better singer.
right there with you my man
I think you're probably right, but they've both got flaws, Blake is of course kind of harsh edged and Merritt (relatively) is kind of thin and sometimes pinched. Rockwell Blake has just historically received a lot of attention because he was among the first "real" coloratura tenors of the bel canto revival, I saw an interview with Marilyn Horne once where she said when they first started doing Rossini operas again there were women who had the coloratura technique to do it well (Callas, Sutherland, etc.), but most of the men were kind of faking it.
Irrespective of the tone/color you prefer --- Blake's technique was by far the better
😎😎😎
1:48:46
duetto irripetibile a questi livelli. Esercizio di bella calligrafia le esecuzioni dei giorni nostri.
Verdi was able to capture the theme of Otello, greater than Rossini
Don't you think the times they lived in ( different times ) would be one of the reasons for their individual styles.
Everything depends on the libreto......VERDI WAS A COLLABORATION WITHOUT WHICH THE OPERA WOULD NEVER HAVE HAPPENED.
BOITO PROVED A GREAT FRIEND AND PHSYCOLOGIST FOR VERDI....IF YOU CAN ....LOOK AT THEIR CORRISPONDENCE DURING THESE YEARS...THEN YOU WILL REALISE JUST HOW MUCH THE WORLD OWES TO ARRIGO BOITO!
NOTHING LESS THAN THE TWO GREATEST MASTERPIECES OF THE GREATEST OPERA COMPOSER OF ALL TIME....GIUSEPPE VERDI!
THANKYOU SHAKESPEARE.....THANKYOU BOITO!
AND....THANKYOU ROSSINI!!!
WITHOUT ROSSINI....THERE COULD NEVER HAVE BEEN VERDI......!
MY KNOWLEDGE OF THIS OPERA IS LIMITED ...BUT IT SOUNDS AND FEELS LIKE AN EARLY TO MIDDLE ROSSINI OPERA......VERY DIFFERENT FROM HIS WILLIAM TELL...HIS LAST OPERA....WHICH IF YOU LISTEN TO IT YOU CAN HEAR ALL SUBSEQUENT COMPOSERS BEING INFLUENCED BY ROSSINI WHO WHILE STILL YOUNG...HAD RETIRED TO A LIFE OF ENJOYMENT AND EXCESS....AFTER CONQUERING THE WORLD!
BRAVO MAESTRO!!!!PROOF THAT THERE IS LIFE AFTER ....OPERA
June Anderson reminds me of Joan Sutherland... But, to be honest, not my cup of tea...
Rossini was a pure genius. June Anderson and Chris Merritt are amazing, however Mr Merritt today would be labeled a racist for painting his face black. Just saying. :)
People need to build a bridge and get over it!
Its insane what people could get away with in the past. So glad those days are mostly behind us
They still do it like it isn’t fucking insulting when you could find a performer of race or simply not paint them at all and have a better director to convey the message
thanks for the PA. I'll stop watching now ;-)
Very good conductor. But in the third part the soprano run out of any voice power, this
singer instead of singing start to shouting and in some words sound very often has been
loosing articulation, and it is why very terrible understand what she is singing about.
presidente corrupto desonesto fora
Thank you! Very underrated opera!
Great cast! Thank you for this post
1:51:19
2:47:19
1:49:55
2:47:18
1:48:50