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.
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.
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.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
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.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
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.
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.
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.
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 . . .
‘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.
"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.
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.
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.
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.
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).
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.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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 . . .
Lyric Opera of Chicago has opened the season with a revival of its 2001 production of Giuseppe Verdi’s Otello.
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.
Johan 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.
Johan 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.