Mario Del Monaco Tito Gobbi Otello (vaimusic.com) 

Yes, Gobbi is great, but there are a few good Era la Notte's out there. Check out Granforte, Tibbett, Milnes and today's Gerald Finley. Hampson (not everyone's idea of an Iago) did a beautiful job with it.

@@kennethwayne6857 Finley and Hampson are not Verdi baritones. The others are all great.

@@xxsaruman82xx87 That is true, however if you're not a conventional 'Verdi baritone', must that necessarily disqualify you from singing his music? (I am a lyric baritone and have had the privilege of studying with the great Louis Quilico and hope to sing a few of the lighter Verdi roles.)

@@kennethwayne6857 No, but it does if you sing with the modern singing technique with no squillo and no chiaroscuro.

Domingo should go Hollywood, darling for carema...

Mario Del Monaco war absolut ein Heldentenor der Superlative! Unbestritten! Leider habe ich ihn auf der Bühne nie live erleben dürfen. Wohl aber habe ich Placido Domingo live als Otello erlebt - 1994 in Verona! Ein unvergessliches Ereignis! Domingo betritt solo die Bühne - und die Bühne ist ausgefüllt! Ich habe viele Sängerinnen une Sänger, nicht nur in Verona, gehört und gesehen. Aber an Bühnenpräsenz war Domingo nicht zu überbieten. Und im Gegensatz zu Del Monaco in dieser Aufnahme hat er auch alle Töne getroffen!

@Barone Vitellio Scarpia, Domingo shouldn’t sing everything, when there are Mario Del Monaco, Franco Corelli, Giuseppe Di Stefano, Franco Bonisolli and other great singers!

Es ist eine Frage der stimmlichen Angemessenheit für die Rolle. Doch kann man Del Monacos dramatisches Instrument nicht mit einer nur volleren, lyrischen Stimme vergleichen. Über Domingo: Ausser auf die hohen si-Naturalen und das einzelne hohe do (vor "Niun mi Tema") hat Domingo wahrscheinlich alle Töne "getroffen", was mit größerer Sicherheit hörbar ist, wenn die Verstärkersysteme (wenn die leider eben vorhanden war) eingeschaltet war waehrend Spielzeit 1994. Aber ohne solchen ist dieser Veranstaltungsort nur für die größten Stimmen gebaut.

Del Monaco too

​@@maximtuboltsev6046 Caruso + Titta Ruffo!!

You forget Bastianini and Ruffo

I would think I'd died and gone to heaven!

@Barone Vitellio Scarpia, i like him, but Del Monaco is better! His voice is bigger, technique is better.

@Barone Vitellio Scarpia, yes, i agree with you. You should watch this video! This man says that Gobbi is bad! And that Shore is better then Gobbi!!! Is he mad or stupid?? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-frGvs_t_ATc.html

Listening to too much Del Monaco can destroy your hearing. I think it's worth it though 😉

Gobierno excelente!!!

Нет ничего прекраснее Гобби и нетолько итальянские певцы вне конкуренции гены вероятно Средиземноморье темперамент прекрасная природа изумительные художники скульпторы и люди всегда сулыбкой юмором вс

Io preferisco Caruso con Titta Ruffo, e di gran lunga

​@@cruscante да, они лучшие!

Tito Gobbi ha sempre cantato maluccio, però è un genio interpretativo!

@@giovannievangelista6218 GOBBI ERA MERAVIGLIOSO IO L'ho veduto in teatro piu' VOLTE DA RAGAZZINA1 SEMPRE PERFETTO NELLA VOCE E NELLA RECITAZIONE DIRE CANTAVA MALUCCIO E' ASSOLUTAMENTE INACCETTABILE!

Maybe Tibbett and Ruffo?

2:57 Del Monaco too loud? When he wanted to be, Del Monaco could be incredibly subtle. Not perhaps as often as one would like, but he could sing softly.

Not even close. Ruffo would eat him alive ;)

@@operalover3966, nope. Both of them are great

Warren

Gobbi is better than del monaco. You’re not wrong.

