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Topic: Otello (Rossini)

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	Rossini operas
		Rossini’s works are enjoyed today throughout the world as masterpieces of Italian theater, and his arias are routinely sung by professionals and amateurs alike.
		Rossini was born in 1792 in Pesaro, Italy, the son of a mother and father that were very involved in the orchestral and operatic world of Italy at the time.
		Rossini’s greatest work had such an impact on his country that he was exempted from military service due to his talent alone.
	ohoh.essortment.com /rossinioperas_rnbd.htm (825 words)

	Giuseppe Verdi - Wikipedia, the free encyclopedia
		In 1869, Verdi composed a section for a Requiem Mass in memory of Gioacchino Rossini.
		Otello, based on William Shakespeare's play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887.
		With the possible exception of Otello and Aida, he was free of Wagner's influence.
	en.wikipedia.org /wiki/Giuseppe_Verdi (2423 words)

	classical music - andante - rossini: otello
		This was the piece that opera audiences knew and loved as Otello for much of the nineteenth century, and that then was swept aside, perhaps not so much by Verdi's version as by changes in taste and in styles of singing.
		Rossini's librettist, Francesco Maria Berio di Salsa, contented himself with only a very sketchy memory of the Shakespeare play, at least until getting to the bedroom scene that is the third act.
		As Otello, Carlo Scibelli took comfortable care of the tricky musical knots in his first-act aria and became increasingly forward and expressive as the evening went on.
	www.andante.com /magazine/article.cfm?id=10458 (509 words)

	Gioacchino Rossini
		Rossini's most important operas in the period that followed were for Naples.
		Rossini also abandoned traditional overtures, probably in order to involve his audiences in the drama from the outset.
		Barbaia gave a Viennese season in 1822; Rossini and his wife returned to Bologna, then in 1823 left for London and Paris where he took on the directorship of the Théâtre-Italien, composing for that theatre and the Opéra.
	w3.rz-berlin.mpg.de /cmp/rossini.html (520 words)

	ROSSINI \| Grande Musica
		Gioacchino Rossini was the son of a town-trumpeter and an operatic singer of inferior rank, born in Pesaro, Romagna, February 29, 1792.
		Rossini was feted and caressed by the ardent dilettanti of this city to his heart's content, and was such an idol of the "fickle fair" that his career on more than one occasion narrowly escaped an untimely close, from the prejudice of jealous spouses.
		Rossini must be allowed to be unequaled in genuine comic opera, and to have attained a distinct greatness in serious opera, to be the most comprehensive and at the same time the most national composer of Italy, to be, in short, the Mozart of his country.
	grandemusica.net /great-italian-and-french-composers/rossini.html (7158 words)

	Sound Recordings Review--Rossini: Otello
		For a rare concert performance of Otello in 1957, with Eileen Farrell, Thomas Hayward, Loren Driscoll, and Hugh Thompson (preserved, in a terrible in- house recording—Historical Recording Enterprises HRE 265-2), the music was cut, simplified, transposed and rearranged almost beyond recognition.
		Of course all Desdemonas, Shakespeare’s and Verdi’s as well as Rossini’s, tend to droop; the lady is constantly pleading for understanding and bemoaning her fate.
		But Rossini wrote some strong dramatic recitatives for her and a fiery display aria, and though von Stade sings all the notes prettily she fails to project the vigorous side of the character.
	www.jcarreras.com /articles/pre_1990/arg0480a.stm (1140 words)

	Reference.com/Encyclopedia/Otello
		Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello.
		Otello says that he still has a headache, and asks her to wrap her handkerchief around his head.
		Otello, as he reads the letter from the Doge, asks, "Are you sure?" Iago explains to the puzzled Lodovico that perhaps Cassio's restoration is her wish.
	www.reference.com /browse/wiki/Otello (2352 words)

