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data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" 路 ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent haudio"><tbody><tr><th colspan="2" class="infobox-above summary album" style="font-style: italic; color: inherit; background-color: lightsteelblue; font-size: 125%;">Otello</th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Otello_lopez_cobos_lp.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/f/f4/Otello_lopez_cobos_lp.jpg" decoding="async" width="219" height="218" class="mw-file-element" data-file-width="219" data-file-height="218" /></a></span><div class="infobox-caption">Philips Records LP: 6769 023</div></td></tr><tr><th colspan="2" class="infobox-header description" style="color: #202122;background-color: lightsteelblue"><a href="/wiki/Album" title="Album">Studio album</a> by <div class="contributor" style="display:inline">Jes煤s L贸pez Cobos</div></th></tr><tr><th scope="row" class="infobox-label">Released</th><td class="infobox-data published">1979</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Music_genre" title="Music genre">Genre</a></th><td class="infobox-data category hlist">Opera</td></tr><tr><th scope="row" class="infobox-label">Length</th><td class="infobox-data"><span class="duration"><span class="min">153</span>:<span class="s">11</span></span></td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data category">Italian</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Record_label" title="Record label">Label</a></th><td class="infobox-data hlist">Philips</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Record_producer" title="Record producer">Producer</a></th><td class="infobox-data hlist">Erik Smith</td></tr><tr><td colspan="2" class="infobox-below"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"></td></tr><tr><th colspan="2" class="infobox-header" style="background: lightsteelblue;color:inherit;"><i>Otello</i></th></tr><tr><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"></td></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Otello_lopez_cobos_cd.jpg" class="mw-file-description" title="Philips Records CD: 432 456 2"><img alt="Philips Records CD: 432 456 2" src="//upload.wikimedia.org/wikipedia/en/e/e7/Otello_lopez_cobos_cd.jpg" decoding="async" width="218" height="218" class="mw-file-element" data-file-width="218" data-file-height="218" /></a></span><div class="infobox-caption">Philips Records CD: 432 456 2</div></td></tr><tr style="display:none"><td colspan="2"> </td></tr><tr style="display:none"><td colspan="2"> </td></tr></tbody></table> <p><i><b>Otello</b></i> is a 153-minute studio album of <a href="/wiki/Gioachino_Rossini" title="Gioachino Rossini">Gioachino Rossini</a>'s opera <i><a href="/wiki/Otello_(Rossini)" title="Otello (Rossini)">Otello</a></i>, performed by <a href="/wiki/Jos%C3%A9_Carreras" title="Jos茅 Carreras">Jos茅 Carreras</a>, Nucci Cond貌, <a href="/wiki/Salvatore_Fisichella" title="Salvatore Fisichella">Salvatore Fisichella</a>, Alfonso Leoz, Keith Lewis, Gianfranco Pastine, <a href="/wiki/Samuel_Ramey" title="Samuel Ramey">Samuel Ramey</a> and <a href="/wiki/Frederica_von_Stade" title="Frederica von Stade">Frederica von Stade</a> with the <a href="/wiki/Ambrosian_Chorus" class="mw-redirect" title="Ambrosian Chorus">Ambrosian Chorus</a> and the <a href="/wiki/Philharmonia_Orchestra" title="Philharmonia Orchestra">Philharmonia Orchestra</a> under the direction of <a href="/wiki/Jes%C3%BAs_L%C3%B3pez_Cobos" title="Jes煤s L贸pez Cobos">Jes煤s L贸pez Cobos</a>. It was released in 1979. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Following <i>Otello'</i>s premi猫re in Naples in 1816, Rossini wrote an alternative version of the opera which replaced its climax with a different, happier conclusion. (<a href="/wiki/Opera_Rara" title="Opera Rara">Opera Rara</a>'s issue of the opera, conducted by David Parry, includes this alternative ending in an appendix.<sup id="cite_ref-rara_1-0" class="reference"><a href="#cite_note-rara-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>) Jes煤s L贸pez Cobos's album presents the opera in accordance with Rossini's original autograph score.<sup id="cite_ref-liv_2-0" class="reference"><a href="#cite_note-liv-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The album was the first studio recording of the opera ever undertaken.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Recording">Recording</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=2" title="Edit section: Recording"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The album was recorded using analogue technology in September 1978 at an unidentified location in London.