Otello (1986) [DVD]

A soaring, sophisticated spectacle directed by the brilliant Italian filmmaker Franco Zeffirelli (renowned for his classic film, "Jesus of Nazareth"), Otello is the cinematic adaptation of Opera composer Verdi's musical adaptation of the play, "Othello, The Moor of Venice" by William Shakespeare.With its cavalcade of lush scenery, bright and verdant musical compositions and gripping work by Opera Star Placido Domingo in the title role of a Black Military Genius in love with a White Spanish Noble woman named Desdemona, Otello reshapes and ignites the imaginations of both the well-initiated, most well-versed Shakespeare enthusiast along with the literary novice in ways far exceeding and outside of the conventional purview of the schlocky films usually produced and funded by the distributor of this film, Cannon Films (the producers of such utterly banal fare as Charles Bronson's "Death Wish" series or Chuck Norris' "Missing In Action" films).

As I am a student of the Tenor voice and an admirer and follower of Domingo, this Otello is very thrilling and excellent, with the wonderful supportof Diaz, this is a must for any ones operatic library. Many thanks .It is a pity the Region code is wrong for Australia, however I am lucky one of my players handled it.

This is not a video recording of Verdi's Otello that I would recommend to Verdian fans, necessarily, but it is an excellent film-opera. I used this recording for a class on opera I taught in prison and my students loved it and had a very lively discussion about it. It is a very interesting film. It poses many problems about cuts in the original text and insertions of symbols through images to convey meaning that is not necessarily in the words or music. It is Zeffirelli's Otello, as much as Shakespeare's or Verdi's Otello, as Marcia Citron clarified. But the quality of the music and images is superb. The problem, which infuriates many opera lovers, is with the cuts. The willow song is gone! And many other details. [ see Citron, “A Night at the Cinema: Zeffirelli’s Otello and the Genre of Film-Opera,” The Musical Quarterly 78/4 (1994): 700-741].

Poor image quality and sound. This was originally a a wide screen feature film. Instead of using the original source, we get an overpriced bad unmastered transfer from an old vhs

Placido Domingo and Co. Leading a wonderful cast in a most beautiful film rendition of this classic tale. I have enjoyed other Zeferelli films but, this is perhaps his best.

I enjoyed it very much! The film is very well done and the music is gorgeous. Besides, I am a Placido Domingo's fan!I specially liked the "Behind the scenes" extra, as it shows how many of the scenes are done and the profound dedication to detail. These information allows a much better understanding of the whole plot.

I normally don't care for abridgments of operas, but this one is pretty good. Zeffirelli's production is flawless and Domingo is, well, Domingo.

I love this opera movie not knowing what I missed in the cuts. No problem. The voices were in top form, cast stupendous and cinematography gorgeous. This opera is so tragic that you find yourself saying OH NO about 10 times. Looking forward to seeing the full opera. Domingo is down right scary as he is in Carmen and Paggliacci. Perhaps the greatest operatic actor.

Ich habe diese Opernverfilmung immer geliebt und tu es immer noch!

Lo compre para mi esposa y la gusto mucho.

Ottima versione cinematografica del capolavoro verdiano, perfetti gli interpreti, i costumi, l' ambientazione, in perfetto stile zeffirelliano. Come in tutte le versioni cinematografiche di opere liriche, ci sono tagli musicali anche abbastanza importanti, ma questo accade sempre nei films-opera (difatti sono films, non opere teatrali).

The performances are fabulous, the scenery and direction are out of this world. Like a renaissance canvas, the movie evokes the story from both the artistic and the spiritual aspects. Only Franco Zeffirelli can do it as well as this.

A very dramatic storm at sea opens this film, designed and Directed by Franco Zeffirelli. A victorious Otello salutes from the deck, and Desdemona appears on the ramparts of the habour relieved at his safe return. Jago observes menacingly from a window, full of hate for Otello because Cassio was appointed his Captain in preference to himself and vows revenge.In this brilliant interpretation of Shakespeare and Verdi the drama and passion is maintained throughout with continuous action, no breaks, no applause. Lorin Maazel conducts the Orchestra and Chorus of the Teatro Alla Scala,Milan, and mixing and editing was completed at the Abbey Road Studios, London, with a choice of subtitles.Gianni Quarantia was artistic director, with wonderfull period costumes and jewellery by Anna Anni and Maurizio Milenotti of Rome. Tenor, Placido Domingo appears in very realistic and serious makeup as Otello the African taken from his home and risen to high office in the service of the Doge of Venice (Antonio Pierfrederick). Soprano, Katia Ricciarelli is beautiful and elegant as Desdemona, and sings a lovely "Ave Maria" shortly before she is strangled by Othello shrouded in black and red after renouncing his Christian Faith. The theme of Good versus Evil is indicated by a lot of the action taking place in the sinister vaults of the Castle, and the bare stone Chapel, and the impressive Armoury. Barritone, Justino Diaz performs Jago brilliantly as he'works his Poison'and laughs bitterly. Tenor, Urbano Barberini is well cast as the handsome vulnerable Cassio, Captain of the Guard who kills Montano in a drunken brawl staged by Jago amidst the cellebrations on the eve of victory, and whom Otello begins to see as a rival for the love of Desdemonia. It seems that Zeffirelli may cleverly have intimated that although enraptured by Otello, Desdemona held some attraction for Cassio which was reciprocated.Emilia,(Petra Malakova) Desdemona's Maid reveals the treachery of Jago and Otello kills him with a pike; Cassio confesses Rodrigo (Sergio Nicolai)planted Desdemona's handkerchief in his room, and the Venetian delegation observe with disbelief, as Otello kills himself. This dramatic Verdi Opera contains also a dark humour, produced in 1986 by Menaheim Golan and Yoran Globus and is still a definitive version not to miss.