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Giuseppe Verdi Otello (Full Score) Opera (Dover Vocal Scores) (Englisch) Taschenbuch – 15. August 2014

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Successful operatic adaptations of Shakespeare are rare. This is one of the very best. Otello's rage, Iago's cunning and Desdemona's innocence and pathos are beautifully expressed in Verdi's music. You can see what gives Iago's rage its orchestral punch and how Verdi wrote the initial storm sequence to such effect with this full orchestral score. Like all Dover scores, this is a reprint of another publishing house's work, without English translations.

Über den Autor und weitere Mitwirkende

An Italian composer of the Romantic era, Giuseppe Verdi (1813 1901) wrote operas that remain standards of the repertoire more than a century after his death. His most popular works include "Rigoletto, La Traviata, "and "Aida.""

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Format: Taschenbuch
One sleepy afternoon in Sant' Agata, Giuseppe Verdi's estate, Arrigo Boito, Verdi's former rival, came to call. He was there to ask Verdi to set two libretti he'd written on Shakespearean subjects to music. The request was, indeed, a great shock to both Boito and Verdi. Boito had, for many years, insisted that Verdi's work, in light of Wagner's innovations, was no longer of any importance. Yet with these libretti, Boito recognized the truth. Simply put, Verdi, and only Verdi, could compose these operas, and if Verdi would do so, the results would be monumental. Boy, what an understatement. Otello drips with innovation. It takes Wagner's techniques and applies them to Italian opera in an Italian way. The chromaticism, the leitmotifs, the thick orchestration, they are all there, but with an Italian sensibility. It also testifies not only to Verdi's great love of Shakespeare, but his depth of understanding Shakespeare, as well. This score "roars loud, and thunders in the index." Dover's edition is a reprint of an early Ricordi editon. Ricordi is the best source for Verdi, indeed all late romantic Italian opera, simply because Ricordi specialized in late Romantic Italian Opera, and understood the composers' wishes vis a vis their scores. For example, Giovanni Ricordi and Verdi, were good friends. The Dover edition is well crafted, easy to read, and printed on acid free paper, so it is resistant to fading. The score may be too big, and this book too small, to make it useful for the podium. Still, for the student and lover of opera, it is the non pareil.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 4.6 von 5 Sternen 5 Rezensionen
9 von 9 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Verdi's finest 17. Juli 2000
Von Keith Dillon - Veröffentlicht auf Amazon.com
Format: Taschenbuch
One sleepy afternoon in Sant' Agata, Giuseppe Verdi's estate, Arrigo Boito, Verdi's former rival, came to call. He was there to ask Verdi to set two libretti he'd written on Shakespearean subjects to music. The request was, indeed, a great shock to both Boito and Verdi. Boito had, for many years, insisted that Verdi's work, in light of Wagner's innovations, was no longer of any importance. Yet with these libretti, Boito recognized the truth. Simply put, Verdi, and only Verdi, could compose these operas, and if Verdi would do so, the results would be monumental. Boy, what an understatement. Otello drips with innovation. It takes Wagner's techniques and applies them to Italian opera in an Italian way. The chromaticism, the leitmotifs, the thick orchestration, they are all there, but with an Italian sensibility. It also testifies not only to Verdi's great love of Shakespeare, but his depth of understanding Shakespeare, as well. This score "roars loud, and thunders in the index." Dover's edition is a reprint of an early Ricordi editon. Ricordi is the best source for Verdi, indeed all late romantic Italian opera, simply because Ricordi specialized in late Romantic Italian Opera, and understood the composers' wishes vis a vis their scores. For example, Giovanni Ricordi and Verdi, were good friends. The Dover edition is well crafted, easy to read, and printed on acid free paper, so it is resistant to fading. The score may be too big, and this book too small, to make it useful for the podium. Still, for the student and lover of opera, it is the non pareil.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Good 21. September 2010
Von Mitchell Bolding - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter Kauf
Clearly written music. Well labled. Page numbers listed so it makes any part of the opera easy to find, listed by Aria, Scene and Act. Fair size print. Also includes the ballet music composed for the Paris Opera on 12 October 1894. This is a fair price for a good quality printing of the score. I do recommed it :)
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Handy and Clear Copy from which to Sing/Learn Otello 28. Dezember 2013
Von OperaTenor - Veröffentlicht auf Amazon.com
Verifizierter Kauf
When you wish to learn your part, or are doubling to fill in and need all the parts before you and also have the orchestral reduction and the translation at your disposal, Schirmer is the standard. It is readable (clear) and puts you in the proper contextual frame.
5.0 von 5 Sternen Five Stars 4. Juli 2016
Von Frenchsing - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter Kauf
Happy with this score and the price was right.
0 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Otello for serious singers -- and for a good modern translator 18. Oktober 2014
Von Sol Doute - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter Kauf
Nobody in his right mind would buy a copy if he wasn't going to sing some of it, but he wouldn't become much wiser from the cursive rendering into Court English of the most stilted 17th c. type imaginable. It attempts to match the libretto word for word, but in that attempt confuses more than it enlightens. Although Boito's libretto is a very liberal rendition of "Shakespeare's Othello", it does keep the mood of the great classic, condensing it to the essentials in order to keep the opera within the roughly 150 minutes limit. But Heuffer's old translation is best left disregarded. That does definitely not help anyone to understand the libretto. The original "Othello" is far too complicated and long-winded to serve as a singers' aid to the translation, thus you should have an It./Eng. dictionary at hand if you feel inadequate in this respect. I'm a member of the local opera chorus where I live and we had 10 performances of Otello this summer, but some of the soloists gave us of their time and helped with translations, so we didn't suffer too cruelly for not having chosen the proper parents. -Now to the important features: This clothbound ed. has all the physical properties that one has come to expect of the Ricordi series of vocal scores; no printing errors detected, clear, legible print, good paper. Most important is the binding, which is sturdy without being too tight. -The only introduction is the one-and-a-half-page synopsis, so for historical introduction, critical comments &c. one must go to a standard musical lexicon. -But why doesn't Ricordi exchange the dusty old translation with something that is worthy of Verdi / Boito ?
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