I don't think any baritone ever came close to matching Tibbett in Era la Notte. Nobody captured the incredibly cunning and sly portrayal of Iago's deception, and the pure hateful evil that the listener can hear seeping through his phrasing, given what we know of his real intent. Every syllable is phrased with utter perfection. It is truly painful to hear the monotonous performances of today's baritones after hearing this gem by Tibbett, and appreciating every nuanced inflection of his voice.
Just listen to the Caruso/Ruffo Si, pel Ciel. not ever touched. BUT,...listen to Corelli sing that monstrously effective opening for what THAT might have been, if he had ever sung the role.
I saw Corelli 4 time and his voice from heaven was like a huge umbrella covering every thing from stage to gallery. But the quality is too elegant and romantic he does not suit villians. However the ultimate for Tosca, Fanciulla and Chenier and I saw him in these three!
foir sound, do you think this is any better than their recording? more dramatic perhaps, but the recording had the voices in better balance than the miking of the performances
Oh, I think the 1940 live and 1939 studio versions may have better sound. This is just likely the best sound the 1941 live performance is available in.
Martinelli is past his prime here, and he sounds more worn than in his 1938 recordings. But I think the ping in his voice carried him through the role. Del Monaco was incredible. I also recommend looking into Zaneli and Vinay, both great Otellos.
Martinelli was famous for this role. And there have been plenty of fine Otellos. I saw the opera with James McCracken singing Otello (and Sherrill Milnes as Iago) in 1972, when the Met still toured. It was wonderful. The power and beauty of the orchestra was otherworldly.
Giuseppe Verdi would never have chosen Mario del Monaco as Otello, he also considered Tamagno too powerful for the part, so clear-voiced tenors, if they have all the l notes, are much better suited to the part, Del Monaco was impressive in volume but not he had ninet else!
Martinelli was an exceptional Otello. One may not like the timbre of his voice but one cannot contest the dramatic aspects of his interpretation. Tibbett is just wonderful - all around.
![Leontyne Price’s Only Liù - with Nilsson and di Stefano [1961 live, remastered]](http://i.ytimg.com/vi/fFv15_rLTuQ/mqdefault.jpg)
![Leontyne Price’s Only Liù — with Nilsson and di Stefano [1961 live, remastered]](/img/tr.png)
![Signore, ascolta (Vishnevskaya) & Non piangere (Corelli) - 1964 La Scala [BEST SOUND]](http://i.ytimg.com/vi/aunokYAvpwQ/mqdefault.jpg)
I don't think any baritone ever came close to matching Tibbett in Era la Notte. Nobody captured the incredibly cunning and sly portrayal of Iago's deception, and the pure hateful evil that the listener can hear seeping through his phrasing, given what we know of his real intent. Every syllable is phrased with utter perfection. It is truly painful to hear the monotonous performances of today's baritones after hearing this gem by Tibbett, and appreciating every nuanced inflection of his voice.
Tibbett in great voice here, Martinelli not so much. Martinelli in much better voice in the 1938 recording!
Just listen to the Caruso/Ruffo Si, pel Ciel. not ever touched. BUT,...listen to Corelli sing that monstrously effective opening for what THAT might have been, if he had ever sung the role.
I saw Corelli 4 time and his voice from heaven was like a huge umbrella covering every thing from stage to gallery. But the quality is too elegant and romantic he does not suit villians. However the ultimate for Tosca, Fanciulla and Chenier and I saw him in these three!
I feel that this particular recording is overrated, the Caruso/Ruffo one. Ruffo's early Credo is phenomenal on the other hand
foir sound, do you think this is any better than their recording? more dramatic perhaps, but the recording had the voices in better balance
than the miking of the performances
Oh, I think the 1940 live and 1939 studio versions may have better sound. This is just likely the best sound the 1941 live performance is available in.
Martinelli's voice is not made to sing Othello! theres No other Othello but, Del Monaco!
Martinelli is past his prime here, and he sounds more worn than in his 1938 recordings. But I think the ping in his voice carried him through the role. Del Monaco was incredible. I also recommend looking into Zaneli and Vinay, both great Otellos.
@@matOpera Mine was not bad as a modern lyrical interpretation ;-)
Martinelli was famous for this role. And there have been plenty of fine Otellos. I saw the opera with James McCracken singing Otello (and Sherrill Milnes as Iago) in 1972, when the Met still toured. It was wonderful. The power and beauty of the orchestra was otherworldly.
Giuseppe Verdi would never have chosen Mario del Monaco as Otello, he also considered Tamagno too powerful for the part, so clear-voiced tenors, if they have all the l notes, are much better suited to the part, Del Monaco was impressive in volume but not he had ninet else!
Martinelli was an exceptional Otello. One may not like the timbre of his voice but one cannot contest the dramatic aspects of his interpretation. Tibbett is just wonderful - all around.