Verdi’s Otello is widely regarded as one of the greatest operatic masterpieces, fusing Shakespearean drama with the intense musical style of the late Romantic period to great effect. Its emotional depth, vocal demands and orchestral brilliance have inspired many remarkable recordings over the decades. However, it seems almost impossible to witness a ‘perfect’ performance of Otello — something I rarely experience with other operas. In this article, I will explore ten of the best Otello recordings, listed in no particular order, that demonstrate the opera’s lasting power and complexity.

Arturo Toscanini / NBC Symphony Orchestra (RCA)

Arturo Toscanini’s 1947 recording of Verdi’s Otello with the NBC Symphony Orchestra is widely regarded as one of the most compelling opera interpretations ever recorded. Toscanini played the violoncello at the premiere of Otello on 5 February 1887 at Teatro alla Scala under Franco Faccio’s baton, and his interpretation reflects his intimate understanding of the work, probably shaped in part by his direct involvement with Verdi’s circle and the original production. Ramón Vinay’s Otello is notable for its baritonal timbre, which brings a dark, brooding quality to the role, showing a deep understanding of the character. Herva Nelli’s Desdemona is solid, although she does sound rather monotone at times. Giuseppe Valdengo offers a portrayal of Iago that is both sinister and compelling.

Fritz Busch / Orchestra of the Metropolitan Opera (Preiser Records)

Personally, I think Ramón Vinay reaches new heights in his live performance under Fritz Busch at the MET. He is more emotionally involved, and he brings out a brutality that I do not find in his performance under Toscanini. Licia Albanese brings drama and emotional depth to the role of Desdemona, while Leonard Warren effectively captures the manipulative nature of Iago. Busch’s interpretation highlights the dramatic intensity of Verdi’s score. Although the sound quality is remarkably good for a recording from 1948, I somehow still see the recording as historical document.

Georg Solti / Wiener Philharmoniker (Decca)

Although I believe that Georg Solti achieved greater depth in his later recording with the Chicago Symphony Orchestra in 1991 on the same label, Carlo Cossutta is far more convincing in the title role than a Luciano Pavarotti past his prime. Nevertheless, the Vienna Philharmonic’s performance under Solti’s direction is dynamic and precise, which contributes to the recording’s overall impact. Cossutta delivers a robust and straightforward portrayal of Otello, although he lacks a little beauty of tone. This is, however, offered by Margaret Price, whose interpretation has both technical precision and heartfelt expression. Gabriel Bacquier as Iago is definitely the weakest link, offering nothing special, vocally or intellectually.

Franco Capuana / Orchestra Sinfonica di Torino della RAI (Warner)

One of the most remarkable recording projects was the Cetra Verdi Collection in the early 1950s, which produced outstanding mono recordings. Franco Capuana’s recording of Otello is one of my top ten favourites. His interpretation of Verdi’s score is pure Italian old-school operatic craftsmanship, maintaining the music’s idiomatic momentum and dramatic intensity. Despite his voice’s limitations, Carlos Guichandut delivers a strong portrayal of the title role. Remarkably, his voice is very “tenoral”, even though he started and ended his career as a baritone (he actually sang Iago in Del Monaco’s Otello debut). Cesi Broggini is a sincere Desdemona, even though she takes no risks, which was rarely the case in that era. This recording is on the list thanks to Giuseppe Taddei. Marked by his versatility and vocal ability, he brings depth and nuance to the character, effectively conveying Iago’s evil, manipulative nature. In my opinion, he is the best Iago ever recorded.

James Levine / National Philharmonic Orchestra (RCA)

James Levine’s RCA recording is one of the best from an orchestral and choral perspective. His interpretation has everything: firing energy, dramatic intensity, attention to detail, and support for the singers. Although the young Plácido Domingo gives a solid performance in the title role, marked by naturalness and nuance, his voice loses much of its quality on record, often sounding strained and narrow. Sherrill Milnes does not have a particularly large voice, but he compensates for this with extremely precise singing and intelligent interpretative skills. I love the way he ‘spits out’ the name of Cassio like a cobra when telling Otello where he saw Desdemona’s handkerchief (end of Act 2). Renata Scotto is a fine Desdemona, although her performance does not stand out among the many others in the role.

