L'opera Galleggiante

Rossini’s Otello was premiered on December 4, 1816, and remained one of his most frequently performed operas until the general eclipse of most of his works in the late 19th century. Changes in aesthetic style (the replacement of bel canto first by Verdian romantic drama and then verismo) had practical performance implications. Like Armida, Otello also has six tenor roles—three leads and three comprimario parts. The title role is written for a baritenore, a tenor with a lower tessitura but still requiring the top notes, while Rodrigo is cast for a high coloratura tenor, and Iago halfway in between…

FANFARE: James A. Altena

The Lark Quartet brings its stellar 34 year career to a close with this celebratory album. On it, the Lark Quartet offers premiere recordings of works by John Harbison, Kenji Bunch, Anna Weesner and Andrew Waggoner, all composed for this occasion. Assisting Lark Quartet are Yousif Sheronick, percussion (Bunch), Romie de Guise-Langlois, clarinet (Weesner) and the Lark's four founding members (Waggoner).

Opera Rara recorded the new critical edition by the Rossini Foundation of Otello. Hugely admired in its day, this highly innovative score contains some of Rossini’s most inspired music. The recording includes the reconstruction of the alternative happy ending (written for Rome in 1820) as well as an aria for Desdemona which the great Giudetta Pasta sang to acclaim in Paris and London.

For those who can only judge Callas' voice, any recording can be very disapointing. To enjoy listening to her voice, one must be aware of her work as a dramatic performance rather than a technically perfect and beautiful voice. She sang with her soul, her heart and all the deep feelings a human being can experience and this led her to the top of the opera world, although her voice never achieved beauty and evenness as it would be expected of an opera Diva.