	ROSSINI Otello OPERA RARA ORC 18 [RJF]: Classical CD Reviews- July 2005 MusicWeb-International (Site not responding. Last check: 2007-10-27)
		Rossini continued this process of innovation and evolution throughout the nine opera seria he composed for the San Carlo in his seven-year stay in Naples.
		Colbran was to transfer her affections to Rossini, eventually in 1822 after inheriting property, becoming his wife.
		Iago shows Otello a letter of affection from Desdemona purporting it to be to Rodrigo although it was intended for him.
	www.musicweb.uk.net /classrev/2005/July05/Rossini_Otello_ORC18.htm (2082 words)

	Opera Today : OONY Gives Rare Performance of Rossini's Otello
		In opera, Rossini, born in 1892- the year after Mozart died, is the successor of the great master and, when performed as perceptively as in the “Cenerentola” that debuted at the Houston Grand Opera on January 27, his rightful heir.
		Rossini’s last Italian opera, staged in 1825 as a part of Charles X’s coronation festivities, is a bizarre creation — a sassy little farce capped with a coronation cantata in the best traditions of staged court entertainment, from 16th-century Italian intermedi through their Baroque and Classic operatic progeny.
		There are three reasons often cited for the paucity of performances of Rossini’s Otello: the horrible hack job of the Shakespearean drama by librettist Francesco Maria Berio, the difficulties in casting an opera requiring at least three top-rate tenor voices, and comparisons with Verdi’s popular opera of the same title.
	www.operatoday.com /content/2007/01/oony_gives_rare.php (1507 words)

	CLASSICAL MUSIC ARCHIVES: Biography of Gioachino Antonio Rossini
		Other operas for Naples were Otello and Il barbiere di Siviglia, a failure at first but soon to be hailed as an outstanding opera buffa.
		In 1822 Rossini visited Vienna, where he met Beethoven; this was followed by a trip to London, where he was fêted, in 1823-4.
		Rossini left Paris for Italy in 1836 and for the next 19 years composed only three religious works and some occasional pieces.
	www.classicalarchives.com /bios/codm/rossini.html (695 words)

	Rossini: Otello - Movies.com: Marketplace
		On this Phillips recording we are treated to purely bel canto style drama that was typical of Rossini's early operatic ventures, starring the talented singers Jose Carreras in the tenor lead of Otello, mezzo soprano Federic Von Stade as Desdemona, tenors Pastine and Fisichella as Cassio and Rodrigo and Samuel Ramey as the villainous Iago.
		While musically speaking, this is inferior to Verdi's Otello, it is still a superb bel canto piece, where the compelling drama takes a backseat and the focus is the beauty of the melodic lines and the singing; namely in fioritura arias for both tenor and mezzo soprano and the sumptuous ensembles.
		His Otello is perhaps the most realistic, and it's a crying shame he didn't attempt the more difficult Otello of Verdi's creation.
	movies.go.com /marketplace/details?asin=B0001GAS5U (781 words)

	NLS/BPH: Instructional Music Cassettes: Opera
		Rossini wrote this opera and many others like it to "please his audience and to make himself rich." He did both.
		Examines the opera, debuted in 1829, that was Rossini's last work for the stage before family matters and the changing tastes in music led to his retirement at the age of thirty-five.
		This lecture suggests that the reason for the failure of Rossini's opera at its premiere was that it was far ahead of its time.
	www.loc.gov /nls/music/instructional/opera.html (5200 words)

	Otello — Rossini by Verinha Ottoni ©
		I commenced my Millennium season’ (2000) at the Royal Opera House in Covent Garden by seeing Rossini’s opera Othello (or The Moor of Venice) which is in no way to be confused with Verdi’s Othello though both are inspired and based on Shakespeare’s play of the same name.
		For Rossini this was one of his most famous works, composed in 1816 with libretto by the Marchese Francesco Berio di Salsa although it was always overshadowed by the Verdi version composed in 1887.
		The Rossini version of Shakespeare’s tale of doomed love was somewhat hampered by a lack of real passion of terror on the part of the lovers.
	www.verinhaottoni.com /diary/cultural/opera/101.html (433 words)

