Victoria de los Angles has been one of the most intelligent and musical sopranos of the century, a diamond voice within a humble and wonderful person. Here, her presence alongside MDM makes the tenor appear much more sensitive and sing much sweeter and with more "sfumature" than with other sopranos. Victoria was definitely the most sensitive interpreter. Thanks Victoria
MDM in teatro, dal vivo ,era un portento, con tutte le smorzature, pianissimi, utilizzando la sua voce in tutte le sue sfumature, non solo il suo volume. Questo mi sembra che invece nei dischi non succeda così spesso. Forse gli ha fatto bene la presenza della De Los Angeles, la cui dolce voce di certo non può rivaleggiare in volume né in potenza con la sua, però è flessuosa e delicata,e lui non sente il bisogno di rivaleggiare con lei. E il risultato è meraviglioso. Altra situazione è avere la Tebaldi come Desdemona, una scossa elettrica che nel bene o nel male fa uscire il leone che è in lui. Poi al Met, in quel periodo, con Del Monaco e "Miss Sold out", ci doveva essere una certa ,benefica, tensione. Entrambi, in teatro, dal vivo. Avrei voluto esserci.
De Los Angeles' Desdemona was sublime; I saw her at the Met and she was wonderful. Del Monaco well, he was the best Otello of his time and this does not detract from Ramon Vinay's thrilling performances which were many. This is drama and yes, it is elegant and enthralling. One does not hear this kind of performance these days.
@James Mccourt Kaufmann is a serious and intelligent singer, however, he is a poor man's Otello. He does not belong in the fast lane. Still, and this has been my approach for many years, I never argue with success and Kaufmann 's career is very successful.
@@hashatz having a great promoter,and dashing good looks certainly helped his career,but he is in no way in this league of singing,not by a long way,his otello was poor
@@hashatzthe league of great otellos…..ramon vinay,del monaco,zenatello,even vickers and Domingo were far greater than kaufman,and I’m only speaking about otello,kaufman is no otello
On this Saturday afternoon broadcast from the Met in 1958, Tebaldi was scheduled but cancelled. So they got De los Angeles. Wow. And Mario? Some say this was his finest hour as Otello. He had it all this day, and that's quite a lot.
I think you are mistaken. Tebaldi sang the same opera in November, 1958 (broadcast) and de los Angeles did four of them the season before, from which this was taken
Interpretazione tra le migliori. È un portento nella modulazione dell'emissione, quell'inconfondibile ed unico timbro. Una voce ricca di armonici, sostenuta interamente sul fiato, che spazia dai bassi, al mezzo e agli alti con una naturalezza incredibile.
@@Operafreak9in fairness callas although a great singing actress,she admitted that she felt she had an ugly voice and when compared to de Los angeles tebaldi,carteri,zeani,stella and quite a few more I could name ,she did not have a beautiful voice,not that that didn’t make her not great,as she was a very fine interpreter of many roles,I’d compare her to ponselle and muzio,both great interpretors
Have heard numerous superb performances of Del Monaco in this duet over the course of nearly 50 years of listening to opera. And yet I have never heard any soprano so completely realize the true character of Desdemona as does De Los Angeles. She is rapturous in love and infinitely touching. That she sings the final note pianissimo instead of feeling impelled to match MDM's fuller sound shows just how well she understands her character and the nature of her love.
De Los Angeles had a beautiful tone, so much so that people forget how well projected it was. She cuts right across and keeps up with Del Monaco without ever sounding forced.
Exceptional occasion to hear Victoria and del Monaco together as they had exclusivity contracts with different recoroding companies, EMI and DECCA. What few people ara aware of is the two had sung together in cities of north of Spain (Oviedo, Bilbao,San Sebastian) in the late 40s in Boheme, while Victoria would share the stage with Di Stefano in Massenet's Manon in the same period. Those were the days, my friend.... Pravilad
Tebaldi was better in my opinion but we all hear things differently.and i am a fan of de los angeles its just that tebaldi had the most sumptuous beautiful voice ever recorded
@billyguns2 Sono daccordo... in teatro rendeva molto di più...gli armonici della sua voce e la totale entrata nel personaggio... davano allo spettatore un coinvolgimento totale che in studio non riusciva a dare...saluti
@billyguns2 I think Del Monaco's studio recordings are a little methodical. He did try many times to sing with nuance, but it was difficult for him because of his technique. He has great Forza arias Cielo E mar, O paradiso &The flower song where he does exercize some mezza voce and nuane, but he was basically a vocal phenomenon.Enjoy
I usually prefer de los Angeles in anything she did to any competition, but here, I think Tebaldi is supreme. And of course, MDM owns the role of Otello.
Vocalmente en el concertante está más cómoda, claro, pero la Desdemona de Tebaldi es un poco Tosca, ¿no? No tiene la ingenuidad y la fragilidad de Victoria. Bueno, es que Tebaldi era cualquier cosa menos frágil.
Es cierto, ella era soberbia, su voz se escuchaba a la par de la de él. Pero, si tan solo hubiera podido reducir el volumen en esos increíbles momentos del minuto 8:40@@pablocarrascosamiguel7680
GIÀ NELLA NOTTE DENSA Na noite densa, Vênus brilha no céu, vista Pelo casal Otelo e Desdemona, em dueto Que marca encontro de júbilo, ela ativista Do amor, poeticamente em tempo allegreto. Otelo revela: já na noite densa, todo clamor Se extingue, já meu coração está tremendo, Domesticado no abraço, fortalecido no amor. A guerra tinha trovejado, o mundo vendo Horrores e o casal valorizam os sentimentos. Ocasião idêntica com o momento planetário São sinais mostrados pela rosa dos ventos. A pandemia espalhando ao mundo a chance De fazer brilhar a luz, saindo do imaginário Mundo em que foi destruído, sem alcance. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - GIÀ NELLA NOTTE DENSA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
With all due respect to so many female opera stars, but Victoria de los Angeles and Mirella Freni were the top drawer in the 20th century; coincidentally Freni was the best Mimi, Margherita, Desdemona, Boccanegra and Butterfly, roles in which De los Angeles was also supreme in the 40's and 50's. I adore these two ladies, their legacy of beauty, expression and musicality is rarely equaled by many of their contemporaries except of course Callas, Tebaldi, Milanov & Caballé.
@@toscadonna, I find her somewhat old-fashioned and not so sweet... More spinto, wasn't she? I think she sang in a veristic style that I really don't like very much, but I accept she was very good at phrasing and I like the low part of her voice.
Irdische Töne, manchesmal fast gekreischt, er war kaum besser ich nim mir nicht sicher, ob er wohl seiner Wichtigkeit sicher war. Sie war sich ihrer selbst bewusst.
