The Toscannini recording is in mono (though well balanced and clear). But it has the energy of a live performance, because it was, in fact, a live broadcast, and that adds a lot. And then there is the matter of pedigree--Toscannini was playing cello in the pit at the world premiere in La Scala. He knew Verdi personally and had the chance to discuss his music with him. And he was a great conductor who had the ability to inspire performers to go beyond themselves. It is fair to say that the cast of Toscanini's Otello gave the performances of their lives. So when all is said and done, the Toscanini Otello is my reference for how the opera should sound. If you want to say that the Levine/Domingo Otello is the modern stereo reference, I have no problem with that. But the Toscanini recording is so important historically, and came out so well, that I think it is that rare example of an older, historical recording being the reference, even when compared to later, stereo era recordings.

I agree this is the clear stereo reference. That said, I do have a soft spot for Domingo’s later recordings, too. The one with Myung-Wung Chun and Cheryl Studer is a very exciting recording, in excellent sound. Also: I totally agree with Dave’s comment about the opera having “no fat.” It’s a true marvel in that way, and in my opinion that also comes down to the excellent libretto, maybe the best condensed Shakespeare ever!

I share your opinion of the Serafin/Vickers performance. The singing is of a very high standard, and the orchestral part is vividly done.

Before that one there were two clear reference recording: Toscanini and Karajan with Del Monaco and Tebaldi. And the reference Otello singer was Del Monaco, who owned the role as he dis it over 400 times.

Love this opera and this recording. Otello is the only Verdi score I've gone to the trouble of buying. In Levine's interpretation, I take exception to just one, single note value. Was also glad to consult Toscanini.

I have this recording but I'm afraid I find Renata Scotto's voice problematic. I nearly gave the CDs away.

It's tricky to decide on the reference in this opera, at least as far as the tenor role is considered. On the one hand it's one of the three most demanding roles of the Italian repertoire for tenors (alongside Manon Lescaut and Un Ballo). On the other hand it is the goto for any heroic tenor on the Italian side, so quite a few made it their signature role (Del Monaco, Cossutta), plus it was attended by Siegmund specialists (Vickers, Vinay) and by past their prime Bel Canto singers. And yet, with all this competition, Domingo, who could have the argument for being the reference of many other roles, still owns the role.

Thanks for this. I thought that it was actually going to be Del Monaco/Tebaldi with Karajan on Decca, given that they were the leading pair during the onset of the LP era. It does have that awful Paris ballet sequence though which completely stops the momentum in Act III.

Listen to the opening of Othello with the finale of Mahler 3 in mind when the horns make their prominent declaration

Great top 3. I know this one well.

Dave, your remark on Carlos Kleiber conducting Otello in New York makes me wonder why he did not record it with Domingo -I saw both at Covent Garden, I think 1982, with Margaret Price as Desdemona and Silvano Carroli as Iago and it was sensational.

Dave, do you think Don Carlo has a reference recording? Or are there just too many versions to have one reference. I ask because Don Carlo is far and away my favorite Verdi. Could you identify different references for the 4-Act and 5-Act versions? If you think there is a reference recording, I can't wait to see what you pick. Wesley

It's the Serafin/Vickers for me. But I'm somewhat biased against Domingo, as I tend to find his vocie grates. It's nails on a chalkboard to me. I don't know. It never used to be that way during my first classical phase in my teens and twenties. But over the last ten years, his voice just drives me nuts. And not in a good way. But Otello is such a wonderful piece. The opening is worth the price of admission by itself.

Since you've done a few operas now, is there a reference for Jenůfa? I'd gues Mackerras, but that's even more recent than the Levine _Otello_ so maybe not.

No argument against this for reference, but for best my vote also goes to another Levine, on DVD with Vickers and Scotto. To me, Otello is first and foremost a dramatic opera, and this choice simply comes down to the fact that Vickers was (at that point) a better dramatic singer than Domingo was. Domingo would definitely develop into one of the all-time great dramatic tenors, but even at his best I don't think he was ever quite as electrifying and terrifying as Vickers could be. It doesn't hurt that it's in even better sound.

Online rumor has it that Price was scheduled to be the Desdémona but bowed out. I’m shocked RCA didn’t approach Caballe. Either way Scotto is an inspired casting choice. The Serafin - Toscanini and first Solti sets are my go to mostly for the casts. Domingo’s current status makes him arguably more problematic than Levine.

This would be my No.2 choice as THE reference. And a favorite. But when it appeared the comparisons and evaluations invariably cited the--Toscanini RCA. Reviews of new Otellos always brought up the Toscanini. Despite questions of sonics. One thing Toscanini does that nobody else gets so successfully, regardless of sonics, is the separate lines and conferences (Iago-Rodrigo, Iago-Otello) in the big 3rd act ensemble. They're almost invariably covered up. Karajan in his EMI simply cuts them! Vinay was a great Otello, probably the best before Vickers and Domingo. Valdengo turns in his best performance as Iago, actually very Gobbi-like. Nelli gives her 2nd best performance with AT (the best is her Alice Ford in Falstaff.) She's a problem for some but Peter Hugh Reed in the old ARG compared her to Melba whom he had heard in the role in the theater. And the comparison was favorable.

Not all Domingo recordings of Otello are equal, as you know. Over the years, his voice became more and more baritonal and less and less apt for this work. For his last video in 2001, Muti had to transpose the role downwards. So, as you say, his earliest recording is certainly the most referential.

there's an incredible 1980 live performance with Domingo, Margaret Price, and Silvano Carroli conducted by Carlos Kleiber that is my absolute favorite, marginally edging out another fantastic Domingo, Freni, Bruson, Kleiber 1987 live performance (famous for a backstage fight between Kleiber and Bruson between act 1 and act 2 -- Bruson messed up a line entrance in act 1 and Kleiber nearly punched him out over it lol). As far as studio recordings, I agree with the Levine first and the Serafin second. I can never understand those who prefer Del Monaco to Domingo in the role - MDM's unmusical bellowing has been a blight on many recordings I'd otherwise rank much higher. Karajan 2 is ruled out due to his lunatic Act 3 cut. Karajan 1 has the pedestrian Protti as Iago, and if I were to pick a Del Monaco, Tebaldi, Protti Otello, I'd opt for the 1954 Erede early stereo recording with the same principals when everyone was in fresher voice over the Karajan seven years later. Not as luxurious or well played as Karajan but an excellent blood and thunder performance, with the voices forward recording balances typical of the 50s.

With Mario Del Monaco- a real Dramatic tenor- the Karajan recording should be the standard. Too bad Culshaw sucked at recording big voiced singers. Great orchestra with the VPO with Karajan though.

The first theme in the 2nd movement of Rachmaninoff's 1st symphony reminds me of the opening of Otello act 2

This is the reference, but my allegiance will always be Serafin with Vickers, Tebaldi and Gobbi. Levine was good in Italian opera (I’d say his Cavalleria is the RR, not Karajan’s). A shame Kleiber didn’t record this, instead of giving the world yet another Fledermaus.