	ROSSINI Otello 475 448-2 [JL]: Classical CD Reviews- March 2004 MusicWeb(UK) (Site not responding. Last check: 2007-10-27)
		Rossini’s Otello cannot be described as a repertory work yet it contains much music that represents the composer at his very best.
		Rossini's librettist is not too concerned with the Shakespeare text but more with the business of adapting the story to Opera Seria conventions.
		Rossini responds to the tragic dénouement with a flexibility that attacks some current conventions and helps to serve the drama well, generating powerful emotion free of sentimentality.
	www.musicweb.uk.net /classrev/2004/Mar04/Rossini_otello.htm (991 words)

	Classics Today.com - Your Online Guide to Classical Music (Site not responding. Last check: 2007-10-27)
		Rossini’s Otello had its premiere in Naples in 1816 and has the honor of being the first opera in which a character dies on stage (considered a no-no for the genteel audiences of the time).
		The libretto, an “adaptation” of Shakespeare’s play, is simply awful: Desdemona is about to marry Rodrigo (an amalgam of Rodrigo and Cassio as we know them) when Otello, to whom she is secretly married, interrupts the wedding and challenges Rodrigo to a duel.
		This character barely comes to life until the final act, when Rossini gives her a lovely Willow Song and prayer; in the first two acts she’s mostly part of ensembles.
	www.classicstoday.com /Classics/ConcertReview_ASPFiles/ViewConcertReview.asp?Action=User&ID=522 (604 words)

	Sound Recording Review--Rossini: Otello
		Otello, which came out in 1816-the same year as Il Barbiere di Siviglia--was one of the great successes of Rossini's career.
		Rossini's Otello is a string of duets and trios, a stand-up- and-sing opera of the old school, and the remarkable thing is the way the composer bent this format to convey spontaneous, uncontrollably building passion.
		This Otello is not based on Shakespeare and follows a different story line: the Moor and Desdemona are not married, and Otello's chief motivation appears to be wounded pride.
	www.jcarreras.com /articles/pre_1990/opn020980a.stm (472 words)

	OPERA REVIEW; How Rossini Interpreted Shakespeare - New York Times
		The reason usually given for the rarity of performances of Rossini's ''Otello'' is that Francesco Maria Berio di Salsa's libretto is a hack job that makes hash of Shakespeare.
		In the Act II duet where Otello's trust in Desdemona is dismantled by Iago's lies, the two unite in their determination to avenge Otello's disgrace.
		Though Rossini's Rodrigo is an ill-defined character (as if Shakespeare's Rodrigo and Cassio had been merged), the role is virtually as long and as difficult as Otello's.
	query.nytimes.com /gst/fullpage.html?res=9504E0D61338F93AA35754C0A9679C8B63 (648 words)

	Living at the Opera
		Rossini and Francesco Berio di Salsa, his librettist, embellished the role of Rodrigo because the great late classic tenor, Giovanni David was at their disposal in Naples in 1816, who had no trouble with the high tessitura Rossini composed.
		In his duet with Otello in Act Two, the tenor used Del Monaco's idea of having Iago walk with a slight limp and in need of a cane to emphasize the character's self-loathing.
		Kunde's Otello continued on his highly charged journey, first in an explosive duet with his rival, Rodrigo, who challenges the Moor to a duel and then in a trio which finds Desdemona trying, but failing, to stop the men from fighting.
	livingattheopera.com /index.html (6249 words)

	A Story That Improves With the WCO's Otelloing - washingtonpost.com
		Likewise, Gioacchino Rossini's "Otello" (1816) cannot hold the stage with the familiar setting of Shakespeare's play that Giuseppe Verdi created with his librettist Arrigo Boito some 70 years later.
		Here we find the patented "Rossini crescendo" -- a favorite technique in which the composer isolates a marvelous little module of music, and then repeats it three times, ever increasing in volume and intensity -- that always works so well in Rossini's comic operas, adapted successfully for a moment of high seriousness.
		This was the 19th of Rossini's operas -- and he had yet to turn 25 when he wrote it.
	www.washingtonpost.com /wp-dyn/content/article/2007/04/30/AR2007043001633.html (995 words)