<sup id="cite_ref-cd_4-0" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Packaging">Packaging</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=3" title="Edit section: Packaging"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The cover of the CD edition of the album, designed under the art direction of Ton Friesen, features a photograph by Hans Morren. </p> <div class="mw-heading mw-heading2"><h2 id="Critical_reception">Critical reception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=4" title="Edit section: Critical reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Reviews">Reviews</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=5" title="Edit section: Reviews"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Rossini_young-circa-1815.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/90/Rossini_young-circa-1815.jpg/250px-Rossini_young-circa-1815.jpg" decoding="async" width="250" height="328" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/9/90/Rossini_young-circa-1815.jpg 1.5x" data-file-width="300" data-file-height="394" /></a><figcaption>Rossini in <i>circa</i> 1815, shortly before <i>Otello</i> was first performed</figcaption></figure> <p><a href="/wiki/Alan_Blyth" title="Alan Blyth">Alan Blyth</a> reviewed the album on LP in <i><a href="/wiki/Gramophone_(magazine)" title="Gramophone (magazine)">Gramophone</a></i> in September 1979. Recalling how <a href="/wiki/Stendhal" title="Stendhal">Stendhal</a> had rhapsodized over the opera, he expressed regret that it had fallen into a degree of obscurity. Berio's libretto, it was true, was a travesty of Shakespeare, but Rossini's alchemy had turned its lead into gold. The work was "full of music that [was] mellifluous and affecting", and though it was not the last word in psychological profundity, in between its occasional barren pages there were others that plumbed genuine depths of feeling. Indeed, there were moments in which Rossini had rivalled, or maybe surpassed, what <a href="/wiki/Giuseppe_Verdi" title="Giuseppe Verdi">Giuseppe Verdi</a> had done with the story seven decades later. But whatever one thought of Rossini's score, there was no doubting that L贸pez Cobos's album could hardly have put the case for it more persuasively. As Desdemona, Frederica von Stade exhibited her "accustomed control and feeling for the shape of a phrase", singing even more beautifully than she had in the excerpt from the opera that she had included in her early recital disc of <i>bel canto</i> arias.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Her one failing was that her diction left something to be desired. She showed an "increasing tendency to smooth away consonants in the interests of suave tone", and her recitatives suffered accordingly. As Emilia, Nucci Cond貌 sang with a voice so like von Stade's that it was sometimes difficult to tell the maidservant from her mistress, though the similarity of their timbres made for an exquisite blending in their Act 1 duet. (Stendhal, Blyth noted, had thought the duet the best thing in the entire score.) In the opera's title role, Jos茅 Carreras made "as much as he [could] of a part that [offered] little in the way of pathos". He was equally credible as a proud soldier, a tormented lover and a man agonizing on the brink of becoming a murderer. Salvatore Fisichella brought an astonishing virtuosity to the opera's most demanding role, Rodrigo. With his "pleasingly clean, open tone and rapid vibrato", he negotiated his character's roulades, coloratura and excruciating <i>tessitura</i> with virtually no apparent effort. The opera's third tenor, Gianfranco Pastine, did well, too, as Iago - a smaller part than in Verdi or Shakespeare - and sang with a timbre that was different enough from Carreras's or Fisichella's to obviate confusion. Samuel Ramey was effective as Desdemona's irate father, and Alfonso Leoz was a poetic Gondolier in his brief offstage contribution to Desdemona's Willow Song scene. The orchestra played attentively, and L贸pez Cobos conducted with great skill, emphasizing the moments when Rossini was at his most inspired and making it easy to overlook passages in which the composer's powers of fantasy had faltered. The audio quality of the album was excellent, with the singers and instrumentalists balanced judiciously and projected clearly. In sum, Philips's recording was "an issue that should be in all operatic collections worthy of the name."