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

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

La Juive in Lyon

Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .

OPERA TODAY ARCHIVES »

Performances

Aleksandrs Antonenko as Otello and Anja Harteros as Desdemona [Photo © ROH/Catherine Ashmore 2012]
15 Jul 2012

Otello, Royal Opera

Elijah Moshinsky’s Otello, first seen at Covent Garden in 1987, and revived numerous times with a range of stellar casts, may be traditional and conservative, even — excepting the thunderous opening storm scene — somewhat uninventive;

Giuseppe Verdi: Otello

Montano: Jihoon Kim; Cassio: Antonio Poli; Iago: Lucio Gallo; Roderigo: Ji Hyun Kim; Otello: Aleksandrs Antonenko; Desdemona: Anja Harteros; Emilia: Hanna Hipp; Herald: Bryan Secombe; Lodovico: Brindley Sherratt. Conductor: Antonio Pappano. Orchestra of the Royal Opera House. Royal Opera Chorus. Director: Elijah Moshinsky. Set Designs: Timothy O’Brien. Costume Design: Peter J Hall. Lighting Design: Robert Bryan. Royal Opera House, Covent Garden, London, Thursday 12th July 2012.

Above: Aleksandrs Antonenko as Otello and Anja Harteros as Desdemona

Except as otherwise indicated, photos © ROH/Catherine Ashmore 2012

 

but, aided by Timothy O’Brien’s impressively towering Cypriot pillars and gleaming marble and Robert Bryan’s resourceful lighting designs, Moshinsky provides a sumptuous spatial and visual arena for the interplay of powerful emotional forces, which can be harnessed by skilful protagonists to showcase the opera’s disturbing intensity and their own musical and dramatic arts.

Moshinsky and O’Brien aim for historical authenticity and unambiguous symbolism and gesture. Black and white chequerboard tiles hint at the racial antagonisms so vociferously presented in Shakespeare’s opening Act but which are only briefly voiced in Boito’s libretto. Rich, velvety crimsons reveal both the depth of the protagonists’ emotions — love, hatred, loyalty and jealousy — and their bloody consequences. The Christian iconography of the lush, Veronese-inspired Renaissance backdrops may be stretching the ‘tragic hero’ notion a little too far, especially given that the excision of most of Shakespeare’s first Act reduces the racial and religious antagonisms of the drama; moreover, the absence of Othello’s final ‘redeeming’ Act 5 monologue, which renders his suicide a restitution of nobility and an act of selfless service to the state, means that we feel pity but perhaps not catharsis at the end of the opera. But, the Crucifixion allusions do add to the timeless quality of the whole.

Initially, Lucio Gallo was a rather blustering, brawny Iago, tending towards noisy vociferousness; but, perhaps this was apt, for Iago is a rough, brash private, lacking Cassio’s gentle chivalry and graciousness. Moreover, Boito’s Iago is a simpler psychological portrait than Shakespeare’s elusive antagonist, his motivation less complicated and elusive, his machinations more transparently enacted. Although prone at the outset to slightly wearing shoulder-shrugging gestures of ‘innocence’, Gallo increasingly found, both in gesture and timbre, more subtle lights and shades — guiding and coercing Otello, bullying Roderigo, duplicitously consoling Desdemona, harrying Emilia. He made good use of the forestage, coercively involving the audience in his plotting while maintaining a scornful detachment; throughout the text was meticulously pronounced, and while arrogantly domineering, he largely avoided pantomime exaggeration. Gallo’s Credo was muscular and focused, as if inviting us to find him attractive, to fall under his spell as readily as his deceived captain. At the end of Act 2, as Iago and Otello fell to their knees to utter an appalling oath of brotherhood and vengeance, the slowly falling curtain intimated the ghastly, tragic fateful path which the ‘hero’ inescapable trod. Their immediate fore-curtain bow was well-deserved.

Otello_ROH_2012_02.gifHanna Hipp as Emilia, Anja Harteros as Desdemona and Lucio Gallo as Iago

Anja Harteros’ Desdemona had both innocent vulnerability and feisty self-possession — she was not a wilting violet but a self-possessed, if somewhat inexperienced, young woman, sure of her love and confident of its reciprocation; a worthy wife for a conquering hero. Despite her unwavering grace and loveliness, Harteros was never overshadowed or dominated; she commanded her scenes with a refined but charming presence, her gleaming, sweet timbre supported by a firm, steely underpinning when required, particularly in the middle voice. With her realisation that death is near and unavoidable, Harteros’ floated ever more delicate, ethereal vocal threads, as Desdemona paradoxically seemed both more powerful in her essential purity and increasingly defenceless before her husband’s deranged delusions. Although Harteros’ intonation was not always flawless, the long-breathed phrases that mattered spoke affectingly; her final angelic cry, elegantly poised and redolent with pathos, truly touched the heart.

So, given the acknowledged technical and dramatic challenges of the role, what of our Otello, the Latvian tenor, Aleksandrs Antonenko? If there were any doubts that vocally he is a worthy successor to his illustrious predecessors in the role, Antonenko’s triumphant first appearance immediately quelled them; his gleaming trumpeting roar, ‘Esultate’, instantly established Otello as a hero of noble grandeur and profound passions, and simultaneously confirmed the Latvian Antonenko as a mighty Italianate tenor with an infallibly lustrous tone and secure upper register. Though perhaps a little rigid dramatically, Antonenko convincingly depicted a man in torment, his external confidence and inner peace unravelling with every twist of Iago’s verbal knife. He had the stamina to project, if not conquer, the challenges of the low register of the Act 3 soliloquy. And, the slightly husky pianissimo rasps of his final fragmented, despairing “Desdemona”s revealed the extent of his psychological disintegration.

There were no weak links in the chain: Jihoon Kim as Montano, Ji Hyun Kimboth as Roderigo and Hanna Hipp as Emilia, all Jette Parker Young Artists, were professional, accomplished and engaging. Antonio Poli’s Cassio had an appropriately light-weight elegance which, dramatically, suggested both a debonair nonchalance and a perilously naive self-assurance.

Otello_ROH_2012_03.gifAleksandrs Antonenko as Otello, Anja Harteros as Desdemona and Antonio Poli as Cassio [Photo © ROH/Tristram Kenton 2012]

Antonio Pappano’s characteristic mastery of the score’s details brought forth nuances which were occasionally missing from the actual movements on stage, if not from the singing itself. From the ferocious storm that he conjured to a deafening but supremely controlled climax, to the portentous, insidious bass rumblings which permeate Act IV, Pappano was in total command, shaping the lines of the Act II quartet to energise the conflicting dramatic dialectics, pushing the vengeful close of the same Act to an agonizingly bitter climax. Every instrumental entry was crisp and clean, and the rhythmic propulsion never wavered, intensity and unrest sitting side by side with quietude and serenity.

The enlarged chorus roared in resplendent and well-marshalled fashion, but their role is fairly small (as was the space available, hence some rather stilted arm waving in the storm scene), and this performance was all about the three principals, whose prowess, consistency and professionalism brought praise-worthy technical flair and sincere depth of feeling to Moshinsky’s solid framework.

Claire Seymour

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):