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Bachtrack, 26 Oktober 2023
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Von Ako Imamura |
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Verdi: Otello, Wien, Staatsoper, ab 25. Oktober 2023
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A satisfying Otello starring Jonas Kaufmann at the Wiener Staatsoper
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Adrian Noble’s 2019 production of Otello moves the action of the tragic tale
of a Moorish general to circa 1900, stripping it of its historical context.
The crowd in the opening harbour scene is dressed in black and white period
costume, the soldiers in uniform, the women in long dresses and hats. The
set consists of movable walls that move, open and close to suggest each
scene, with clever, atmospheric lighting by Jean Kalman and blocking. Scenes
such as harbour square, Iago’s barrack, Otello’s private office, garden,
palace hall and, finally, bedroom appear in quick succession as the set is
transformed to move the drama on without interruption. Dick Bird's sparse
set has minimum props, emphasising the inner world of Otello and his
emotional disintegration, fitting the director’s concept of the opera as a
psychological thriller of a troubled character.
Tenor Jonas Kaufmann,
with his dark timbre and brooding stage presence, seems particularly
appropriate to depict an insecure, tormented and self-destructive war hero
in this production. Otello’s opening “Esultate!” salvo – a challenging
calling card – was managed well, and Kaufmann paced himself throughout the
evening to deliver an honorable and credible, if not unforgettable,
performance. His tendency to use soft voice became more pronounced as the
evening went on, but he delivered Otello's big monologues in Acts 2 and 3
with assured and nuanced mastery, with pleasing legato.
Ludovic
Tézier’s Iago has none of the inner complexity of Kaufmann’s Otello. This
Iago is a manipulative and scheming villain, not so purely evil a creature
as he describes in his soliloquy. Tézier’s booming baritone is flexible
enough to convey Iago’s envy, anger and feigned sympathy with ease and
authority. Otello and Iago’s duet to conclude Act 2 was a clear highlight of
the evening, their voices soaring high and blending with seamless, thrilling
power. Their onstage chemistry was clear, as their natural and easy
interactions indicated. One might have wished for a bit more sneer and bite,
but Tézier’s elegant and smooth delivery was a pleasure to hear.
Rachel Willis-Sørensen, an American soprano very much in demand in Europe as
Verdi heroines with her large and clear voice, took some time to warm up.
Her Act 1 duet with Kaufmann lacked a sense of romance and longing, failing
to convey poignancy of the tragedy to come. Her singing became more
confident and soulful as the evening progressed, and she delivered
Desdemona’s two devastating Willow Song and Ave Maria full of emotional
vulnerability mixed with quiet dignity. Smaller roles were well cast and
sung, the standouts being Szilvia Vörös' Emilia, Bekhzod Davronov’s Cassio
and Leonardo Neiva’s Montano.
It was unfortunate that there were some
uncoordinated moments between orchestra and chorus in Act 1, perhaps due to
lack of rehearsal time. The opening storm scene with the thundering
orchestra and chorus, however, was performed with breathtaking volume and
propulsion, setting the stage for the ensuing drama. Alexander Soddy
conducted the orchestra with youthful energy combined with thoughtful
interpretation of quiet and contemplative moments. He handled interludes and
transitions with expert deftness, never breaking the musical flow to bring
out the brilliant masterpiece Verdi composed towards the end of his long
career.
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