ყველაზე უკეთ ნადირიჟორებ "ოტელოდ" ზოგჯერ ფრანკო კაპუანას 1955 წლის რადიოჩანაწერს მიიჩნევენ და მისტირიან ძველი იტალიური ორკესტრების ტრადიციულ ფრაზირებასა და არტიკულაციას, მუსიკალური გლობალიზაციის ეპოქას რომ შეეწირა:
I’ve heard my fair share of Otello recordings, including live or studio recordings with Martinelli, Vinay, Del Monaco, Vickers, Domingo, and Windgassen, including live or studio recordings with Ettore Panizza, Toscanini, Furtwängler, Busch, Erede, Fausto Cleva, Serafin, Karajan, Solti, Levine, Carlos Kleiber, Maazel, Muti, and Chung, and the best CONDUCTED Otello I’ve ever heard is this one:
Giuseppe Verdi: Otello
Otello: Carlos Guichandut
Desdemona: Cesy Broggini
Iago: Giuseppe Taddei
Orchestra della RAI di Torino
Franco Capuana
Torino, 8 June 1955
This performance of Otello is an article of faith with me, a document of everything I love about the best Italian performances of Italian opera from before the bad old days when Abbado, Muti, and Levine came along to whip the money lenders out of the temple.
Thanks to Capuana, I actually prefer this performance to the NBC SO broadcast with Toscanini, good as it is. It’s brisk and strict in the best Italian tradition—Capuana preserves the tempo of “Fuoco di gioia” across Iago’s declamatory “Roderigo beviam” and into the pizzicato motive in the violas that follows better than any conductor I’ve ever heard: under Capuana, the new motive and the development it launches lock into the larger structure of the overall continuum with a special rightness—but it’s strict without being rigid. And Toscanini’s performance does seem ever so slightly rigid by comparison. Furthermore, Capuana’s performance exhibits other kinds of virtues more amply than Toscanini’s.
In phrasing, Capuana is able to rely on an extraordinary range of manners of articulation, and Verdi’s textures bloom under his direction. Capuana elicits particularly brilliant work from his string players, and there is no species of legato, spiccato, or staccato articulation that doesn’t find its proper place somewhere in this performance. There are so many wonderful examples that none sticks out as exceptional, the opening temporale, for example, including a whole inventory of them.
Here are a few examples of passages that Capuana’s players do to perfection: the fortissimo run up the scale by the strings that punctuates Otello’s “Abasso le spade”, which Verdi has marked both staccato and sostenuto, and all of the punctuating interjections by the strings in the passage that follows; the passage a dozen bars into Act II where Verdi imitates the motivic development characteristic of a Beethoven quartet, harnessing the distinction between legato and staccato in articulation of his motives; and the sinister dry staccato sixteenths at the beginning of Act III. On a larger scale, there’s Capuana’s projection of the violin line shortly thereafter, at first legato and crescendo (Act III from m. 13), then staccato and crescendo (from m. 21), then fortissimo and legato (from m. 24), and, finally—at twice the speed—fortissimo and staccato (from m. 26). The shaping of the whole is beautifully done, Capuana’s subtle adjustments of tempo, his projection of the dynamics, and the manner in which the string players vary their articulations all playing a crucial part—“instinctively” and without the least trace of self-consciousness.
Needless to say, the actual living breathing performance tradition that Capuana and his players embody deserves more of the credit for all of this than Capuana or any of his individual players. Capuana can only succeed because he and his players are all on the same page, and the successes they achieve together are not so much original with them as original with the tradition. Capuana’s orchestra was never as virtuosic an ensemble as the greatest orchestras of the period, and there are a few instances of imperfect ensemble or poor intonation in this performance, but the Orchestra della RAI di Torino was the best of the Italian radio orchestras of the period, and its membership imbibed Verdi’s style with mother’s milk. You simply will not find the same variety in articulation or the vitality that results from such an alert response to the writing in such smoothly polished studio efforts as Karajan’s, Levine’s, or Chung’s.
Caveat lector. The voices of the Desdemona and the Otello are more apt to deter some listeners than they do me. Guichandut can be particularly hard to take. His voice is of approximately the right size and weight for Otello, but his production is awkward, his actual sound coarse, and he has an odd fast-ish vibrato (which is better than an odd slow-ish vibrato). His technique is so poor that he more or less has to force to get the sound out throughout much of his range. That being said, he’s not entirely insensitive and more musicianly than certain more famous Otello’s, including Signor Del Monaco: time and again I’m gratified when following the score to see him projecting Verdi’s notated pitches and rhythms rather faithfully, although his intentions are often undermined by his poor technique. Guichandut is also prone to the occasional excessive provincialism for expressive effect, an occupational hazard of the Italian tenor, but—if he had the greatest voice in the world—people would be wildly ecstatic about his performance, and rightly so.
Cesy Broggini has the odd brittle timbre characteristic of so many of those mid-century Italian sopranos whom nobody would ever have heard of outside of Italy if it weren’t for Cetra, but she’s a not unaffecting Desdemona. It goes without saying that Taddei is a superb Iago. Angelo Mercuriali is a wonderful Cassio.
https://groups.google.com/forum/#!topic...ngs/TitrjWOvtrMოტელოს პარტიის შემსრულებელი, არგენტინელი კარლოს გიშანდუ მარიო დელ მონაკოს სადებიუტო "ოტელოში" იაგოს მღეროდა (
http://www.amazon.co.uk/product/dp/B000056NV4 ), მოგვიანებით კი თავად გახდა ტენორი და კარგი კარიერაც გაიკეთა, კარაიანის დირიჟორობით ოტელოსა და რადამესს მღეროდა 1956-1964 წლების ვენის ოპერაში. ჯუზეპე ტადეი შესანიშნავი იაგოა. კაპუანა კი მართლაც ყოველმხრივ უბადლოა.
http://allshares.ge/download.php?id=E3C533CD88
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