	classical music - andante - 2000 may-june
		Otello remained in the repertoire through much of the 19th century, until Verdi's Otello came along.
		Ildebrando d'Arcangelo is as authoritative an Elmiro as Samuel Ramey, while it would be difficult to improve on Enkelejda Shkosa's Emilia, completely able to compete with Lopera when she sings Otello's role in duet with him.
		Though many critics of Rossini find it difficult to tolerate his treatment of Shakespeare, Commons points out the composer's logic, while indicating that there is at least one intermediary element between the Bard of Avon and the adaptation by the Swan of Pesaro that would explain some of Rossini's divergences.
	www.andante.com /article/article.cfm?id=12352&highlight=1&highlightterms=&lstKeywords= (703 words)

	Seldom Heard, but Worth Hearing - January 19, 2007 - The New York Sun
		Presenting the Rossini was Opera Orchestra of New York, under its founderconductor, Eve Queler.
		According to a company press release, Rossini's "Otello" was last staged in this town in 1968, when the Rome Opera brought it to the Met.
		It looked like a convention of Rossini tenors up on that stage; ordinarily, it's hard to acquire even one.
	www.nysun.com /article/47007 (376 words)

	MUSIC REVIEW; Retelling Shakespeare With an Abundance of Tenors - New York Times
		If the main characters in Rossini's ''Otello'' were not named Otello, Desdemona and Iago, most of the audience would never guess that this opera is based on Shakespeare's tragedy.
		Still, one could argue that the great decades of serious 19th-century Italian opera are framed by Rossini's 1816 version and Verdi's 1887 version of ''Otello.'' The conductor Will Crutchfield made that very point by presenting concert performances of both operas during the Caramoor Festival in 2001.
		Surely Verdi took as a model for his ''Otello'' Rossini's final scene for Desdemona, when she sings a ravishing ''Willow Song'' prominently accompanied by a filigreed harp (played here by Grace Paradise) and then sings a wistful prayer before going to sleep, miserable and confounded by her husband's anger.
	query.nytimes.com /gst/fullpage.html?res=940DEED61130F93AA25752C0A9619C8B63 (635 words)

	Bruce Ford - Profile of the American Tenor / ML Hart's Words & Music
		When he and Chris Merritt's Otello met for their dazzling Act II duet and duel, both tossing off stratospheric notes as if they were everyday occurrences, it was all too easy to understand the elemental appeal of the opera.
		Opera Rara's recording sessions for the Rossini Otello in October 1999 were the focus of ML Hart's cameras and interviews.
		Opera Rara's Recording of Rossini's Otello with Bruce Ford in the title role took place in September and October, 1999, with the release coinciding with performances of the Opera at the newly opened Royal Opera House in Covent Garden.
	www.mlhart.com /WordsMusic/bio_Ford.htm (1251 words)

	Rossini, Gioachino: Otello, ossia Il Moro di Venezia
		Rossini, Gioachino Otello, ossia Il Moro di Venezia: Dramma per musica in Three Acts by Francesco Berio di Salsa.
		Rossini's Otello, first performed in 1816, remained an immensely popular opera throughout the nineteenth century and was only eclipsed by Verdi's more Shakespearean version.
		Far more than a mere forerunner to Verdi, Rossini's Otello deserves to be known for its own innovative qualities.
	www.press.uchicago.edu /cgi-bin/hfs.cgi/00/13013.ctl (221 words)

	PlaybillArts: News: Ramón Vargas Withdraws From Rossini's Otello at Carnegie Hall Next Week; Bruce Ford to Step In
		Ramón Vargas, the Mexican tenor who was to take the title role in Rossini's Otello with the Opera Orchestra of New York (OONY) at Carnegie Hall on January 17, has withdrawn from the performance due to illness.
		Otello is one of the hardest of Rossini's operas to cast: the score calls for four highly skilled bel canto tenors, including two who have high D-flats.
		Expert Rossini tenors are a rare breed as it is; finding one who knows this particular part and is available at short notice is a daunting prospect.
	www.playbillarts.com /news/article/5859.html (454 words)

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