Otello – Verdi – Royal Opera House
Image taken from the Royal Opera House website
Verdi’s penultimate opera is probably his greatest tragic musical masterpiece and the opening night of Keith Warner’s 2017 production did not disappoint. Warner’s production followed in the footsteps of Elijah Moshinsky’s glorious 30 year old production. The sets designed by Boris Kudlicka are made up of sliding and moveable fragments that either open the stage, such as in the outstanding opening storm scene, or close the stage when intimacy is required.
The lighting is vital here, adding to the atmosphere required for the different scenes and Bruno Poet makes the most of this. However, his lighting never really veers from the stark and dark, with colour in short supply until perhaps the third act with the Venetian Ambassador’s entrance. Even Desdemona’s dying bedroom scene is dark, but with sheering light shining on the white bedded sheets.
The lighting was in keeping with the modernist sets. These appeared somewhat in conflict with the period costumes on show and when added to the occasional unnecessary theatrical licence used by the Director – graffiti! – there is a concern that the representation of this production is a far cry from that anticipated by Verdi himself.
However, this was a night of outstanding music led by Antonio Pappano in the pit. He uses magical zeal to conduct this piece, with the Orchestra pushed to the zenith of its powers, the strings on beguiling form and the chorus producing incredible vocal output, particularly at the height of intensity.
With the three main principals and the minor parts all sung by top quality artists there really was no weak link. Gregory Kunde’s Otello is a veritable force of nature, singing this most challenging of Italian tenor roles. He might not possess the beauty of a Kaufman or Domingo, but his weight of voice and intensity leaves no one in doubt that the ‘green eyed monster’ of jealousy has taken the dawn of love to its irreparable death. He perhaps struggles slightly with his vocal colour in his softer moments and apart from an occasional hint at tiring, this incredible tenor, in his late sixties, never really disappoints.
Vocal colour is perhaps the strongest part of Ermonela Jaho’s Desdemona, who constantly sings with great pathos, with loud and soft, light and dark always a cornerstone of her vocal lines. She caresses every note, attacking only when required and in her musicality she stretches her voice to her vocal limits. It is a wonderfully musical rendition of her role, with the Willow Song and Ave Maria leaving her and us all in tears. Her only occasional struggle was with some of the low notes, which certainly was not a problem for the outstanding baritone Carlos Alvarez singing the role of Iago. His extended range was a joy to hear as he thrust his dark menacing nastiness at all on stage in order to gain revenge on his hated Otello. His Act 2 duet with Otello was quite pacey and a real match for two outstanding voices.
Two Jette Parker Young Artists sang well - the Montano of Michael Mofidian and the Roderigo of Andres Presno. David Soar’s wonderful bass was a great Lodovico the Venetian Ambassador and Catherine Carby a suitable Emilia, despite the ridiculous hat.
A special mention for the British tenor Freddie De Tommaso singing Cassio, whose intense beautifully balanced voice was undoubtedly a tenor for all future seasons.
A night of rare passion and intensity.
