Headshot of La Cieca

Cher Public

  • Sanford: Viola Dsvis’s show is riveting and she plays the most complex character on TV. And in the two... 1:41 AM
  • Flora del Rio Grande: Don’t you know he will — and sharp too! 12:16 AM
  • Krunoslav: I mean listen to the damn clip and see if you can’t hear what I mention. I enjoyed the... 11:57 PM
  • Guestoria Unpopularenka: Kabaivanska sang Tosca tonight at Teatro Reggio di Parma as part of her own 80th... 10:11 PM
  • YigeLi: Not the one discussed with you sometime ago, I think all the recordings of that performance came from... 8:51 PM
  • YigeLi: Regarding the Schwarzkopf-VLL issue: I remember reading it somewhere that ES said her voice was a bit... 8:42 PM
  • armerjacquino: La V: Horne most certainly did do the VLL- the evidence is right there on YouTube. I... 8:34 PM
  • Quanto Painy Fakor: When Gobbi made the sign of the cross at the end of the Te Deum, he did it with a closed... 8:33 PM
  • Quanto Painy Fakor: If that’s the way Frizza conducts Puccini, you can keep him. 8:28 PM
  • zinka: httpv://www.youtub e.com/watch?v=6xzn 5xpLazA Courtesy of the GREAT Coloratura fan..My idol…&#... 7:59 PM

Once in half a lifetime

Then and now: the “Dio ti giocondi, o sposo” duet from Otello, as telecast 34 years apart: September 25, 1978 and October 27, 2012.

89 comments

  • This is for Marshie. Excepts from that Angelica with Riciarelli available on YouTube:

    Confrontation scene, from Il Principe Gualtiero:

    Senza Mamma:

    Final scene:

    For whatever it is worth.

    Amer, send me an email…..

    • marshiemarkII says:

      Wow Unbelievable Lindoro! Thank you so much for troubling to find that. It sure did send me rocketing back to the Boston of my youth, where I bought the LPs. Many thanks again! another treasure of parterre

  • I saw the Met telecast. I liked Botha because he tried something different, a lyrical Otello. Therefore, the act 1 duetto was very good, really tender and full of love. He was completely different from the usual heroic war robot. In fact, his Moore looked like a warrior who is completely afraid about the whole story that might be happening in his bedroom.
    Otherwise, his ‘Esultate’ was loud and triumphant enough for our days.
    Indeed, some other parts were not impressive, but I rather preffer a tenor who’s playing a chicken character rather than a tenor who is afraid to sing this role. Why Kaufmann isn’t taking this role? Because he’s afraid of it. The same for the rest of all these Beczala, Villazon, Calleja with nice voices but playing only The Duke of Mantua and once in a while some Rodolfos and Marios.
    About Botha’s physical appearance… What about Pavarotti? He was just as fat and also a lyrical Otello.

  • Ha. Here’s a singing actress.

  • manou says:

    And here is an unexpected Desdemona: