ARTURO TOSCANINI
Otello

CD1
The Complete Broadcast & Rehearsals
NBC Concert 6 December 1947 Acts I & II

CD 2
NBC Concert 13 December 1947 Acts III & IV

CD 3
Orchestra Rehearsal, Portion: Act III of 11 December 1947
Dress Rehearsal, Soloists and Chorus, Portion: Act III of 12 December 1947
with Vinay, Nelli, Valdengo

Reviews for CD 2275-77 Toscanini Otello

". . . a truly thrilling auditory experience. Indeed, it almost lifts one from one's chair . . ."

Vivian Liff - American Record Guide

American Record Guide – July/August 2005

VERDI: Otello

Ramon Vinay (Otello), Herva Nelli (Desdemona), Giuseppe Valdengo (Iago), Nan Merriman (Emilia), Nicola Moscona (Lodovico), Leslie Chabay (Roderigo), Virginio Assandri (Casslo)
NBC Symphony/ Toscanini
Guild 2275 [3CD] 206 minutes

This has long been regarded as Toscanini's finest contribution to the recorded repertoire and remains, probably, the most authoritatively conducted performance of the work. Although rarely absent from the catalogs, it is an especial pleasure to have this issue in what may well prove the finest sound likely to be encountered. Richard Caniell has returned to the original source and by minimum interference has presented us with a truly thrilling auditory experience. Indeed, it almost lifts one from one's chair and must surely more nearly correspond with what that original audience heard.

So much has been written about this performance, it is unnecessary to eulogize further here. Suffice to say that almost no other recording matches this magisterial account. Nevertheless, whilst admiring Vinay's artistry and commitment, it is difficult to consider his voice ideal for this role. He was certainly a most compelling artist on stage when the lack of heroic metal in his thick tones was less noticeable. His Desdemona, on the other hand, seems always to have been underrated but offers many fine moments that some contemporary exponents of this role could learn from. As for Valdengo, he requires no special pleading, for he stands comparison with the very finest exponents of the part. All the remaining singers are excellent, with Nan Merriman an exceptional Emilia.

A third disc gathers together some orchestral and vocal rehearsals, which preceded the broadcast of the final acts. Despite imperfect sound owing to a tracking defect in the original masters, it is instructive and fascinating to overhear the Maestro singing the vocal parts and the way he brings the various strands of the big concerted number together. Not for frequent hearing perhaps, but a most useful adjunct to the complete work.

First class notes with a comprehensive synopsis (no libretto) and absorbing comments from the transfer engineer ensures this edition maintains Guild's high standards. This must now be considered the issue of choice for this seminal recording.

Vivian Liff

International Record Review – December 2004

Historic Opera Reissues

If it's 'live' performances that primarily set your pulse racing, then Guild is in the forefront at present of issues or reissues of the great names in performances of whole operas, or tantalizing excerpts from them. Even when Guild puts out something that seems very familiar , it often turns out that it has found a new source for it, or has added exciting fillers. Otello conducted by Toscanini, for instance, must be as famous as any opera set, but in Guild's issue not only is the restoration of sound incredibly vivid and immediate, but there are Ben Grauer's atmosphere-evoking commentaries and, more important, a whole further disc of half an hour of rehearsal of Act 3 followed by the dress rehearsal of the same act, and an interview with Ramon Vinay, most hard-worked of Otellos (who else can be heard singing a single role under such a variety of major conductors?). And William Youngren's notes are a model of informed and balanced guidance.

Michael Tanner

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Music Web May 2004

Giuseppe VERDI (1813-1901)

Otello - opera in four acts (plus Act III rehearsals)

Otello, Ramon Vinay (tenor); Iago, Giuseppe Valdengo (bar); Desdemona, Herva Nelli (sop); Emilia, Nan Merriman (mezzo); Casio, Virginio Assandri (ten); Roderigo, Leslie Chabay (ten); Montano, Arthur Newman (bass); Lodovico, Nicola Moscona, (bass)
NBC Symphony Orchestra. Mixed Chorus/Arturo Toscanini

Live broadcast from Studio 8-H Radio City, New York. With audience. Acts I and II on 6^th December 1947. Acts III and IV on 13^th December. Rehearsals of Act III on 11^th and 12^th December

GUILD HISTORICAL Toscanini Broadcast Legacy Series CD 2275-77 [3CDs: 70.01+67.08+68.30]

Arturo Toscanini’s regular NBC broadcasts have been well documented. Guild’s ‘Toscanini Legacy’ reflects a carefully selected melange of circumspection and adventure. Very often the repertoire chosen has overlapped studio recordings. Richard Caniell has justified this duplication in terms of vitality of performance. However, LPs and later CDs from these broadcasts have long been available commercially from RCA, so what special reason brings their issue here? In a detailed explanation on pages 32-33 of the comprehensive booklet, Caniell sets out the explanation and justification. The crux of his argument is that neither the original RCA vinyls nor later CD issues faithfully represented the quality of sound possible from the masters. They reflect ‘considerable attenuation of the sonic spectrum’. To overcome these perceived limitations Caniell and his team have gone back to what he calls ‘original sonics taken from the lacquers (‘linechecks’). These are said to ‘offer bright, clear, dry sound of considerable detail and stunning impact, superior, in our hearing, to the RCA/BMG Compact Disc set’. This is despite some deficiencies in the lacquers and a few instances of line leakage.

Listening to the performance with some care, I noted some odd moments of surface grit noise and also of overload distortion. However, overall there is a clarity, or lack of veiling, that many will welcome. The other added value to the issue is to be able to hear Toscanini’s orchestral rehearsal from Act III, complete with his singing to provide the vocal line, (CD 3 tr. 1). This took place on 11^th December and is followed (tr. 2) by a portion of the ‘Dress Rehearsal’ from the following day. This disc concludes (Tr. 3) with a brief interview with Ramon Vinay.

Toscanini famously played in the string section of the memorable first night of Otello at La Scala in 1887. His interpretation is therefore viewed as definitive and this performance iconic. Phrases such as ‘white hot’ litter critical comment; certainly that describes the opening (CD 1 tr. 1) and Otello’s ‘Esultate!’ that follows (tr. 2). We can but guess if it really was like that on the opening and subsequent nights. On the other hand, and playing the iconoclast, is it the notoriously hard-driving conductor imposing his personality on Verdi’s incomparable work? I have never worshipped at the shrine of these singers and this chorus. I find Herva Nelli’s Desdemona thin-toned and lacking legato. The baritonal Vinay is vocally too similar to his Iago and the chorus lack Italianate ‘squilla’. I much prefer the red-blooded, but not over-cooked, Serafin, a consummate Verdian, also on RCA. Recorded in Rome in 1960, the Serafin version has the benefit of an Italian chorus, the unequalled Iago of Gobbi and the virile tenor tones of Vickers in the title role. However, each to his own preference, and I do hear why this performance appeals to many.

As always the Guild supporting documentation is first class with an excellent track-related synopsis in place of a full libretto. They also reproduce contemporary critical comment and there is a detailed musicological essay by William H Youngren. Those who know and love this performance above others will itch to hear if Caniell’s claims for sonic improvement are justified. I will simply note that he has a good record!

Robert J. Farr