<sup id="cite_ref-bly_6-0" class="reference"><a href="#cite_note-bly-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:La_Malibran_(Maria)_par_F._Bouchot.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/La_Malibran_%28Maria%29_par_F._Bouchot.jpg/250px-La_Malibran_%28Maria%29_par_F._Bouchot.jpg" decoding="async" width="250" height="295" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/La_Malibran_%28Maria%29_par_F._Bouchot.jpg/375px-La_Malibran_%28Maria%29_par_F._Bouchot.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/f/f1/La_Malibran_%28Maria%29_par_F._Bouchot.jpg 2x" data-file-width="450" data-file-height="531" /></a><figcaption>Fran莽ois Bouchot's 1834 portrait of <a href="/wiki/Maria_Malibran" title="Maria Malibran">Maria Malibran</a> as Desdemona</figcaption></figure> <p>William Livingstone reviewed the album on LP in <i><a href="/wiki/Stereo_Review" class="mw-redirect" title="Stereo Review">Stereo Review</a></i> in December 1979. He urged his readers not to allow their admiration of Verdi's <i>Otello</i> to deter them from exploring Rossini's treatment of the story. There was no denying that, in his first two Acts, Rossini had clung tenaciously to hoary <i>opera seria</i> convention. And there was something disconcerting in hearing scenes of high drama sung with an orchestral accompaniment that was incongruously buoyant. But Rossini's writing had "classic elegance" as well as "expressiveness and excitement", and was never "arid or tedious". Moreover, in his climactic Act 3 he had transcended tradition and found a new style that was "more personal and 'modern'" - the musicologist <a href="/wiki/Philip_Gossett" title="Philip Gossett">Philip Gossett</a> had argued that this Act was where eighteenth-century Italian opera had truly ended and a new epoch begun. But whether Rossini's opera was really a masterpiece or not, Philips had produced a fine recording of it. "The versatile Frederica von Stade is so convincing as Desdemona", Livingstone wrote, "that it is difficult to believe that she has never performed this role on stage." Rossini had given Desdemona "many long-lined, plaintive melodies", and von Stade "[span] them out beautifully, always with full attention to the meaning of the words and" - <i>pace</i> Blyth - "with excellent diction." Nucci Cond貌, whose timbre Livingstone thought fruitier than von Stade's, was good as Emilia. Philips had been shrewd in casting the album's three principal tenor roles, choosing singers with voices that were easy to tell apart from one another and that were well suited to the different kinds of music that Rossini had written for them. Jos茅 Carreras came to the title role with a voice that had lately "grown somewhat darker and heavier", but it "retained its sweetness and inherent beauty of tone". The brighter-sounding Salvatore Fisichella was the ideal man for Rodrigo's sparkling coloratura. And Gianfranco Pastine conveyed Iago's malevolence convincingly. Samuel Ramey, the opera's solitary, "sonorous" bass, supplied the somber tints that were needed to complete Rossini's <i>chiaroscuro</i>. Philips's production team had done their work admirably, balancing soloists and orchestra unimpeachably and making intelligent use of the stereo soundstage to create the illusion of a theatrical presentation without perpetrating any obtrusive trickery. With "impressive" conducting by L贸pez Cobos, the "splendid" album was "something that [had] become rare in operatic recordings, a real <i>performance</i>".<sup id="cite_ref-liv_2-1" class="reference"><a href="#cite_note-liv-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Isabella_Colbran_by_Reiter.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Isabella_Colbran_by_Reiter.jpg/250px-Isabella_Colbran_by_Reiter.jpg" decoding="async" width="250" height="317" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Isabella_Colbran_by_Reiter.jpg/375px-Isabella_Colbran_by_Reiter.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Isabella_Colbran_by_Reiter.jpg/500px-Isabella_Colbran_by_Reiter.jpg 2x" data-file-width="512" data-file-height="650" /></a><figcaption>The first Desdemona, <a href="/wiki/Isabella_Colbran" title="Isabella Colbran">Isabella Colbran</a>, painted by Johann Baptist Reiter in <i>circa</i> 1835</figcaption></figure> <p><a href="/wiki/J._B._Steane" title="J. B. Steane">J. B. Steane</a> reviewed the album on LP in <i>Gramophone</i> in January 1980. He thought Rossini's opera good in some respects, less so in others. He was not troubled by the distance between Berio's plot and Shakespeare's, but he was uneasy about Rossini's use of the same mannerisms that were ubiquitous in his comic works. On the positive side, the opera contained "genuine inspiration" and several kinds of beauty, from the "brilliance and ornamentation" of its Act 1 quartet to the "unadorned, unaffected simplicity of utterance" of the Willow Song and Prayer. What impressed him most about the "fine" album itself was the performance of its stars. "Carreras and von Stade cope wonderfully well", he wrote. "I don't think we have had a full-voiced <i>spinto</i> type of tenor singing runs like this since the very early years of the century."<sup id="cite_ref-ste_7-0" class="reference"><a href="#cite_note-ste-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Richard Osborne reviewed the opera on CD in <i>Gramophone</i> in December 1992. Although a Rossini enthusiast, he conceded that some parts of the score were less inspired than others. Its Act 3 was so powerful that it had long deterred Verdi from beginning his own <i>Otello</i>, but the rest of the opera was "flashy rodomontade" with "the odd <i>mauvais quart-d'heure</i>". Philips's album, though, had no weaknesses at all. Frederica von Stade's Desdemona was "chaste and as luminous as a sculpture in Carrara marble". Jos茅 Carreras's Otello was a "searingly noble Moor". Salvatore Fisichella and Gianfranco Pastine emerged "with honour, barely bloodied and never for a moment bowed" by Rossini's merciless demands on their virtuosity. The album as a whole was fresh and scintillating - the fruit of first-class scholarship, luxurious casting and immaculate engineering. It was an essential purchase for all "lovers of memorable opera memorably performed".<sup id="cite_ref-osb1_8-0" class="reference"><a href="#cite_note-osb1-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Napoli_-_Teatro_Mercadante.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Napoli_-_Teatro_Mercadante.jpg/250px-Napoli_-_Teatro_Mercadante.jpg" decoding="async" width="250" height="188" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Napoli_-_Teatro_Mercadante.jpg/375px-Napoli_-_Teatro_Mercadante.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Napoli_-_Teatro_Mercadante.jpg/500px-Napoli_-_Teatro_Mercadante.jpg 2x" data-file-width="3648" data-file-height="2736" /></a><figcaption><i>Otello</i> was first performed in Naples's <a href="/wiki/Teatro_del_Fondo" title="Teatro del Fondo">Teatro del Fondo</a>, now known as the Teatro Mercadante</figcaption></figure> <p>Osborne revisited the album in <i>Gramophone</i> in February 2000, comparing it with a new, Opera Rara issue of the opera conducted by David Parry.<sup id="cite_ref-rara_1-1" class="reference"><a href="#cite_note-rara-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Philips's set still seemed to him to be well nigh perfect. Carreras's Otello could perhaps be criticized as "sub-Verdian", but was nevertheless compellingly and enjoyably performed. The youthful Samuel Ramey's Elmiro was a powerful characterization enhanced by "marvellous articulation and a flawless sense of how to 'place' the voice in ... ensembles". Conducting, L贸pez Cobos had found a way to maintain the impetus of the opera's drama while at the same time allowing his singers the opportunity to let Rossini's <i>bel canto</i> work its magic. With a spacious, unvaryingly realistic acoustic, Philips' 1970s album was unequivocally preferable to Opera Rara's rival.<sup id="cite_ref-osb2_9-0" class="reference"><a href="#cite_note-osb2-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Accolade">Accolade</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=6" title="Edit section: Accolade"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Revisiting the album in <i>Gramophone</i> in December 1979, Alan Blyth included it in his Critic's Choice list of the best recordings of the year.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Track_listing:_CD1">Track listing: CD1</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=7" title="Edit section: Track listing: CD1"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b><a href="/wiki/Gioachino_Rossini" title="Gioachino Rossini">Gioachino Rossini</a></b> (1792-1868) </p><p><i><b><a href="/wiki/Otello_(Rossini)" title="Otello (Rossini)">Otello</a></b></i> ossia <i>Il Moro di Venezia</i> (Naples, 1816), tragedia lirica in tre atti, with a libretto by Francesco Maria Berio, Marchese di Salsa </p> <ul><li>1 (8:23) Overture</li></ul> <p><b>Act One</b> </p><p>No. 1, Introduction </p> <ul><li>2 (3:34) "Viva Otello" (Chorus)</li> <li>3 (1:48) March</li></ul> <p>No. 2, Duet and chorus </p> <ul><li>4 (2:40) "Vincemmo, a prodi" (Otello, Doge, Iago, Rodrigo)</li> <li>5 (7:08) "Ah! S矛, per