Verdi - Otello / Plácido Domingo, Scotto, Milnes, Levine

Editorial Reviews
Amazon.com
This is Plácido Domingo's first recording of his signature role, and what he can't do with sheer vocal force, he accomplishes somewhat less resourcefully with vocal color, of which he has plenty. The main draw, though, is Renata Scotto's dramatically acute Desdemona, recorded a tad late (1978) in her vocal life but better than not at all. The villainous Iago is the vocally gleaming but unsubtle Sherrill Milnes. James Levine's conducting is a bit green, a bit bombastic, and propulsive in a one-dimensional way, though one must remember he was working with the National Philharmonic, a pick-up orchestra rather than a seasoned opera ensemble. --David Patrick Stearns

Verdi - Otello / Plácido Domingo, Scotto, Milnes, Levine, Music, Giuseppe Verdi, James Levine, Plácido Domingo, Renata Scotto, Jean Kraft, Frank Little, Sherrill Milnes, Paul Plishka, Malcolm King, Peter Crook, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Verdi - Otello / Plácido Domingo, Scotto, Milnes, Levine
Average customer rating: 4.5 out of 5 stars
  • An Uneven Desdemona
  • Brutal and Untamed
  • Ah yes...the best
  • The Best Otello on Disc
  • Forget about this Otello
 Verdi - Otello / Plácido Domingo, Scotto, Milnes, Levine
Jean Kraft , Frank Little , Sherrill Milnes , Paul Plishka , Malcolm King , and Peter Crook
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009NJ1
Release Date: 1998-07-28

Tracks:

  1. Ottelo: Act 1 - Una vela!
  2. Ottelo: Act 1 - Esultate!
  3. Ottelo: Act 1 - Fuoco di gioia!
  4. Ottelo: Act 1 - Roderigo, beviam!
  5. Ottelo: Act 1 - Inaffia l'ugola!
  6. Ottelo: Act 1 - Capitano, v'attende
  7. Ottelo: Act 1 - Ol`! che avvien?
  8. Ottelo: Act 1 - Gi` nella notte
  9. Ottelo: Act 1 - Quando narravi
  10. Ottelo: Act 1 - Venga la morte!
  11. Ottelo: Act 2 - Non ti cruciar
  12. Ottelo: Act 2 - Credo in un Dio crudel
  13. Ottelo: Act 2 - Eccola
  14. Ottelo: Act 2 - Cir m'accora
  15. Ottelo: Act 2 - Dove guardi splendono
  16. Ottelo: Act 2 - D'un uom che gerne
  17. Ottelo: Desdemona rea!
  18. Ottelo: Act 2 - Ora e per sempre addio
  19. Ottelo: Act 2 - Era la notte
  20. Ottelo: Act 2 - Sl, pel ciel!

Tracks:

  1. Ottelo: Act 3 - Introduction
  2. Ottelo: Act 3 - La vedetta del porto
  3. Ottelo: Act 3 - Dio ti giocondi, o sposo
  4. Ottelo: Act 3 - Dio! mi potevi scagliar
  5. Ottelo: Act 3 - Vieni, l'aula eserta
  6. Ottelo: Act 3 - Questa na ragna
  7. Ottelo: Act 3 - Come la uccider
  8. Ottelo: Act 3 - Viva il Leon di San Marco
  9. Ottelo: Act 3 - A terra! ... s.. nel livido fango
  10. Ottelo: Act 4 - Era pimo?
  11. Ottelo: Act 4 - Mia madre aveva una povera ancella
  12. Ottelo: Act 4 - Ave Maria
  13. Ottelo: Act 4 - Chi
  14. Ottelo: Act 4 - Calma come la tomba
  15. Ottelo: Act 4 - Niun mi tema

Amazon.com

This is Plácido Domingo's first recording of his signature role, and what he can't do with sheer vocal force, he accomplishes somewhat less resourcefully with vocal color, of which he has plenty. The main draw, though, is Renata Scotto's dramatically acute Desdemona, recorded a tad late (1978) in her vocal life but better than not at all. The villainous Iago is the vocally gleaming but unsubtle Sherrill Milnes. James Levine's conducting is a bit green, a bit bombastic, and propulsive in a one-dimensional way, though one must remember he was working with the National Philharmonic, a pick-up orchestra rather than a seasoned opera ensemble. --David Patrick Stearns

Customer Reviews:

4 out of 5 stars An Uneven Desdemona.......2007-02-11

Placido Domingo does a terrific job as Otello. His voice is luscious, he has no trouble with the high notes, and his acting is very dramatic. Any criticism of his performance here is unfounded. And Sherrill Milnes does a great job as the evil, sneering Iago. It's true that Renata Scotto is a little past her prime here, but it is not consistent. In the beginning of the recording her voice is beautiful, but too light, and has trouble being heard. In the middle of the recording her voice is rough, and she has trouble with the high notes. But in Act IV, she sings well; the Willow Song and Ave Maria are lovely.

