02 Dec 2009
Otello in San Francisco
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
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.
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.
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.
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.