Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

Prom 60: Bach and Bruckner

Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim…) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.

OPERA TODAY ARCHIVES »

Performances

Bruce Ford as Otello
23 Jan 2007

OONY Gives Rare Performance of Rossini's Otello

There are three reasons often cited for the paucity of performances of Rossini’s Otello: the horrible hack job of the Shakespearean drama by librettist Francesco Maria Berio, the difficulties in casting an opera requiring at least three top-rate tenor voices, and comparisons with Verdi’s popular opera of the same title.

Though these arguments hold much weight, they also have little to do with Rossini’s expressive and thoroughly enjoyable score, as was evident in the Opera Orchestra of New York’s concert performance of the work on Wednesday night at Carnegie Hall.

Shakespeare’s work was not as well-known in northern Italy at the time of the opera’s composition, perhaps accounting for the free treatment that the story received. Berio’s retelling of the classic tale makes such a mess of things that there is little left of the original drama but the names of the characters. Lord Byron wrote of the opera in 1818: “They have been crucifying Othello into an opera,” and in my mind he spoke the truth. Indeed, the story never leaves the shores of Venice, the signal handkerchief becomes a furtive love letter, Desdemona is stabbed rather than strangled, and Jago’s role in the drama is lessened while the peripheral Rodrigo becomes integral.

Regardless, the work was hugely successful in the nineteenth century, its popularity lasting until Verdi’s Otello overtook it in the operatic canon. I would posit that the inevitable association of the two works is the principal reason that Rossini’s now lesser-known interpretation has fallen into obscurity as much as it has. Comparisons inevitably paint the earlier in a bad light by virtue of its much-maligned libretto.

Seen as the product of Rossini, the work is well worth its weight in gold. There are some truly beautiful moments, though it admittedly lags a bit in the middle. The opening, for instance, features not one, not two, not even three. . . but FOUR solo tenors singing their hearts out in one of the most exciting moments of tenor multiplicity in the repertoire. The Act Two confrontation between Otello and Rodrigo is also a moment of high drama, and Desdemona’s Willow Song is as hauntingly beautiful as is the more widely-known Verdi version.

The night also belonged to the performers that realized the impossible and sublimely beautiful bel canto score, for the work cannot stand on its own without talented virtuosos. In fact, this opera has always been at the mercy of willing and able singers; an abundance of virtuosic tenors in Naples precipitated the composition of myriad vocal fireworks for the tenor voice. The cast was led by veteran Rossini interpreter Bruce Ford, a last-minute stand-in for Ramon Vargas. Ford sang a lot of notes on Wednesday night, all with confidence and ease. Equally impressive was Kenneth Tarver as Roderigo, whose lyricism and light touch complemented the role. His high-lying aria, Ah, come mai non senti, was one of the best moments of the night. Solid too was Robert McPherson as the villainous Jago. His voice was that much louder, harsher than his colleagues’— well-suited for the antagonist. In the men’s camp it would be remiss not also to mention Gaston Rivero as the Doge (and later as the Gondolier), the fourth component in the opening.

The preponderance of tenors on the stage precludes any solo female voices for the first half hour of the work. Furthermore, in a seemingly concerted effort to keep the tessitura of the ensemble in the human voice’s middle range, the role of Desdemona is written for a mezzo. When we finally meet Desdemona, she remains a peripheral character — there is no entrance aria for her, nor is there ever a love duet. Ruxandra Donose nevertheless sang the role beautifully, and the impassioned Willow Song was the crown jewel of the concert.

If there was a drawback to the performance, it would be that the orchestra was not prepared, and perhaps more to the point, unenthused about the performance. It is eternally difficult to create cohesiveness in an opera orchestra, especially one that performs together only a few times per year. Still, the group was sloppier than most: brass instruments fracked, there was at least one blatant wrong note, and entrances were not together. On the other hand, the members of the orchestra performed solos beautifully. The virtuosic instrumental passages typical of Rossini were right on, and harpist Grance Paradise, Desdemona’s partner in the Willow Song, was as stunning in the aria as the mezzo.

So hats off to Eve Queler and the Opera Orchestra of New York, for performing such an undervalued work. Queler has long been a champion of lesser-known opera, and her choice of programming here was excellent. Carry on Ms. Queler!

Sarah Gerk

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):