Si bien on connait très bien l'Otello de Verdi, Rossini avait dèjá composé aussi une opéra inspirée de l'ouvre de Shakespeare. On trouve ici une édition trés complete avec les deux finales, l'original tragique et un autre plus joyeux. À ne pas manquer pour les fans du bel canto.

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VitoB.

Ottima edizione in CD

2015年11月30日にイタリアでレビュー済み

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Si tratta dell'edizione più bella dell'opera pubblicata in CD, ed è stata superata solo dall'edizione in video con la Bartoli ( Rossini: Otello ). Registrazione di buon livello sonoro della etichetta Opera Rara.

David Parry dirige con grande equilibrio, buona trasparenza e gusto la bellissima partitura, ma non riesce a svolgere il racconto in un fluire drammaturgico coinvolgente, sicché teatralmente il tutto è un pò statico, e solo nella edizione in video succitata si comprenderà invece la reale logica narrativa di questo testo operistico.

Elizabeth Futral avrebbe voce timbricamente e tipologicamente ottimamente centrata per Desdemona, e la sua esecuzione non manca di pregi, soprattutto grazie alle ottime agilità. Però la sua prova manifesta due limiti precisi: gli acuti sono sempre forzati e via via si sale oltre le note di passaggio sempre più fibrosi (e non c'è niente che dia più noia in Rossini di un cantante che forza per venire a capo della tessitura); lo stile interpretativo inoltre non riesce a differenziare bene lo stile aulico rossiniano da quello che invece diventerà il teatro romantico belliniano-donizettiano. Sicché possiamo parlare di prova tra la sufficienza ed il discreto, ma ben lontana dall'essere ideale.

Bruce Ford è invece il miglior Otello della storia moderna dell'opera: l'aulicità del canto, lo stile e il nitore della vocalizzazione, la pertinenza dell'estensione rispetto a quanto richiesto dalla parte, le qualità di fraseggio fanno di questo protagonista un punto di riferimento indiscutibile.

Di ottimo livello anche la prova di Matteuzzi come Rodrigo: forse Rockwell Blake aveva di lui più mordente e fantasia coloristica, ma la facilità nell'affrontare tessiture acutissime e l'eleganza del tenore italiano sono comunque di rilievo assoluto. Anche se Matteuzzi, tenore contraltino chiarissimo, non è detto debba piacere a tutti come tipologia vocale.. pur essendo pertinentissimo nei ruoli rossiniani scritti per David, e come vocalità e come accento.

Decenti senza grandi doti di merito Lopera e la Shkosa.

Il disco presenterebbe l'indubbio merito di proporre oltre allo splendido finale tragico, il finale alternativo lieto scritto per le riprese romane del carnevale 1819-1820, nonché un'aria di sortita alternativa di Desdemona derivata dalla cavatina di Malcolm ne "La donna del lago" e il duetto Otello-Jago per protagonista femminile, entrambe proposte in teatro da quella Giuditta Pasta che nell'opera impersonò negli anni sia il ruolo di Desdemona che quello di Otello.
Da notare inoltre lo splendido libretto di accompagnamento, ricchissimo di informazioni sull'opera e sugli interpreti delle prime rappresentazioni, nonché dal bellissimo apparato iconografico. Come da tradizione OperaRara, d'altra parte.

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Stephen McLeod

Almost wonderful

2014年5月6日にアメリカ合衆国でレビュー済み

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Rossini composed the music for Otello, on a libretto by the Marchese Berio di Salsa, in 1816. The opera enjoyed wide popularity throughout the Western world, and was performed repeatedly, in venues from St. Petersburg to Mexico City, throughout the 19th century until the 1870s when Verdi introduced his version, after which Rossini's opera abruptly disappeared. Although it may seem quaint to modern minds, Rossini's Otello was an innovative and groundbreaking theatrical achievement that changed opera as an art form forever. It is beyond the scope of this review to go into any detail, but suffice it to say that, hard as it is to believe, before Otello, opera audiences were not accustomed to seeing characters die onstage. And that was not the only novelty that, starting with Otello, became de rigeur, in Italian opera. In fact, it was Berio, not Rossini, who seems to have been the innovator here, as there is evidence suggesting that when Rossini first undertook this opera, he did so with some reluctance for precisely this reason. However, Rossini did accept the commission and, perhaps unwittingly, changed the world in a way that is difficult for modern audiences to comprehend.

