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 Reviews

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

OPERA TODAY ARCHIVES »

Reviews

<em>Otello</em>, Royal Opera House, Covent Garden
23 Jun 2017

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Otello, Royal Opera House, Covent Garden

A review by Claire Seymour

Above: Jonas Kaufmann and Marco Vratogna

Photo credit: Catherine Ashmore

 

Iago’s gesture of vehement vexation opens the drama with the shattering of a symbol of deception and artifice that complements Iago’s masking of his ‘self’ - ‘I am not what I am’. Then, at the close of Act 2, Otello is confronted by a mirror which reflects back at him a masked figure. Finally, prone and emasculated, following a seizure brought on by Iago’s ‘proof’ of his wife’s unfaithfulness, the Moor is himself wreathed with this mask by his puppet-master. But, the destruction of this theatrical adornment at the start of the opera reminds us, too, that Iago’s iniquity will be exposed, as Shakespeare’s Iago himself foresees: ‘when my outward action doth demonstrate/ The native act and figure of my heart … I will wear my heart upon my sleeve/ For daws to peck at’.

Moreover, in placing Iago, rather than the eponymous Moor, centre-stage in the initial moments, Warner foregrounds an equality of dramatic status which mirrors Shakespeare’s text. Iago speaks by far the greater number of lines and it is his compelling soliloquies which make the audience almost complicit in the villain’s stratagems. And, in a letter to Boito, Verdi described Iago as ‘the Demon who moves everything’, noting that ‘Otello is the one who acts: he loves, is jealous, kills and kills himself.’ Despite Otello’s titular status, in Warner’s production Jonas Kaufmann’s introspective Moor and Marco Vratogna’s vengeful ensign are equal participants in the tragic unfolding, in a production which embraces the protagonists within a strong ensemble.

2796ashm_2254 JONAS KAUFMANN AS OTELLO (C) ROH. PHOTO BY CATHERINE ASHMORE.jpg Jonas Kaufmann (Otello). Photo credit: Catherine Ashmore.

That said, it was undoubtedly Kaufmann whom the multi-national audience had come to see. And, tackling the role for the first time, he did not disappoint. Otello’s fairly low tessitura suits Kaufmann’s tenor which has baritonal resonances and he was pretty fearless in approach, holding nothing back vocally at the challenging peaks. Otello’s fears were passionately exclaimed in ‘Ora e per sempre addio sante memorie’; in contrast, ‘Dio mi potevi scagliar’ was distressingly meditative - often the barest whisper conveyed wistful introspection - though perhaps lacking a full palette of colour. Kaufmann’s Act 1 duet, ‘Già nella notte densa s'estingue ogni clamor’, with Maria Agresta’s Desdemona was particularly beautiful, though in general I wasn’t entirely convinced by the chemistry between the doomed lovers; here, as they narrated the tale of their courtship, their desires seemed aroused as much by their own vocal mellifluousness as by their memories of romance and adventure.

Kaufmann’s Otello is no commanding hero, though. His ‘Esultate!’ is not a thunderous entrance that would silence a storm; rather, this Otello surfaces within the crowd, though the victor’s cry rings with bright strength. Moreover, if he does not convey imposing ascendancy then neither is Kaufmann’s Otello petulant, despite the fact that Boito has his ‘hero’ repeatedly burst into rage. Indeed, the brevity and orchestral power of our introduction to Otello suggests that, in Verdi’s eyes at least, he is a figure of more than simply military might and physical power.

Boito and Verdi have created not a ‘noble savage’ - whom Shakespeare’s contemporaries might have considered overcome by his innate bestial sensuality (and Kaufmann is not blacked up, which is unproblematic given that Boito does not draw much attention to the Moor’s race and colour) - but a man of solipsistic susceptibility, which Kaufmann’s quiet anguish captures perfectly. His fragile pianissimos become an apt representation of the linguistic fragmentation of the text’s ‘Othello music’, as the grandiose imagery of ‘Olympus-high’ oceans ruptures into stuttering banality - ‘ Pish! Noses, ears, and lips.’ Verdi cannot disrupt the beauty of the vocal line in the way that Shakespeare deconstructs the linguistic metre and syntax, and so, in this way, Kaufmann’s reticence becomes almost a rhetorical strategy.

2796ashm_2775 OTELLO PRODUCTION IMAGE (C) ROH. PHOTO BY CATHERINE ASHMORE.jpg Photo credit: Catherine Ashmore.

