Marlies' Artbeat|Verdi's "Otello: New Production, New Cast, New Hit

By Marlies Wolf

Giuseppe Verdi’s second-to-last masterpiece, Otello, was the second-to-first Live-at-the-Met-in-HD offering of its new season of operas at the movies -- all the modernized brainchild of Bartlett Sher of Broadway fame.

Everything was new, starting with a striking cast populating the high voltage characters the Met has not had in these roles before. Next a set, by England’sEs Devlin, with see-through walls that move for entrances and exits and also announce scene changes.

The costumes, by another Brit, Catherine Zuber, reflect the possible fashions of 1887, when the opera premiered at La Scala in Milan. Usually they have displayed the couture of the late 15th Century.

All has a slightly surrealistic effect (especially in the last act, sans walls,) but is not so way-out as some of the recent opera “innovations” that detract from the composer’s intent, and frequently mar our enjoyment.

Here it all worked. Verdi’s glorious music was ably served by the singers, the Met chorus and, of course, the splendid orchestra under the baton of the Canadian Yannick Nezet Seguin.

The libretto, based on Shakespeare’s Othello, which the multi-talented Arrigo Boito so cunningly pruned into a tighter drama, gave us idiomatic subtitles. But most important, of course, was Verdi’s magnificent composition.

And to think that the world might never have seen/heard it come to life! Verdi, supposedly was so miffed at the accusation that in his Aida he was attempting to copy Wagner, that he decided to retire. And for the next twelve years, he did just that. But, luckily for us, he did compose the breathtaking Verdi Requiem during that period.What lured him back to opera-composing, was a conspiracy between the Ricordi Publishing house (for which Verdi had always been a huge revenue source.) Boito’s enticing libretto, and Verdi’s persuasive wife. They created an offer he could not refuse!

Thus the world was gifted with an opera that does not necessarily pull audiences in like the popular warhorses Rig, Trav, and Trov. His Otello is quite different.

Verdi’s earlier work frequently has recitativo intros to an oom-pah-pha aria that stops the action dead. Instead this 27th opera of his, does offer arias, but most flow directly from the action with the music continuing right on. Consequently for those, the singer cannot even be awarded with well-deserved applause. The set pieces like Desdemona’s gorgeous “Wiilow Song” and the moving “Ave Maria” are exceptions.

The passionate, soaring score even has leit-motives such as the lilting “baccio” phrases, and flaunts one of the most effective storm descriptions. Shades of outdoing Wagner…Vocally Otello is a super challenge, especially for the title role, here masterfully sung by the Latvian Aleksandrs Antonenko. The tenor is not a natural actor, but Sher’s direction was of help. He has Otello frequently falling to the floor, sometimes writhing, reminiscent of the famous Laurence Olivier Shakesperian Othello that implied the Moor was an epileptic.

The Bulgarian soprano Sonya Yoncheva can be added to the list of ultra successful Desdemonas. Her delivery was consistently clear and luscious, her acting persuasive, and she’s attractive in the bargain. Brava!

The extreme close-ups were especially supportive for the vile Iago, here sung by the Serbian baritone Zeljko Lucic. His sneers alone portrayed the necessary evil incarnate.

All the smaller roles: Cassio, sung by the tenor Dimitri Pittas; Rodrigo, by the tenor Chad Shelton; and the comforting Emilia by the mezzo Jennifer Johnson Cano, covered their parts with strength both musically and dramatically.

The host this time was the terrific bass Eric Owens who introduced a very informative and interesting intermission feature about the work of the cameras that give us the visuals for these transmissions. We were taken on a backstage tour by “Live in HD” director Gary Halvarson, and were made privy to the incredibly complicated machinations involved. Incidentally, showing a past embarrassing blooper, gave us compelling reassurance that we are indeed seeing these performances totally live!

If you missed this Saturday (Oct.17th, 2015) performance, you can see it “canned” at the Wednesday evening (Oct. 21st and newly added Thursday matinees – this one on Oct. 22nd 2015.)

It’s well worth it.