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Subject: Fw: Otello from Firenze
From: Marliese Annen <[log in to unmask]>
Reply-To:Marliese Annen <[log in to unmask]>
Date:Thu, 26 Jun 2003 15:17:51 +0200
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Greetings to the list,
I watched the telecast at ARTE and agree with Roger Bell. Galouzine was on
fine form. He indeed showed off the stamina for the outbursts and also
commanded the right voice for the more tender lines.  I thought Frittoli
excellent but had my doubts about Guelfi's Jago. Another white Otello I
recall was German Tenor Christian Franz (an excellent young German
Heldentenor who sang very well) last year at Berlin's Staatsoper unter den
Linden.
Greetings,
hans Peter Annen
-----Urspr?ngliche Nachricht-----
Von: Roger Bell <[log in to unmask]>
An: [log in to unmask] <[log in to unmask]>
Datum: Donnerstag, 26. Juni 2003 00:46
Betreff: Otello from Firenze


>Greetings to all listers
>
>I watched tonight's ARTE  telecast of the Firenze "Otello". with Galouzin,
>Frittli and Guelfi. I have privately corresponded with a few folks about
how I
>thought Galouzin sounded like a wounded buffalo on the previous Rai Radio
Tre
>broadcast, so I am hoping in all humility that it wasn't the same
performance I
>saw tonight, which I thought was fine. I read a previous post about
>production problems from an orchestral viewpoint; how untrue they were. I
want to know
>how an orchestra player can see the colour of a singer's eyes. Galouzin has
>brown eyes not blue. I must admit he was the whitest Otello in history
though;
>but it does not really matter if you are suspending disbelief, as we all
need
>to do when we go to the theatre. Maybe his make-up melted all over
Desdemona;
>perhaps therefore that was a make-up artists fault, not the tenor's.
>
>I thought Galouzin was excellent in this performance. His voice is severely
>baritonal, but it is a heavily dramatic part; he brought me into the drama,
and
>sang every note in tune, handsomely, and with terrific character and power.
I
>didn't notice any unacceptable weakness in the upper register. Barbara
>Frittoli was absolutely wonderful as Desdemona, and though can envisage a
more
>imaginative Iago than Guelfi, at least he sang in tune and looked involved
for the
>most part.
>
>I found the production minimalist but unobjectionable. It consisted mainly
of
>a big 4-poster structure which served various functions, though to the bed
in
>the last scene. The one thing which seemed ridiculous was the way in which
>Otello killed Desdemona.  He kissed her. That's it. A kiss to die for?
Make
>your own jokes up.
>
>I though the orchestral paying was wonderful; and the much maligned
>conducting of Zubin Mehta dynamic and invigorating.
>
>After it was over, my friends and I just thought for a few moments about
the
>genius of composition that Verdi poured into this amazing piece of music
>theatre.
>
>You need to read this "review" with the understanding that it was all heard
>through the magic of television sound, heard through very good digital
audio
>equipment.
>
>Regards to everyone
>Roger D Bell
>Lancashire
>England

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