this is definitely my favourite!! I don't see how it could be better. Mario is at his best here, and Petrella is fantastic! They seem really to sing well together… so much energy. And I love the way she interprets Desdemona... there is so much nuance. This is probably my most- played vinyl record… but I only have the highlight version. I've been looking for the whole thing for a while!
Can you tell me what year this is,he sounds deeper in voice than the 1958 met with de los angeles,either way its top class,have just been listening to zanelli and margaret sheridan singing this duet on my old hmv wind up gramaphone and it too is excellent
A 36 anni mostra molto più impeto e vocalità poderosa rispetto alle interpretazioni della seconda metà degli anni '50, quando riesce a dare più lirismo e dolcezza a quello che è il duetto d'amore più sublime della storia della lirica. Si ascolti la versione con la Carteri, la Tebaldi del '55, la Tucci del '59. È immenso. Qualcosa di indescrivibile e irripetibile questo portento di madre natura.
@@BaroneVitellioScarpia1 I just found out Callas sang Fedora with Corelli. Fedora is an opera that caters to the tenor and not the soprano. The soprano has mo importance. I assume Callas sang it as a favor for Corelli. I just can not understand how come she sang Fedora but not Desdemona. We also know Desdemona is not the main character of the opera.
GIÀ NELLA NOTTE DENSA Na noite densa, Vênus brilha no céu, vista Pelo casal Otelo e Desdemona, em dueto Que marca encontro de júbilo, ela ativista Do amor, poeticamente em tempo allegreto. Otelo revela: já na noite densa, todo clamor Se extingue, já meu coração está tremendo, Domesticado no abraço, fortalecido no amor. A guerra tinha trovejado, o mundo vendo Horrores e o casal valorizam os sentimentos. Ocasião idêntica com o momento planetário São sinais mostrados pela rosa dos ventos. A pandemia espalhando ao mundo a chance De fazer brilhar a luz, saindo do imaginário Mundo em que foi destruído, sem alcance. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - GIÀ NELLA NOTTE DENSA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Del Monaco is tremendous -- big, dark, but also more musical than people tend to give him credit for. But Petrella? I'm sorry. I get that she uses the chest excitingly (although I am not convinced by the dramatic intent behind it). But I have not heard one performance of hers where she is not flat or heavy above the staff. She didn't have a conception of how to navigate the passage.
Wow!
This is the greatest recording of Otello.
this is definitely my favourite!! I don't see how it could be better. Mario is at his best here, and Petrella is fantastic! They seem really to sing well together… so much energy. And I love the way she interprets Desdemona... there is so much nuance.
This is probably my most- played vinyl record… but I only have the highlight version. I've been looking for the whole thing for a while!
@@francisca1378 I also like Ramon Vinay's Otello, I think he is not worse than Del Monaco. In fact, Del Monaco himself is a huge fan of Vinay.
Can you tell me what year this is,he sounds deeper in voice than the 1958 met with de los angeles,either way its top class,have just been listening to zanelli and margaret sheridan singing this duet on my old hmv wind up gramaphone and it too is excellent
@@amantedellopera1681 This is from the 1951 recording in Mexico City.
@@BaroneVitellioScarpia1 wow i thought it was later,thanks for replying,a damn fine bit of singing by both singers,we will never hear the likes again
A 36 anni mostra molto più impeto e vocalità poderosa rispetto alle interpretazioni della seconda metà degli anni '50, quando riesce a dare più lirismo e dolcezza a quello che è il duetto d'amore più sublime della storia della lirica. Si ascolti la versione con la Carteri, la Tebaldi del '55, la Tucci del '59. È immenso. Qualcosa di indescrivibile e irripetibile questo portento di madre natura.
Yea she was the real deal
Clara Prettella is just like Callas but with a lyric voice. Her voice is A class! So much drama and ring to her sound - it’s almost ridiculous. ❤️
It's so pity that Callas didn't sing Desdemona.
@@BaroneVitellioScarpia1 I just found out Callas sang Fedora with Corelli. Fedora is an opera that caters to the tenor and not the soprano. The soprano has mo importance. I assume Callas sang it as a favor for Corelli. I just can not understand how come she sang Fedora but not Desdemona. We also know Desdemona is not the main character of the opera.
Clara couldn't act to save her life, unlike Callas.
Fedora is a real Diva-Role & wonderful Music ....
I think it's the "Otello" of Mexico.
it is!
GIÀ NELLA NOTTE DENSA
Na noite densa, Vênus brilha no céu, vista
Pelo casal Otelo e Desdemona, em dueto
Que marca encontro de júbilo, ela ativista
Do amor, poeticamente em tempo allegreto.
Otelo revela: já na noite densa, todo clamor
Se extingue, já meu coração está tremendo,
Domesticado no abraço, fortalecido no amor.
A guerra tinha trovejado, o mundo vendo
Horrores e o casal valorizam os sentimentos.
Ocasião idêntica com o momento planetário
São sinais mostrados pela rosa dos ventos.
A pandemia espalhando ao mundo a chance
De fazer brilhar a luz, saindo do imaginário
Mundo em que foi destruído, sem alcance. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - GIÀ NELLA NOTTE DENSA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Del Monaco is tremendous -- big, dark, but also more musical than people tend to give him credit for. But Petrella? I'm sorry. I get that she uses the chest excitingly (although I am not convinced by the dramatic intent behind it). But I have not heard one performance of hers where she is not flat or heavy above the staff. She didn't have a conception of how to navigate the passage.