OTELLO - Opera in 4 acts - Gesamtaufnahme/complete recording (Irina Arkhipova Foundation, 2007)

Name: OTELLO - Opera in 4 acts - Gesamtaufnahme/complete recording (Irina Arkhipova Foundation, 2007)
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Verdi's OTELLO - Opera in 4 acts from the IRINA ARKHIPOVA FOUNDATION. 2-CD-Set including Libretto, 2007. THE VENETIAN MOOR COMING FROM RUSSIA Verdi's opera recorded in 2006 by Russian singers, Orchestra and Choir No doubts that Russian Vladislav Piavko ranks with Mario Del Monaco, Pertile, Zenatello, Martinelli, Fusati, Vikers, who are reputed the best performers of Otello on stage as well as in the recordings of this opera. Giuseppe PASTORELLO, President of the Association "Amici della Musica" and the International Contest "Vincenzo Bellini", opera singer, Italy Many critics consider "Otello" Verdi's greatest and most mature tragic opera. In it, he tried to do away with the traditional recitative-aria structure of opera, much as Richard Wagner had done, except that in some cases, the distinction between recitative and aria is more clearcut in "Otello" than in any of Wagner's operas. Verdi's librettist, Arrigo Boito, was extremely faithful to Shakespeare's original play, except for the omission of Act I of the drama. The roles of Otello (Othello) and Jago (Iago) are among the most fully developed in all of opera, almost as much so as in Shakespeare's original drama - especially the character of Otello himself (Jago is more of an out-and-out villain in the opera). Verdi raises his orchestral writing to new heights in this opera, using the orchestra almost as a participant in the story, instead of merely as accompaniment. For example, the orchestral writing help reveal the depth of evil in Jago - an evil possibly rivaled by only one other character in all of opera: Scarpia in Puccini's Tosca. The three leading roles in the opera are among Verdi's most demanding, both as singing and as acting roles. The role of Othello is the top of the repertoire for dramatic tenor.

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