Jose Carreras, Frederica von Stade, Jesus Lopez-Cobos – Rossini: Otello (1992)
Artist: Jose Carreras, Frederica von Stade, Jesus Lopez-Cobos
Title: Rossini: Otello
Year Of Release: 1992
Label: Philips Classics
Genre: Classical, Opera
Quality: APE (image+.cue,log,scans)
Total Time: 02:33:11
Total Size: 670 mb
WebSite: Album Preview
Tracklist: Title: Rossini: Otello
Year Of Release: 1992
Label: Philips Classics
Genre: Classical, Opera
Quality: APE (image+.cue,log,scans)
Total Time: 02:33:11
Total Size: 670 mb
WebSite: Album Preview
CD1:
01. Sinfonia (8:25)
02. ATTO PRIMO - Viva Otello (3:35)
03. Marcia (1:49)
04. Vincemmo, o prodi (2:39)
05. Ah! si', per voi giа sento (7:06)
06. Rodrigo! (3:04)
07. No, non temer (5:18)
08. Inutile e' quel pianto (6:24)
09. Vorrei che il tuo pensiero (4:11)
10. Ma chi miro? (5:20)
11. Santo Imen! (4:09)
12. Dove son. Che mai veggio. (1:03)
13. Nel cor d'un padre amante (4:41)
14. Ti parli d'amore (4:07)
15. L'infida, ahime'! che miro (3:12)
16. Incerta l'anima (5:51)
17. ATTO SECONDO - Lasciami (1:43)
18. Che ascolto (6:10)
CD2:
01. M'abbandono' (2:25)
02. Che feci (5:39)
03. Non m'inganno (4:02)
04. L'ira d'avverso fato (2:29)
05. E a tanto giunger puote (0:52)
06. Ah vieni, nel tuo sangue (9:00)
07. Tra tante smanie (2:29)
08. Desdemona, che veggo! (2:06)
09. Che smania. Ohime', che affanno! (5:43)
10. L'error d'un infelice (3:13)
11. ATTO TERZO - Ah! Dagli anni oppressa (3:52)
12. Nessun maggior dolore (5:06)
13. Assisa a' pie' d'un salice (9:02)
14. Deh calma, o ciel, nel sonno (2:27)
15. Eccomi giunto inosservato (6:50)
16. Non arrestare il colpo (2:52)
17. Notte per me funesta (2:24)
18. Che sento... chi batte (3:36)
Performers:
Otello - Jose Carreras
Desdemona - Frederica von Stade
Jago - Gianfranco Pastine
Rodrigo - Salvatore Fisichella
Emilia - Nucci Condo'
Elmiro - Samuel Ramey
Lucio - Keith Lewis
Doge/Gondoliere - Alfonso Leoz
Philarmonia Orchestra
Jesus Lopez-Cobos
The Naples years, 1815 to 1822, are at the very centre of Rossini's creative life. It is here that genius—''I had facility and lots of instinct''—was put to school. And firmly so: the serious masterpieces of the Naples years take as their subjects the Bible and Shakespeare, Scott and Racine, Tasso and English historical romance.
...Otello (Naples 1816)...has a strong cast, headed by Carreras's searingly noble Moor. The Desdemona is Frederica von Stade: chaste and as luminous as a sculpture in Carrara marble. The set also displays casting in depth. In Rossini's day Naples was awash with great tenors, a situation that nowadays creates prodigious difficulties. Yet both the Iago, Gianfranco Pastine, and the Rodrigo, Salvatore Fisichella, emerge with honour, barely bloodied and never for a moment bowed by Rossini's terrible arsenal of vocal effects. ''They have been crucifying Otello into an opera,'' wrote Byron in 1818. Well, yes and no. By all means treat Acts 1 and 2 as flashy rodomontade, but Act 3 is glorious, inspired enough and sufficiently close to Shakespeare to have been a near fatal deterrant to what Verdi called his own ''chocolate project''. I thrilled to it afresh—off-stage Gondolier and all—in these brilliant new CD transfers. -- Richard Osborne
...Otello (Naples 1816)...has a strong cast, headed by Carreras's searingly noble Moor. The Desdemona is Frederica von Stade: chaste and as luminous as a sculpture in Carrara marble. The set also displays casting in depth. In Rossini's day Naples was awash with great tenors, a situation that nowadays creates prodigious difficulties. Yet both the Iago, Gianfranco Pastine, and the Rodrigo, Salvatore Fisichella, emerge with honour, barely bloodied and never for a moment bowed by Rossini's terrible arsenal of vocal effects. ''They have been crucifying Otello into an opera,'' wrote Byron in 1818. Well, yes and no. By all means treat Acts 1 and 2 as flashy rodomontade, but Act 3 is glorious, inspired enough and sufficiently close to Shakespeare to have been a near fatal deterrant to what Verdi called his own ''chocolate project''. I thrilled to it afresh—off-stage Gondolier and all—in these brilliant new CD transfers. -- Richard Osborne
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