And, it is a strategy echoed in Boris Kudlička’s minimalist designs which profess Warner to be more concerned with the internal than the external workings of the drama. The walls of Kudlička’s ‘black box’ slide inwards, their trellis-tracery allowing figures to eavesdrop furtively, while also elegantly referencing Moorish filigree lanterns. We are presented with a psychological chamber in which we seem to explore what Melanie Klein termed ‘projective identification’: that is, the projection onto others of feelings that inspire suffering or thrill within a subject. If we view the opera in this way (as Richard Rusbridger does in his article in the International Journal of Psychoanalysis , February 2013), Warner’s opening gesture identifies the storm with the emotional turmoil in Iago’s mind, and not, as in Shakespeare’s play, the ensuing breakdown of natural, civil and domestic order.

2796ashm_0123 MARCO VRATOGNA AS IAGO (C) ROH. PHOTO BY CATHERINE ASHMORE.jpg Marco Vratogna (Iago). Photo credit: Catherine Ashmore.

Indeed, Marco Vratogna’s Iago is undoubtedly hellbent on Hades. There is nothing clandestine about his malignity, though I’d suggest that in fact a little more serpentine slipperiness would not go amiss: after all, his ‘honesty’ as perceived by those around him, must be credible. Vratogna has a strong upper register - such as can provide propelling drive in the Brindisi - but his occasional hoarseness fittingly reminds us that Iago is a rough soldier, whose coarseness may have inclined Otello to promote the more urbane Cassio to be his lieutenant. That said, Vratogna’s light-breathed insinuations floated into Othello’s ear with the elegance of a lover’s discourse.

If Iago is ‘the Devil’, rejecting God in his Credo - ‘I believe that the righteous man is a mocking actor both in his face and in his heart, that all in him is a lie, tear, kiss, glance, sacrifice and honour’ - then Desdemona is his antithesis, an angel of saintliness, whose innocence and grace Iago is driven to violently expunge. There is little of Shakespeare’s playfulness or feistiness in Boito’s characterisation. Maria Agresta, often pushed to the hinterlands of the production, until the final scenes, sings with a rhapsodic lustre and fullness of tone that perhaps betrays a sensuality less than innocent, but her Willow Song and Ave Maria are composed and restrained, an acceptance of the inevitable and a welcoming of the hereafter.

2796ashm_0570 JONAS KAUFMANN AS OTELLO, MARIA AGRESTA AS DESDEMONA (C) ROH. PHOTO BY CATHERINE ASHMORE.jpg Jonas Kaufmann (Otello) and Maria Agresta (Desdemona). Photo credit: Catherine Ashmore.

The rest of the cast are by no means ‘secondary’. Frédéric Antoun’s Cassio is elegantly persuasive but Iago’s duet with Cassio in Act 3 highlights the latter’s narcissism and superficiality. Thomas Atkins’ Roderigo and Kai Rüütel’s Emilia are finely drawn. A sense of Venetian grandeur is offered by Sung Sim’s noble Lodovico and Simon Shibambu’s courtly Montano.

Pappano conjures blazing intensity from the ROH players. Not everything is precise, but there is a visceral quality to both the orchestral and choral climaxes which is countered by subtleties such as the string sonorities of the Prelude to Act 3.

Warner’s vision does stumble at times: the arrival of the masted ship and the extending of the high gangplank for Desdemona’s disembarking lack refinement; the shattering of the winged lion seems cliched; and, perhaps because there is a focus on the interior rather than the exterior, some of the movement blocking, excepting the Chorus, is uninventive.

But, Iago’s greatest masterstroke is respected. He can literally turn white into black: ‘So will I turn her virtue into pitch,/And out of her own goodness make the net/ That shall enmesh them all.

And, so, in the final moments, the ‘black box’, inflamed by Bruno Poet’s illumination, is made to contain a snow-white pearl - the white-upon-white canvas of Desdemona’s doom. The sumptuous bed is, perhaps inevitably, smeared with a painter’s flourish of red blood. This serves as a visual emblem of the tragedy’s catalyst and its conclusion (but the neon ‘halo’ is superfluous, surely?). For, it is the strawberry-spotted handkerchief which is Iago’s prime tool of deception and it is this antique token of affection which subsequently serves as an agent of truth, exposing his iniquity. Thus, it is, paradoxically, a delicate symbol of overpowering destiny. As Othello despairs, ‘Who can control his fate?’

Claire Seymour

Verdi: Otello

Otello - Jonas Kaufmann, Desdemona - Maria Agresta, Iago - Marco Vratogna, Cassio - Frédéric Antoun, Roderigo - Thomas Atkins, Emilia - Kai Rüütel, Montano - Simon Shibambu, Lodovico - In Sung Sim, Herald - Thomas Barnard; Director - Keith Warner, Conductor - Antonio Pappano, Set designer - Boris Kudlička, Costume designer - Kaspar Glarner, Lighting designer - Bruno Poet, Movement director - Michael Barry, Fight director - Ran Arthur Braun, Royal Opera Chorus (Concert Master - Vasko Vassilev), Orchestra of the Royal Opera House.

Royal Opera House, Covent Garden, London; Wednesday 21st June 2017.

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):