I remember watching this on TV...In anticipation of this telecast the critics (Time Magazine)predicted that Otello would end Domingo's career prematurely. In the opening moments of the telecast Placido walked down the gangplank and with a single "Esultate" shut ther mouths for keeps and he is still going strong 30 years later BRAVO
Conocen a otro tenor que con esa inmensa voz y esa gran musicalidad, además se mueva en el escenario de esa manera? No, verdad? Entonces, es el mejor Otello de todos los tiempos. Y uno de los tenores más grandes de la historia
Évidemment c'est du Domingo. Très intelligent dans l'approche. Très musical dans l'interprétation vocale et scènique. Ce n'est pas le type de voix qu'on attend dans ce rôle. Il a une voix lyrique, avec un beau timbre chaleureux et ensoleillé. Pour Othello, on demande une voix de ténor dramatique aux contours percutants et rocailleux parfois. Même si ce rôle exige une voix au timbre versatile et une palette d'expressions contrastées, le volume sonore et la projection de l'aigu complètent les caractéristiques incontournables du véritable fort ténor ou ténor dramatique que ce rôle exige. On pense à Del Monaco, Jon Vickers ou même plus récemment à Giuseppe Giacomini qui possédaient la voix Othello.
sugarbist lol no. I’ve listened to domingo live. His voice projected very well, louder than the tenor and the bass. He moved all around the theatre quite a bit and the sound traveled with him wherever he went. He was definitely not wearing a microphone for amplification. He sounds as loud as he is here. This is exactly what he actually sounds like live.
He is recorded with a mic, and then they probably mixed it for balance for being televised, but Domingo never had any problem being heard. His voice wasn't HUGE, but it was plenty big and beautiful enough live. PLENTY big and beautiful enough, I assure you.
@@MichaelWadeLeeKapsalis I saw Domingo at the Met in I Pagliacci circa 1990 and I was looking forward to seeing him as Canio. He was good in the few lyric passages of the opera with his fine quality of voice showing through, but when his voice entered the passaggio, it did become constricted. He also did not round out phrases in the Vesti La Giubba and just touched the A natural at the end of the aria, which is fine. However, the No Pagliaccio Non Son, Domingo just touches the first B-Natural, which I think was a B-Flat and avoided the 2nd B in the aria, also cutting phrases short. His middle was fine, but I had some trouble hearing him in the passaggio and higher.This is not my Idea of a world class tenor performance, but the audience seemed exhilarated and the usual applause occurred. I also heard Domingo's Trovatore on Radio in the late 1970s where He sang extremely well, rounding out phrases, a beautiful A Si Ben Mio and a very good "Di Quella Pira. I think Domingo had a medium sized Spinto tenor voice which is also acceptable.
What was lacking with MDM Otello was a very important Factor, PATHOS, wbich Domingo had in abundance, Without Pathos, MDM Otello ends up being a Blundering Brute,which is a shame. He certainly had the Clarion Ring in the voice, but thats not everything. The same could be said of his Radames, the Warrior in Abundance, but where was the Lover.
@@waynewilliams4706 ahahahahah. Del Monaco' Otello has 1000 times the pathos Domingo's one has. Re listen to it. Listen to MDM's Dio Mi Potevi in 1958. You'll understand who the greatest Otello ever was
I absolutely adore Del Monaco and he's my biggest inspiration as a tenor but the problem I have is that Del Monaco seems to always sing forte and never slows down or lowers his volume. He's always singing with full force which is not at all a bad thing but I like more dynamic singing. But still I consider the best Otellos to be Del Monaco, Ramon Vinay and Arsen Soghomonyan (who sadly hasn't been recorded in this role yet). Mario Lanza sang a killer Niun mi tema, too.
You can sing better? I am fed up with who is the best. No 1 is the best. I like placido, Mc Cracken bad luck, this is better or not. If the universe expands all the time, where does it goes and how many great singers we are going to hear?
except Del Monaco could never sing exactly as the score indicated. He never had the pianni Verdi wrote everywhere. So it is impossible to just make such a claim...
@@davesy22 Your statement is inaccurate, MDM had 3 different interpretations of Otello and over 400 performances of the Moor with mezza voce. However, it's not uncommon for tenors to take liberties with the music in live performances. There are many performances where MDM sings piano here on You Tube, as there are many performances where PD sings arias in full voice on Y.T. " Una Furtiva Lagrima" I will also venture to say that MDM sang more piano than PD did. " O Paradiso, Flower Song, Lamento Di Federico, Cielo E Mar and arias from Forza and Manon Lescaut. However, after 1960 he got away from singing piano, which Corelli stated it became more difficult for MDM to do so.
There was no better Otello than Del Monaco. Doming sounds weak because he's not a dramatic tenor, he's always been a lyric fach . Del Monaco technique was superior he could act with his voice. Not like nowadays mediocrity acting and singing. The technique learned today does not allow for voice acting, there is no support, and all the high notes are forced out. They get thinner and thinner the higher they get and do not carry the same weight on the entire vocal range.
Si impegna alla morte,per essere un Otello di qualità!!! Ma,con tutta la sua buona volontà, non riesce a rendere un Otello credibile!!! In parallelo alla sua carriera,c'erano tenori molto più dotati di Domingo ,in Otello,tipo Cossutta,Giacomini,che non hanno avuto la stessa fortuna di Placido!!!