5 out of 5 stars Brutal and Untamed.......2006-05-12

Opinions hugely differ on this Otello set and I am on the admirers' side. To sum up, this is a brutal and untamed performance both vocally and orchestrally. Every scene is treated explicitly. Some might miss the psychological layers other versions offer but it's this recording's very lack of complexity that attracts me to its sheer power. Don't be fooled by the obscurity of National Philharmonic - they are absolutely brilliant in dramatic moments with penetrating brass and stone-grinding lower strings.
I also own another of Domingo's three Otellos (Maazel's - the movie soundtrack). There he is more subtle (or intelligent) but not as gripping as in this Levine set. To make the matter worse, Maazel and the La Scala force sound less than committed in many places though they show absolute brilliance at a few climaxes.
For sheer power and propulsive-ness I score Levine's version very highly.

5 out of 5 stars Ah yes...the best.......2002-10-04

Otello is my favorite opera. My very first experience of opera was watching Zeferelli's movie version, and being thrilled. But even more thrilling was purchasing this recording to hear Otello in its full glory. Casting superb, even down to Roderigo who has this lovely nasal whiny quality that's just the perfect touch for that character. I thrill every time i hear the end of Act II Duet between Milnes and Domingo. This is wonderful. Thrilling, painful and beautiful. This is what opera can do.

5 out of 5 stars The Best Otello on Disc.......2002-05-09

Otello is arguably the greatest of all operas, but its three lead roles are extremely difficult and the role of the conductor is not easy either. This makes Otello one of the toughest operas to pull off and all of the available recordings have their share of problems. This James Levine recording is the best available because it has the fewest problems.

Let's start with the lead role. Domingo is in wonderfully youthful voice (he was still under 40 when the recording was made). He produces a glowing heroic tone and none of the vocal challenges of the role are beyond him. Whereas other tenors, such as Vickers and McCracken, can't handle the high note in the Second Act recitative with Iago and make an ugly sound as a result, Domingo has no problem with it. His naturally dark voice was perfectly suited to the role and he is almost certainly the best Otello on record. There is nothing wrong with his characterization on this recording either. His dramatic points of emphasis strike the listener as wholly appropriate and he doesn't ham up the two big solos as many other singers do. Perhaps he does not sound as tormented as Vickers, but there is no question which of the two does the better singing.

Renata Scotto's performance as Desdemona is wonderful. It is vocally slightly flawed, but it is intensely characterful. There is probably no other soprano who has so effectively conveyed Desdemona's anguish and fear. She works very effectively with Domingo and their account of the First Act love duet is very beautiful.

Sherrill Milnes is outstanding as Iago. His powerful voice is very well suited to the role and he had a great talent for playing evil characters - Iago being the most evil of all. Many critcize him for not being characterful, but the recording proves otherwise. He is variously menacing and charming and his overall characterization sounds just right.

The minor roles are all reasonably well taken. Frank Little, Jean Kraft and Paul Plishka are all efficient as Cassio, Desdemona and Lodovico respectively. The character-tenor Paul Crook stands out in the tiny role of Roderigo, putting in a very credible performance as Iago's rather dim-witted foil.

Levine himself does a fine job. As so often in his Verdi recordings, he follows Toscanini's example and keeps the level of tension high, often producing some electrifying moments. His is a very direct, perhaps conventional, reading but it is good that he lacks the distracting eccentricities in this work that plague recordings by others, such as Karajan. The London pick-up orchestra, the National Philharmonic, don't sound great in a couple of episodes, but, for the most part, they follow Levine very well.

If you can buy just one recording of Otello, this is the one to get.

3 out of 5 stars Forget about this Otello.......2002-01-10

As somebody noted this recording was made 2 years after Domingo's Scala-debut under Carlos Kleiber. Though Domingo's Otello is always interesting it is here hampered by the uninspired not to say sloppy conducting of James Levine. Has that conductor ever made a recording that showed that he is just remotely inspired by the work he is conducting? RCA should have gone for the genius of Carlos Kleiber instead, though he probably wasn't available.

Sherril Milnes seems quite uninterested in his part as well so the onus is all on the main protagonists. Renata Scotto's Desdemona is excellent, subtle, soft, inspired, emotionally accomplished. She is probably - along with Victoria de los Angeles - the best Desdemona on record.

If you only have one Otello though do not go for this one. Somebody mentioned the Toscanini-recording - also at mid-price - and despite the slightly dated sound I cannot imagine anybody would be disappointed with that one. If you want modern stereo sound I would recommend both Karajan-recordings, both with glorious orchestral playing (Verdi was indeed as good an orchestrator as Wagner - it just takes a Karajan to prove it), and both at mid-price. Karajan's second recording has the best Otello in Jon Vickers. You would have to go back to Martinelli to find an Otello of equal stature; a great and tormented Otello at the same time.

