Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

OPERA TODAY ARCHIVES »

Performances

Johan Botha as Otello and Ana Maria Martinez as Desdemona [Photo by Dan Rest/Lyric Opera of Chicago]
23 Oct 2013

Verdi’s Otello at Lyric Opera of Chicago

Lyric Opera of Chicago has opened the season with a revival of its 2001 production of Giuseppe Verdi’s Otello.

Verdi’s Otello at Lyric Opera of Chicago

A review by Salvatore Calomino

Above: Johan Botha as Otello and Ana Maria Martinez as Desdemona

Photos by Dan Rest/Lyric Opera of Chicago

 

The cast for the first performance included Johan Botha as Otello, Ana María Martínez as Desdemona, both Falk Struckmann and Todd Thomas singing the role of Iago, the former withdrawing because of indisposition after Act I. This performance also featured the American debut of tenor Antonio Poli as Cassio, John Irvin as Roderigo, Julie Anne Miller as Emilia, Evan Boyer as Lodovico, Anthony Clark Evans as Montano, and Richard Ollarsaba as a herald. The production was originally directed by Sir Peter Hall; the present revival is directed by Ashley Dean. Bertrand de Billy makes his Lyric Opera debut conducting these performances, and Michael Black is officially Chorus Master with the start of the current season.

DAN_3536.pngJohan Botha as Otello and Falk Struckmann as Iago

From the energetic start of the first act the role of the chorus of Cypriots is emphasized. As the people shout in their enthusiastic pleas for Otello’s success, Iago’s voice of negation is clearly audible. Struckmann’s Iago intoned with chilling force his contrary wishes for Otello’s failure and even demise in the “alvo frenetico del mar” (“frenzied bed of the sea.”). When the hero alights triumphantly on shore, he declares to the jubilant Cypriots “Esultate!” (“Rejoice!”). From this exciting start it was clear that Mr. Botha inhabits a role truly suited to his voice. The high dramatic notes and outbursts, so characteristic of Otello’s volatile nature, are produced effortlessly and with accurate, direct focus of pitch in Botha’s convincingly emotional delivery. In the subsequent duet between Iago and Roderigo the motive for jealousy and ill-will is revealed. Iago resents the recent promotion of Cassio to the rank of captain since he wished to receive the distinction himself. In his plan to exact vengeance Iago confides in Roderigo and urges the latter’s infatuation with Desdemona. Struckmann as Iago and Mr. Irvin in the role of Roderigo both showed a distinguished sense of lyrical line in the verbalization and coalescence of their respective emotions and thoughts. The sacrifice in this ruse will of course be Cassio who is encouraged to drink until he loses control. In this American debut Mr. Poli made a strong impression as a singing actor. His use of legato phrasing and fluid rise to high pitches is seamless, at the same time released in a physically demonstrative display of Cassio’s inebriation. (It was at this point in the ensemble that Struckmann’s voice began to suggest the strain from treatment for allergies which occasioned his withdrawal at the close of Act I.) Once Otello and Desdemona are awakened by the brawl between a drunken Cassio and incensed Montano, the seeming chaos is interrupted. Botha’s voice of authority cut through the choral pandemonium as he ordered “Abbasso le spade!” (“Lower your swords!”). His demotion of Cassio and reestablishment of order was sung as an extension of these commands with precise, idiomatic intonation. Once they are left alone Desdemona and Otello sing their celebrated love duet as a conclusion to Act I. For both Ms. Martínez and Mr. Botha the range between dramatic excitedness and tender intimacy is bridged naturally so that the tensions in this relationship develop logically in response to the surrounding events. When Botha declares “Vien … Venere splende” (“Come … Venus is shining”) as they return to their chamber, the projected tranquility for Otello covers a persona already shown to waver between extremes.

In Act II Mr. Thomas assumed the role of Iago. The substitution proceeded as seamlessly as could be hoped, since Thomas enhanced the villainous character with his further, bleak emphases. His rendition of Iago’s “Credo” was appropriately declamatory with an expected internalization of lines that tend toward self-reflection. After musing on this destructive resolve, Iago’s influence on Otello grows perceptibly. Thomas’s subtle repetition to Otello of the sentiment “Vigilate” (“Keep watch”), when speaking of Desdemona’s fidelity, began to function as a growing germ in the husband’s mind. At the entrance of Desdemona surrounded by her adoring followers Martínez sang a rising pure line on “Splende il cielo” (“the sky is bright”). Otello’s mood reacts to this optimistic depiction of nature until her first appeal is tendered on behalf of Cassio. In the following quartet, in which the couple is joined by the pair of Iago and his wife Emilia, Martínez’s voice surged with touching high pitches on “Dammi la dolce e lieta parola del perdon” (“Give me your sweet and happy word of pardon”). Emilia retrieves the handkerchief that Desdemona dropped, but she cannot withhold it from Iago and his plan. From this point forward the “Testimon” (“witness”), of which Thomas swears the possession so chillingly, will have palpable force. In their final duet Iago encourages Otello to exact vengeance at which juncture Botha released forte his most emotionally convincing top notes of the evening.

DAN_4182.pngJohan Botha as Otello and Ana Maria Martinez as Desdemona

The dramatic tensions of Act III followed inevitably from the preparatory scheming and doubt. Topics of the misplaced handkerchief and pardon for Cassio are interwoven musically in the duet for the two principals. Once Otello curses Desdemona while scorning her fidelity Martínez expresses the wife’s reaction of hurt with a piercing high note on “le prime lagrime” (“the first tears”). Otello’s public image is stained when he later casts Desdemona to the ground in the presence of all at court, including Lodovico the ambassador from Venice. In this role bass Evan Boyer’s announcement of the Doge’s letter was intoned with a resonance which he transformed with surprise upon witnessing Otello’s behavior. When everyone but Otello and Iago has left the pubic court at the close of the act, Thomas’s Iago proclaims triumphantly “Ecco il Leone!” (“Behold the Lion!”) as he places his foot on the prostrate conqueror.

Desdemona’s murder in Act IV by her husband Otello is preceded by a scene in which she remains together with Emilia and confides to her by means of “La canzon del Salice” (“the Willow Song”). Martínez’s diction and carefully shaped phrases made this aria not only a touchingly sung and memorable showpiece, but also a lyrical extension of Desdemona’s character elaborating on her persona within the entire opera. In addition to ever-increasing rising pitches on “Salice,” Martínez infused “cantiamo” (“Let us sing”) with a repeated piano delicacy. Her final, heartfelt cry of farewell to Emilia indicated a resignation to what must inevitably befall her. Indeed, after making his entrance Botha’s mix of tenderness and violence as he first looked at Desdemona sleeping, and then confronted her in excited dialogue summarized in mere moments the dramatic conflict of this entire tragedy. Iago’s triumph is ultimately exposed as treachery, yet the lyrical declarations and outbursts of love survive beyond the violent end for Desdemona and Otello.

Salvatore Calomino

Click here for the Lyric’s “Otello Discovery Series”

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):