Cher Public

  • Lohengrin: Listen to AG´s Adriana! Although I am not a fan of her: she sings the aria with much more heart, knowing what is about the... 2:08 AM
  • Fritz: Well, combining Signor Matiste from Citizen Kane and “Cortigiani& #8221;, here he is singing that very aria for the... 1:22 AM
  • Camille: Gee, that’s too bad. I do have her Wesendonck Lieder mit Lenny and they are swell. Especially “Im Triebhaus̶... 12:21 AM
  • La Cieca: Bert Lahr did a variation on this line in one of his Broadway shows, not sure which one. The idea was that Bert fell afoul of a... 11:52 PM
  • m. croche: How wrong conventional wisdom is! Sometimes translations need be neither faithful nor beautiful. All they need to be is, erm,... 11:20 PM
  • erricco: the recording does not do justice to the hilarity that Mary Lou creates in her live concerts…..o f course, these numbers... 10:57 PM
  • Camille: What a charming thought. Thank you. 10:46 PM
  • Camille: Are you having a bummer of a summer? Go Brush Up On Your Shakespeare — and see KISS ME KATE IN 3-D at the Museum of Modern... 10:45 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: