Royal Opera House Live Cinema Season 2016/17: Otello
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Feelings of exultation
'Otello' is one of Verdi's best operas ('La Traviata', 'Don Carlo', 'Rigoletto' and 'Aida' are also up there), containing one of his most concise stories and some of his best music (such as the opening Storm scene, "Esultate", Iago's Drinking Song, the end of Act 1 duet, Iago's "Credo" and Desdemona's "Ave Maria" and "Willow Song").
While not quite one of the best 'Otellos' personally seen (though the competition is so strong), it's nonetheless very good, at its best magnificent even. Of the 2016-2017 opera simulcasts it's second only to 'Madama Butterfly', the ballet productions have fared much better and more consistently. There is a huge amount to like really. It is though too darkly lit and more risks could have been taken with the staging. The intensity, poignancy and conciseness of the drama come through constantly and it is an emotionally involving production from start to finish but it just lacks ambition. It does deserve credit for always remaining tasteful and not adding touches that were irrelevant, tacky and offensive.
It doesn't look bad at all visually otherwise, the only other not so good thing being the costume for Emilia, that was strange and seemed like it was lifted out from another production entirely. The sets are very atmospheric and the costumes generally are well suited, setting the tone of the opera very well without descending into distaste or strangeness that would have distracted from or swamped the drama.
Musically, it scores even better. The orchestra handle the louder, intense sections wonderfully with lots of power (sending up a storm in fact) but handle equally as well the more delicate parts such as Desdemona's Act 4 music. The chorus sound wonderful and well-balanced while being fully involved with the drama, the Storm scene is especially good.
Performances are very good to outstanding across the board, with youthful Cassio, dutiful Emilia, Rodreigo and Ludovico handled with conviction.
Maria Agresta is one to watch as Desdemona, resplendent singing (especially in the "Willow Song") and showing steel and nobility as well as vulnerability and poignancy, Desdemona is more than a victim and like Sonya Yoncheva for the 2015 Met production as far as recent examples go Agresta realises this. Marco Vratogna is one of the most deliciously evil Iagos in a long time, Iago along with Scarpia is one of the most unforgettable villains in opera and that comes through with Vratogna, vocally it's not a large sound but it's characterful and not rough and rarely under-powered.
Standing out especially are Jonas Kaufmann's Otello and Antonio Pappano's conducting. Pappano has a real feeling for Verdi's style but also a feeling for 'Otello's' complex drama. Had the worries of whether Otello, one of the most challenging Verdi roles and in the whole tenor repertoire, would be too heavy for Kaufmann but actually he was magnificent in the role, singing with his usual chocolate-like baritone-sounding warmth and capturing every dimension (a great many, it's a very complex role dramatically) of the role with furious intensity and affecting nuance. He is wonderful with both Agresta and Vratogna.
Overall, a very good and often magnificent 'Otello'. 8/10 Bethany Cox
While not quite one of the best 'Otellos' personally seen (though the competition is so strong), it's nonetheless very good, at its best magnificent even. Of the 2016-2017 opera simulcasts it's second only to 'Madama Butterfly', the ballet productions have fared much better and more consistently. There is a huge amount to like really. It is though too darkly lit and more risks could have been taken with the staging. The intensity, poignancy and conciseness of the drama come through constantly and it is an emotionally involving production from start to finish but it just lacks ambition. It does deserve credit for always remaining tasteful and not adding touches that were irrelevant, tacky and offensive.
It doesn't look bad at all visually otherwise, the only other not so good thing being the costume for Emilia, that was strange and seemed like it was lifted out from another production entirely. The sets are very atmospheric and the costumes generally are well suited, setting the tone of the opera very well without descending into distaste or strangeness that would have distracted from or swamped the drama.
Musically, it scores even better. The orchestra handle the louder, intense sections wonderfully with lots of power (sending up a storm in fact) but handle equally as well the more delicate parts such as Desdemona's Act 4 music. The chorus sound wonderful and well-balanced while being fully involved with the drama, the Storm scene is especially good.
Performances are very good to outstanding across the board, with youthful Cassio, dutiful Emilia, Rodreigo and Ludovico handled with conviction.
Maria Agresta is one to watch as Desdemona, resplendent singing (especially in the "Willow Song") and showing steel and nobility as well as vulnerability and poignancy, Desdemona is more than a victim and like Sonya Yoncheva for the 2015 Met production as far as recent examples go Agresta realises this. Marco Vratogna is one of the most deliciously evil Iagos in a long time, Iago along with Scarpia is one of the most unforgettable villains in opera and that comes through with Vratogna, vocally it's not a large sound but it's characterful and not rough and rarely under-powered.
Standing out especially are Jonas Kaufmann's Otello and Antonio Pappano's conducting. Pappano has a real feeling for Verdi's style but also a feeling for 'Otello's' complex drama. Had the worries of whether Otello, one of the most challenging Verdi roles and in the whole tenor repertoire, would be too heavy for Kaufmann but actually he was magnificent in the role, singing with his usual chocolate-like baritone-sounding warmth and capturing every dimension (a great many, it's a very complex role dramatically) of the role with furious intensity and affecting nuance. He is wonderful with both Agresta and Vratogna.
Overall, a very good and often magnificent 'Otello'. 8/10 Bethany Cox
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- TheLittleSongbird
- Oct 25, 2017
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- 英国ロイヤル・オペラ・ハウス シネマシーズン 2016/17 ロイヤル・オペラ「オテロ」
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What is the English language plot outline for Royal Opera House Live Cinema Season 2016/17: Otello (2017)?
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