02 Dec 2009
Otello in San Francisco
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
While the SFO program booklet credits the production to Mr. Hall it does not provide a biography of his accomplishments, a tool useful for placing a production in context. That Sir Peter founded the Royal Shakespeare Company and was the general director of Britain’s National Theatre would tell us that we have a theatrically sophisticated director, that he was the general director of the Glyndebourne Festival well establish him as a sophisticated opera director. It would be interesting to know what Peter Hall opera and theater productions have previously played in San Francisco — Chicago Lyric boasts five Peter Hall productions, Denver premiered his ill-fated Tarquinius, Los Angeles Opera gave us his former wife Maria Ewing as his Salome.
However Peter Hall’s Otello was staged in San Francisco by Australian Stephen Barlow for whom there is a biography that includes assisting many directors at Glyndebourne and Covent Garden and staging many revival productions, i.e. originally directed by someone else. Curiosity nags about the original Peter Hall Otello with Ben Heppner and its Glyndebourne revival with David Rendall and if these performances achieved the formidable stature of Mr. Barlow’s San Francisco staging with Johan Botha.
Zvetelina Vassileva (Desdemona)
Perhaps key to understanding this fine San Francisco Otello is the Desdemona of Bulgarian soprano Zvetelina Vassileva, a role she has previously performed only in Sofia (according to the program booklet biography). Mme. Zvetelina possesses a large, quite beautiful Slavic voice, and seems to be a careful musician. She was able to project a waif like, lost presence, and hold these attributes for the duration of the performance, never complicating Verdi’s heroine with an Italianate sweetness and beauty, or the pathos that Verdi imbued into his last act.
Dressed in white, with a blond wig, Mme. Vassileva evoked Bianca, the phantom lover of Cassio and she was the symbol of the vulnerable side of Shakespeare’s fierce fighter, the inflamed warrior who would succumb to the power of Venus. This Desdemona was not presaging verismo’s melodramatic heroine, rather she was the Venus that destroyed Otello, and therefore she was a part of Otello himself. Mme. Vassileva’s quite powerful voice could indeed equate his presence. She was never his victim, as he himself was his victim.
Shakespeare’s Otello is of course black though current custom proscribes black face, but even so the complete whiteness of the cloth draped stage was in absolute conceptual contrast to Verdi’s moor dressed in brown robes, uniquely exotic among the otherwise Victorian clothed cast. The unit set of the first three acts was an abstracted old Globe wooden theater, abstracted shudders and a ceiling fan hinting a southern climate, simple wooden desks or benches placed to accommodate the actors’ moves necessary to inflame and expose Otello’s vulnerability.
Marco Vratogna (Iago)
In contrast to the Met’s massive Zefferelli, grand opera production, the Peter Hall production is an anti-Otello, the storm is only seen in the reaction of the chorus, the beauty of the evening star is realized on the faces and in the voices of Otello and Desdemona. Verdi’s opera became about Shakespeare’s words, his poetry and Otello’s tragedy, and not about the spectacle of nature’s destructive and intoxicating powers.
In the San Francisco staging Iago was embodied by Italian baritone Marco Vratogna, small of stature, wily, a shaved head, an archetypical untrustworthy look. If Otello and Desdemona were abstracted black and white characters, Iago was real, and really mean, with strong TV drama body language, his powerful voice in grand theatrical contrast to his affected servile stance. He delivered his “Credo” as a shouted harangue, beautifully sung to be sure, downstage center directly at the audience. Chilling, and eminently satisfying.
South African tenor Johan Botha is a real Otello, vocally and temperamentally, a voice huge enough to overpower a melee of his soldiers and establish himself as the invincible warrior, with sufficient Italianate vocal gestures to supplicate the bacio from Desdemona, his hysteria and temper flaring all the while. It was all there in Verdi’s first act, and played out in the following two, Iago’s snakey treachery slowing engulfing Otello in the second act, the moor’s tormented third act soliloquy delivered sotto voce unmoving, leaning against an upstage column in dim light, marred only by over-excited clarinets and cellos in the pit. Finally in a brilliant moment of complex cowardice Otello suffocated Desdemona with a pillow,
If Cassio, though striking in his Victorian profile, was vocally over-parted (i.e. we needed more), Locovico was gratefully under-parted to veteran Don Carlo Grand Inquisitor Eric Halfvarson (no Adler Fellow here). Mr. Halfvarson, as the production demanded, created the power and spectacle of Venetian authority entirely by his voice and presence (and just one small banner of the Venetian lion). Iago’s wife Emilia was beautifully realized by Adler Fellow Renée Tatum, her servile demeanor unwavering until she unleashed our pent-up response to evil and tragedy, and became in those few lines one of the evening’s principal singers.
A scene from Act III
Teetering on the edge of mannered theatricality, the production made the fazzoletto almost a tongue-in-cheek topic. In fact all evening Mr. Hall’s slick theatricality demanded an admiration that competed with the dramatic honesty of Shakespeare and Verdi, or maybe it simply exposed the virtuosity of Verdi’s challenge to Shakespeare’s obvious theatricality. Whatever detractions one may conjure, Mr. Hall’s superb production can perhaps serve as a versatile platform for whatever resonances individual artists may bring to these iconic roles, open to the interpretive creativity of whoever may stage them.
San Francisco Opera’s excitable music director Nicola Luiscotti was in the pit. As we have well perceived this fall Mo. Luiscotti is smitten with creating effects, and there were all the obvious ones amplified, and many more, not the least of which was the aggressive virtuosity of the mandolin accompaniment to Desdemona’s second act entrance. Musically the production was indeed solid, but the music remained illustrative and theatrical, seldom penetrating the poetry. What contributions Mo. Luisotti may have made to the staging and the individual performances are not possible to know, but finally this theatrically brilliant evening was musically and emotionally cold.