Vicker's performance is less accomplished on my favourite Otello-recording but he is in more youthful voice. On this his first recording - also on RCA - he is amply supported by the fine conducting of Tullio Serafin, and his Iago is of equal calibre, perhaps Tito Gobbi's finest performance on record. The recording is in fine spacious stereo - and at mid-price.
Verdi: Otello
Average customer rating: Not rated
    		Verdi: Otello

    Manufacturer: RCA
    ProductGroup: Music
    Binding: Audio CD

    All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
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    Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
    ItalianItalian | Languages | Opera & Vocal | Styles | Music
    SopranosSopranos | Voices | Opera & Vocal | Styles | Music
    TenorsTenors | Voices | Opera & Vocal | Styles | Music
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    ASIN: B000003EMR
    Release Date: 1990-10-25

    Tracks:

    1. Act l: Una vela! - King/Little/Milmes/Crook/Chor
    2. Act l: Esultate! - Domingo/Milnes/Crook
    3. Act l: Fuoco di gioia! - Chor
    4. Act l: Roderigo, beviam! - Milnes/Little/Crook
    5. Act l: Inaffia l'ugola! - Milnes/Crook/Little
    6. Act l: Capitano, v'attende - King/Milnes/Little/Crook/Domingo
    7. Act l: Ola! che avvien? - Domingo/Milnes/Little/King/Scotto
    8. Act l: Gia nella notte - Domingo/Scotto
    9. Act l: Quando narravi - Scotto/Domingo
    10. Act l: Venga la morte! - Domingo/Scotto
    11. Act ll: Non ti cruciar - Milnes/Little
    12. Act ll: Credo in un Dio crudel - Sherrill Milnes
    13. Act ll: Eccola - Sherrill Milnes
    14. Act ll: Cio m'accora - Milnes/Domingo
    15. Act ll: Dove guardi splendono - Milnes/Chor/Scotto/Domingo
    16. Act ll: D'un uom che geme - Scotto/Domingo/Milnes/Kraft
    17. Act ll: Desdemona rea! - Domingo/Milnes
    18. Act ll: Ora e per sempre addio - Domingo/Milnes
    19. Act ll: Era la notte - Domingo/Milnes
    20. Act ll: Si, pel ciel - Domingo/Milnes

    Tracks:

    1. Act lll: Introduction - Chor
    2. Act lll: La vedetta del porto - King/Domingo/Milnes
    3. Act lll: Dio ti giocondi, o sposo - King/Domingo/Milnes/Scotto
    4. Act lll: Dio! mi potevi scagliar - Domingo/Milnes/Little
    5. Act lll: Vieni, l'aula e deserta - Milnes/Little/Domingo
    6. Act lll: Questa e una ragna - Milnes/Little
    7. Act lll: Come la uccidero? - Domingo/Milnes
    8. Act lll: Viva il Leon di San Marco! - Chor/Plishka/Domingo/Scotto/Milnes
    9. Act lll: A terra!...si...mel livido fango - Domingo/Scotto/Kraft/Little/Crook/Plishka/Milnes
    10. Act lV: Era piu calmo? - Kraft/Scotto
    11. Act lV: Mia madre aveva una povera ancella - Renata Scotto
    12. Act lV: Ave Maria - Renata Scotto
    13. Act lV: Chi e la? - Scotto/Domingo
    14. Act lV: Calma come la tomba - Domingo/Kraft/Scotto/Milnes/Little/Plishka/King
    15. Act lV: Niun mi tema - Placido Domingo

    Amazon.com

    Although Verdi was a lifelong lover of Shakespeare, he did not get a Shakespearean libretto that was worthy of his and Shakespeare's art until late in life. Fellow composer and first-class librettist Arrigo Boito lured Verdi out of retirement with the libretti of Otello and, later, Falstaff, both masterpieces. Age had taken away nothing from Verdi's genius; he rose to the challenge of these libretti with music whose greatness makes one regret that Boito did not go on to King Lear. The title role demands a tenor of great power, and Placido Domingo has it. Renata Scotto's high notes are a bit past their prime, but her characterization of Desdemona is penetrating, and Sherrill Milnes presents a credibly wicked Iago. Levine conducts masterfully. --Joe McLellan

    Amazon.com

    The earth nearly cracks open in this account of Verdi's most dramatic opera, a study of love and jealousy that even in its quietest moments never once relaxes its grip. Domingo has the vocal stature and expressive range to do the Moor full justice, and is ably partnered by Scotto and Milnes. The playing is top-notch. --Ted Libbey

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