Otello   (Furtwangler;  Vinay, Schoffler, Martinis, Greindl)    (2-Orfeo C 880 1321)
Item# OP2878
$39.90
Availability: Usually ships the same business day

Product Description

Otello   (Furtwangler;  Vinay, Schoffler, Martinis, Greindl)    (2-Orfeo C 880 1321)
OP2878. OTELLO, Live Performance, 7 Aug., 1951, Salzburg, w.Furtwängler Cond. Vienna Staatsoper Ensemble; Ramón Vinay, Paul Schöffler, Carla Martinis, Anton Dermota, Josef Greindl, etc. (Austria) 2-Orfeo C 880 1321. A brilliant sound restoration - must be heard to be believed! - 4011790880228

CRITIC REVIEWS:

“Orfeo is proud to present the only recording of an Italian opera by Wilhelm Furtwängler, with the greatest Otello of his day, from the summer of 1951, on the 50th anniversary of the composer’s death, now in fully restored sound.

It was one of those coups that give a festival its particular appeal. At the helm of the Vienna Philharmonic, Furtwängler succeeded in turning the audience’s surprise into enthusiasm. The thoroughly symphonic conception of this late opera score of Verdi’s was brilliantly transformed by Furtwängler into a kind of ‘psychological drama’ of its title hero, sung by Ramón Vinay, a tireless heldentenor with a rich variety of shadings in his voice. As the scheming Iago, Paul Schöffler’s extraordinarily sophisticated baritone was his equal, just as Carla Dragica Martinis, at the beginning of her international career, proved a perfect Desdemona, possessed as she was of a most graceful soprano voice.

Great pains had been taken to cast the production, right down to the less extensive roles (for example, Anton Dermota sang Cassio and Josef Greindl was Lodovico). The result was a performance that is regarded as exemplary to this day.”



“The towering presence of Ramón Vinay as Otello, here in superb form, goes far in implanting a sense of Verdian theater….Furtwängler’s OTELLO is a remarkable document rather than a musical curio because of the symphonic light that suffuses the score. He conducts OTELLO like a massive tone poem, and in the process his singers become striking elements within the whole rather than mere focal points….”

- John Ardoin, THE FURTWÄNGLER RECORD, p.183