voi gi脿 sento" (Otello, Iago, Chorus)</li></ul> <p>No. 3, Recitative and duet </p> <ul><li>6 (3:07) "Rodrigo!" (Elmiro, Rodrigo, Iago)</li> <li>7 (5:16) "No, non temer" (Iago, Rodrigo)</li></ul> <p>No. 4, Recitative and duet </p> <ul><li>8 (6:23) "Inutile 猫 quel pianto" (Emilia, Desdemona)</li> <li>9 (4:11) "Vorrei, che il tuo pensiero" (Desdemona, Emilia)</li></ul> <p>No. 5, Finale I </p> <ul><li>10 (5:20) "Ma che miro?" (Desdemona, Iago, Rodrigo, Elmiro, Emilia)</li> <li>11 (4:09) "Santo Imen!" (Chorus)</li> <li>12 (1:04) "Dove son? Che mai veggio?" (Desdemona, Elmiro, Rodrigo, Emilia)</li> <li>13 (4:41) "Nel cor d'un padre amante" (Elmiro, Rodrigo, Desdemona)</li> <li>14 (4:08) "Ti parli d'amore" (Rodrigo, Elmiro, Desdemona)</li> <li>15 (3:11) "L'infida, ahim猫 che miro?" (Otello, Chorus, Rodrigo, Elmiro)</li> <li>16 (5:49) "Incerta l'anima" (Chorus, Rodrigo, Otello, Desdemona, Elmiro)</li></ul> <p><b>Act Two</b> </p><p>No. 6, Recitative and aria </p> <ul><li>17 (1:40) "Lasciami" (Desdemona, Rodrigo)</li> <li>18 (6:04) "Che ascolto?" (Rodrigo)<sup id="cite_ref-cd_4-1" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Track_listing:_CD2">Track listing: CD2</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=8" title="Edit section: Track listing: CD2"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Act Two, continued</b> </p><p>No. 7, Recitative and duet </p> <ul><li>1 (2:25) "M'abbandon貌, disparve" (Desdemona, Emilia)</li> <li>2 (5:39) "Che feci?" (Otello, Iago)</li> <li>3 (4:02) "Non m'inganno" (Otello, Iago)</li> <li>4 (2:29) "L'ira d'avverso fato" (Otello, Iago)</li></ul> <p>No. 8, Recitative and trio </p> <ul><li>5 (0:52) "E a tanto giunger puote" (Otello, Rodrigo)</li> <li>6 (8:59) "Ah vieni, nel tuo sangue" (Rodrigo, Otello, Desdemona)</li> <li>7 (2:30) "Tra tante smanie" (Rodrigo, Desdemona, Otello)</li></ul> <p>No. 9, Finale II </p> <ul><li>8 (2:06) "Desdemona! Che veggo" (Emilia, Desdemona)</li> <li>9 (5:48) "Che smania. Oim猫! Che affanni" (Desdemona, Chorus, Elmiro)</li> <li>10 (3:04) "L'error d'un' infelice" (Desdemona, Chorus, Elmiro)</li></ul> <p><b>Act Three</b> </p><p>No. 10, Recitative, aria, duet and Finale III </p> <ul><li>11 (3:51) "Ah! - Dagli affanni oppressa" (Desdemona, Emilia)</li> <li>12 (5:07) "Nessun maggior dolore" (Gondoliere, Desdemona, Emilia)</li></ul> <p>Canzona and recitative </p> <ul><li>13 (9:01) "Assisa a' pi猫 d'un salice... Che dissi!" (Desdemona, Emilia)</li> <li>14 (2:28) "Deh calma, o Ciel nel sonno" (Desdemona)</li> <li>15 (6:50) "Eccomi giunto inosservato" (Otello, Desdemona)</li></ul> <p>Duet </p> <ul><li>16 (2:53) "Non arrestare, il colpo" (Desdemona, Otello)</li> <li>17 (2:24) "Notte per me funesta" (Desdemona, Otello)</li> <li>18 (3:33) "Che sento... Chi batte?" (Otello, Lucio, Doge, Elmiro, Rodrigo, Chorus)<sup id="cite_ref-cd_4-2" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Personnel">Personnel</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=9" title="Edit section: Personnel"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Performers">Performers</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=10" title="Edit section: Performers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Alfonso Leoz (tenor), Gondolier & Doge of Venice</li> <li><a href="/wiki/Salvatore_Fisichella" title="Salvatore Fisichella">Salvatore Fisichella</a> (tenor), Rodrigo, son of the Doge</li> <li><a href="/wiki/Jos%C3%A9_Carreras" title="Jos茅 Carreras">Jos茅 Carreras</a> (tenor), Otello, a victorious Moorish General in the Venetian army</li> <li><a href="/wiki/Frederica_von_Stade" title="Frederica von Stade">Frederica von Stade</a> (mezzo-soprano), Desdemona, in love with Otello but promised to Rodrigo</li> <li><a href="/wiki/Samuel_Ramey" title="Samuel Ramey">Samuel Ramey</a> (bass), Elmiro, father of Desdemona</li> <li>Gianfranco Pastine (tenor), Iago, secretly enamoured of Desdemona</li> <li>Nucci Cond貌 (mezzo-soprano), Emilia, maidservant and confidante of Desdemona</li> <li>Keith Lewis (tenor), Lucio, a follower of Otello</li> <li>Sioned Williams, harp</li> <li><a href="/wiki/Ambrosian_Chorus" class="mw-redirect" title="Ambrosian Chorus">Ambrosian Chorus</a> (chorus master: John McCarthy)</li> <li><a href="/wiki/Philharmonia_Orchestra" title="Philharmonia Orchestra">Philharmonia Orchestra</a></li> <li><a href="/wiki/Jes%C3%BAs_L%C3%B3pez_Cobos" title="Jes煤s L贸pez Cobos">Jes煤s L贸pez Cobos</a>, conductor<sup id="cite_ref-cd_4-3" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading3"><h3 id="Other">Other</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=11" title="Edit