Listen to Lawrence Tibbett he does it that way

Domingo was so very nasal.

Dino Merlo si é vero che Tito gobbi si prende delle libertà me é pur sempre una splendida voce

disprezzare l'interpretazione di un grande artista come Gobbi, per me, significa semplicemente rivelare i limiti delle proprie capacità di giudizio .

Verdade, Bruna. O que dizer, então, da impostação vocal dos dois, senão SOBERBOS !! Lamentavelmente, as escolas de canto atuais não exigem tanto na impostação dos futuros "Cantantes". Del Monaco e Gobbi são grandes, sobretudo na Técnica vocal(impostação e musculatura facial).

Domingo is bad! Nasal and small voice, he is not Otello!

Ma infatti non capisco come si possa dire che tito gobbi ha cantato sempre maluccio....poi ognuno ha le sue opinioni..ma secondo me tito gobbi e' stato un grandissimo baritono...oltre che un attore nato...

Domingo is so nasal. And he was a lyric tenor. Fidelio is for dramatic tenor.

@@xxsaruman82xx87 I'm not sure if Domingo is nasal, but he squeezes in the passaggio and higher. I HEARD HIM IN A Trovatore on the radio in the late 1970s and He sounded very fine. I saw him at the Met in I Pagliacci circa 1990 and I was very disappointed. He was okay in the few lyric portions of the opera but squeezed in the passaggio and higher, He transposed the Venti Tre Ore down a half tone to B- Flat, shortened phrases in The Vesti La Giubba, just touching the A-Natural, transposed the No Pagliaccio Non Son 1/2 tone to B-Flat and omitting the last high note in the aria. Good acting, but who cares. It was NOT a performance deserving of a supposed World Class Tenor but the group think, brain washed audience gave him great applause. I also had trouble hearing him in the passaggio and higher. I think He had a medium spinto voice and I don't get what all the fuss is about. He does very well in the Zarzuelas songs as the tessitura is low and he sounds much better. He was also on a failed campaign circa 1990s to lower the Universal Pitch. This means that every instrument would have to have been re-pitched to accommodate Mr. Domingo. In My Opinion, He was a fair to good tenor at times, but Domingo was never a great tenor.

I saw Vickers at the Met with this role and he received a long standing ovation.

Lei confonde la stecca di biliardo con il canto..non si offenda...

Se il ruolo di otello fosse facile l'avrebbero interpretato più artisti.Mostri sacri come Corelli e Caruso non hanno avuto il coraggio di esibirsi in questa opera,già il fatto di farla mette MDM su un piedistallo,l'averla replicata 427 volti lo mette sul gradino più alto.Se a lei non piace MDM non lo ascolti ma non dice queste eresie...

In the description of this video 1959.

@@denisotello6474 Thanks Denis......two superstars.......pretty good acting as well

I think MDM was more intense.

You forget Di Stefano! Perhaps the greatest lyric tenor of them all! Also Lauri-Volpi, Barioni and Filippeschi are most definitely lyric tenors!

@@xxsaruman82xx87 In my opinion, Di Stefano had the most beautiful voice I ever heard. I saw him at Carnegie Hall Circa 1962. His voice is much the same as we hear it on records. Rich round beautiful tone with gorgeous overtones in the theater. Carnegie Hall holds about 2800 and I purposely sat at the back of the Hall and could hear GDS without a problem. The only slighly negative thing I can say is that the B-Natural in the Nessun Dorma was muscular but oddly enough traveled well in the Hall. Volpi was a great High note theatrical tenor. Some people have described his voice as a lyric dramatic or lyric spinto. My Mother and father saw him several times in Rome and said his voice traveled further than any tenor he ever heard. Check out his Ugonotti Bianca Al Par here on YT. Del Monaco said that if Barioni is successful, we could all be looking for new careers. He has a most beautiful Fanciulla. Filippeschi never sang in America. In my opinion, His repertoire and style was much like Volpi's but to a lesser degree