02 Dec 2009
Otello in San Francisco
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
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.
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.
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.
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).
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.
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’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.
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.
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.
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.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
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.
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.
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.
“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.”
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.
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.
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.