02 Dec 2009
Otello in San Francisco
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
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.