Tullio Serafin / Orchestra Teatro dell’Opera di Roma (RCA)

Tullio Serafin was one of the true masters of Italian opera, and he certainly brings his extensive experience and deep understanding of Verdi’s music to his recording of Otello, although his interpretation may not be quite as precise as that of some others. Jon Vickers is renowned for his intellectual portrayal of Otello, characterised by emotional depth and nuanced expression; however, he struggles too often in the upper register in this recording. Tito Gobbi’s portrayal of Iago is subtle and nuanced. Leonie Rysanek’s Desdemona is characterised by her dark, expansive soprano, passionate singing and intelligence – in my opinion, one of the finest performances of the role ever recorded.

Herbert von Karajan / Berliner Philharmoniker (Warner)

Despite criticism over the years regarding the cuts in Acts 2 and 3, Herbert von Karajan’s 1971 recording of Otello (originally the soundtrack for Karajan’s film adaptation of the opera) remains essential. Vickers’ performance in the title role is more mature and risk-taking than in his earlier recording with Serafin. Mirella Freni’s portrayal of Desdemona is tender and lyrical, and she delivers a moving “Willow Song” at the end. Peter Glossop’s Iago is the weakest of the lead roles, although his performance is decent.

Yevgeny Svetlanov / USSR State Symphonic Orchestra (Ponto)

This might be a really controversial choice, but it feels imposible to write about Otello without mentioning one of the finest interpreters of the title role in the last century, Vladimir Atlantov. In this Soviet recording from 1969, in Russian, Atlantov was only 30 (!) years of age and delivered an incredible combination of youth, passion and lyricism, although his interpretations became much more mature and profound over the years. Galina Vishnevskaya’s Desdemona is light and lyrical, also quite youthfull similar to Atlantov. Oleg Klyonov delivers Iago with clarity and subtlity, eventhough without being that evil. Unfortunately, there are no official audio recordings of Otello in Italian with Atlantov, however, there is a video recording from Arena di Verona (Warner).

Herbert von Karajan / Wiener Philharmoniker (Decca)

In his 1961 Decca recording of the work, Karajan captures the essence of Verdi’s masterpiece, delivering a passionate, dramatic and precise interpretation with the Vienna Philharmonic. Featuring Mario del Monaco, Renata Tebaldi and Aldo Protti, this monumental recording is a must-have in any Verdi collection. The audio quality is superb, too.

Alberto Erede / Orchestra dell’Accademia Nazionale di Santa Cecilia (Decca)

In his 1954 Decca recording, Alberto Erede, a highly competent conductor of the Italian repertoire, unfortunately falls far short of Karajan’s interpretation on the same label seven years later. From a vocal point of view, however, Erede’s recording is clearly superior, with the singers much more in focus than under Karajan. Aldo Protti’s Iago is nuanced and direct, capturing the character’s manipulative nature perfectly. Renata Tebaldi is widely regarded as one of the finest interpreters of the role of Desdemona, renowned for her warmth, passion and sensitivity. While it is impossible to use the word ‘best’ in art, I can at least say that Del Monaco’s Otello is the most iconic. Uncontrolled passion, infinite power and burning drama – everything feels unlimited. In all his recordings as Otello, it is easy to sense his love for and immersion in the role. Indeed, he was buried in his Otello costume at his request. Although there are many great live recordings featuring Del Monaco in the title role, I believe this (studio) is his most musically perfect one.

Bonus

Unfortunately, only excerpts of the 1951 live performance of Otello in Mexico City, conducted by Oliviero De Fabritiis and featuring Del Monaco, Taddei and Clara Petrella, were released. However, despite the poor sound quality, these are definitely worth a listen. All of the artists performed as if their lives depended on it. The duets between Del Monaco and Petrella are extremely passionate and intense, while those between Del Monaco and Taddei are brutal. It is a great document from the golden age of Italian opera, when passion, drama and spontaneity took precedence over everything else. This might not be for everyone, particularly those who are stuck with the vocal score and the composer’s notations.