The present iteration is from a recording made in 1999 and released by the British company, Opera Rara, featuring Bruce Ford as Otello, Elizabeth Furtal as Desdemona and a mostly strong supporting ensemble, comes at a time when this opera seems to be enjoying a revival. As a document, the importance of this recording cannot be overestimated. This set is lovingly presented in luxurious packaging containing a glossy nearly 200-page booklet with libretto with English translation, a wonderful long essay by Jeremy Commons, and a carefully curated chronology of "important" performances. The musical direction here is unostentatious and perfectly balanced, under the direction of Opera Rara's house music director, David Parry conducting the venerable Philharmonia Orchestra. The production itself is lively and vigorous, and for most part, flawlessly cast. For the most part.

Bruce Ford has been described as a "reliable" tenor in the bel canto repertory. Judging from this recording, that seems an understatement to me. Otello is an opera that, in its original version, requires three tenors with three slightly different tessiture. The music of Otello lies in the middle between the higher scored part of Rodrigo and the lower tenor role of Jago. Thus, when Otello is singing with Rodrigo, his music lies lower in the staff, and when he's singing with Jago, his line is higher. But that doesn't mean he doesn't have to sing ridiculously high notes; he does. It's just that Rodrigo has more of them. Of the three tenors on this recording, Ford seems the most authoritative. His voice is sweet without being precious or too nasal, powerful in a way consistent with the demands of bel canto technique. Along with Idelbrando d'Arcangelo's Elmiro, Ford's Otello represents the most satisfying musical effort from the males in this recording.

Equally convincing is Elizabeth Futral's Desdemona. Certainly not the 3-dimensional Desdemona that Verdi would create more than half a century later, Rossini's Desdemona is, nevertheless, a real person for whom Rossini wrote a good deal of compelling and beautiful music. Because it would have been an unwelcome distraction, Rossini and Berio carefully limited her music. For example, in Italian opera before Otello, the Prima Donna would have an entrance aria and exit aria in every opera. These were show-pieces that were the bread and butter fir divas of the time. But Otello has neither. Moreover, Desdemona's character is almost always singing along with someone else, either her companion, Emilia (sung beautifully here by Albnian mezzo Enkelejda Shkosa) or Otello or in larger groups. Only in the Willow Song in the opera's penultimate scene, does Desdemona get to go it alone, and in this recording it is worth the wait. Elizabeth Futral's lyric soprano is rich and expressive. She is definitely a plus on this CD set.

The only real problem I had with this set, and it's a sizable one, is William Matteuzzi, the tenor who sings the part of Rodrigo. Rodrigo, as I said, has the highest tessitura amongst the 3 tenors in this opera. The role was created when singing technique and pedagogy was completely different than the style of singing that contemporary audiences are used to. This vocal range was known as "tenor di grazia" or "tenore contraltino" because so much of the music lies nearer to the alto than the tenor range. The upper registry is actually a modified falsetto, not exactly a countertenor, but heading in that direction. The problem is that by 1999, Signor Matteuzzi, if he ever could, was simply no longer capable of producing beautiful and musically articulate sound in this range, and probably ought to have considered moving into the teaching phase of his career somewhat sooner. I don't say this happily. But I do say it emphatically. Matteuzzi really spoils the fun here.

Apart from that, this is an excellent addition to my music library and I'm glad to have it. There are already signs that this opera is enjoying becoming known again. A new blu-ray disc of a live performance is being release this very day, in fact. Here's to hoping it continues.

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Rossini - Otello / Ford, Futral, Matteuzzi, D'Arcangelo, Lopera, Shkosa, Philharmonia Orchestra, Parry

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