section: Other"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Richard Nunn, conductor's assistant</li> <li>Ubaldo Gardini, music and language adviser</li> <li><a href="/wiki/Erik_Smith" title="Erik Smith">Erik Smith</a>, producer<sup id="cite_ref-cd_4-4" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-osb1_8-1" class="reference"><a href="#cite_note-osb1-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Release_history">Release history</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=12" title="Edit section: Release history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1979, Philips Classics Records released the album as a triple LP (catalogue number 6769 023) and a double cassette (catalogue number 7699 110), both with notes, texts and translations.<sup id="cite_ref-bly_6-1" class="reference"><a href="#cite_note-bly-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>In 1992, Philips Classics Records issued the album as a double CD (catalogue number 432 456 2), packaged in a slipcase with a 172-page booklet.<sup id="cite_ref-cd_4-5" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The booklet contained synopses, libretti and an essay by the Rossini scholar <a href="/wiki/Philip_Gossett" title="Philip Gossett">Philip Gossett</a>, all of them in English, French, German and Italian, as well as an engraving of Rossini, a publicity photograph of Carreras taken by Clive Barda and production photographs of the album's other singers and L贸pez Cobos taken by Mike Evans.<sup id="cite_ref-cd_4-6" class="reference"><a href="#cite_note-cd-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The opera was later reissued in different packaging as part of Philips's DUO and Decca's grandOPERA ranges.<sup id="cite_ref-amazon_11-0" class="reference"><a href="#cite_note-amazon-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Otello_(L%C3%B3pez_Cobos_recording)&action=edit&section=13" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-rara-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-rara_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-rara_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Gioachino Rossini: <i>Otello</i>, cond. David Parry, Opera Rara CD, ORC 18, 1999</span> </li> <li id="cite_note-liv-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-liv_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-liv_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><i>Stereo Review</i>, December 1979, p. 150</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><i>Gramophone</i>, November 1978, p. 858</span> </li> <li id="cite_note-cd-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-cd_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-cd_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-cd_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-cd_4-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-cd_4-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-cd_4-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-cd_4-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text">Gioachino Rossini: <i>Otello</i>, cond. Jes煤s L贸pez Cobos, Philips Classics CD, 432 456 2, 1992</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><a href="/wiki/Mozart_%26_Rossini_Arias" title="Mozart & Rossini Arias">Mozart & Rossini Arias</a></span> </li> <li id="cite_note-bly-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-bly_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bly_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><i>Gramophone</i>, September 1979, pp. 518-521</span> </li> <li id="cite_note-ste-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-ste_7-0">^</a></b></span> <span class="reference-text"><i>Gramophone</i>, January 1980, p. 1122</span> </li> <li id="cite_note-osb1-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-osb1_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-osb1_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><i>Gramophone</i>, December 1992, p. 140</span> </li> <li id="cite_note-osb2-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-osb2_9-0">^</a></b></span> <span class="reference-text"><i>Gramophone</i>, February 2000, p. 102-104</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><i>Gramophone</i>, December 1979, p. 969</span> </li> <li id="cite_note-amazon-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-amazon_11-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.amazon.co.uk/s?k=rossini+otello&ref=nb_sb_noss_1">"Amazon.co.uk : Rossini otello"</a>.</cite><span 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