Verdi’s Otello
Met Season Opening
Gala 2015
September 21, 2015
Desdemona puts up a fight against all odds. Photo credit: Ken Howard |
Otello emerges victorious. Photo credit: Ken Howard |
The opening was sensational: animations of a dark and stormy
sea were projected onto a translucent scrim that covered the whole stage,
producing an exciting and almost terrifying counterpoint to Verdi’s tempestuous
score. This is one of my favorite passages in the opera that I have always
found gripping from the very first notes. In Otello, Verdi dispenses with an
overture of any kind and he thrusts the audience, in medias res, straight into
what is actually Act II of his Shakespearean source material. As the scrim
lifted to reveal the chorus watching Otello’s vessel brave the tempest, the
stormy projections coupled with stroboscopic lightning and an
ominous fog continued until Otello emerged victorious and made his way through
the crowd. These effects worked so well that I hoped director Bartlett Sher would continue to employ
the talents of the lighting design team throughout the opera, but sadly this
was not the case.
Drink, drink, drink with me! Photo credit: Ken Howard |
A dark and stormy Otello. Photo credit: Ken Howard |
For most of the first couple of acts, an ominous projection
of an enormous sea continued to roll its tempestuous waves in the background
over, above and beyond the walls. The subtle impression was that of being on a
small island buffeted by the wind and the ever-changing sea. The opening of Act
III brought this reading home. While the orchestra intoned the first passages
of the act, the scrim was back and on it we saw projected an animation of
similar neo-classical palace walls slowly dissolve under the influence of the
same stormy sea, as though they were made of sand. The world our Otello
inhabits is a tenuous one and is being dissolved by dark forces. While the
concept behind the walls was interesting, it was really not enough to carry the
show and all-in-all felt incomplete, almost as if the production had run out of
money in the middle of the process.
Did the stark simplicity of the production have something to
do with the infamous negotiations with the Met unions? Interestingly, in a
recent interview Mr. Gelb boasted of having cut corners right down to the
buttons on the costumes in order to bring this new production in under budget.
Whatever the reason, the costumes were by no means exciting or interesting. The
idea was to move the action to the time the opera was composed, so late 1800s.
This meant generic nineteenth-century garb with men in stark military suits and
women in puffy gowns, with the only touch of color being Desdemona’s red dress
in the third act. This blandness coupled with the dark and bare sets did not
really help to keep the visuals engaging or add much to the overall
interpretation. There was some fuss in the press about this Otello not wearing
the traditional blackface make-up but to me that was the least of the issues.
Iago manipulates Cassio. Photo credit: Ken Howard |
My favorite Verdian baritone Željko Lučić stole the show as Iago. His legato phrasings and his
Italian articulation were as impressive as ever and he rendered the character
with a diabolical mellifluousness that was hypnotizing and highly seductive. Lučić’s
sound is handsome and melodic yet very manly and here displayed a spectrum of
expressivity that truly blew me away. Most striking was how the Serbian
baritone’s singing perfectly rendered the duality between the true Iago
(violent, ambitious, manipulative) and the fake Iago (supportive, sensitive,
loyal). The range of characterization displayed by Lučić in this role was most
impressive and truly made him the undisputed star of the evening.
Otello succumbs to Iago. Photo credit: Ken Howard |
Another favorite singer of ours, the rising Bulgarian
soprano Sonya Yoncheva did not
deceive and indeed rose to the challenge of being the leading lady on the Met’s
opening night. Who knew that subbing for Kurzak in Rigoletto two years ago
would have led her here so quickly and so brilliantly? Yoncheva embodied the
most lyrical and unblemished Desdemona. Her sound is just gorgeously plush and
unbelievably pure and her dramatic acting convincing. Every single note uttered
by Yoncheva exuded an accurate and emotionally charged interpretation: she was
the young bride reminiscing how she fell in love; the earnest friend advocating
on Cassio’s behalf; the confused and wronged victim when Otello unleashes his
jealous rage; and finally, tragically aware of her imminent death, the pious
and strong woman accepting her fate when her husband murders her.
Desdemona shines, Otello lacks luster. Photo credit: Ken Howard |
An ominous sky over a foreboding sea. Photo credit: Ken Howard |
The Met orchestra sounded amazing under the baton of young
and energetic conductor Yannick
Nézet-Séguin. Rarely I have felt the score to be the real protagonist of an
opera as tonight. My favorite moments of the performance (after Lučić) were
several purely orchestral passages that really emphasized narrative shifts.
Notwithstanding some peaks of musical excellence, though, all-in-all this was
an underwhelming opening night that left me lukewarm. Here’s hoping that the
season can only improve from here on in.
– Lei & Lui
Otello forces his love into submission. Photo credit: Ken Howard |
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