|
|
|
|
|
International Herald Tribune
March 17, 2004 |
By David Stevens |
Verdi: Otello, Paris Opéra Bastille, March 2004
|
Otello' is all busy-ness
|
|
PARIS "Otello," Verdi's late masterpiece now
being offered in a new production at the Opéra Bastille, is not a work to be
taken on lightly. Tenors capable of holding their own in the vocally and
emotionally challenging title role are not readily available and the work is
full of musical-dramatic subtleties and needs a firm hand at the musical
helm.
That it has in the pit, with James Conlon and the company's orchestra in
solid form, but what unfolds on the stage, in Andrei Serban's production and
in the sets and costumes of Peter Pabst and Graciela Galan, is frequently
disruptive and irrelevant.
The Russian Vladimir Galouzine is the dramatic tenor of the moment for the
title role. He has the vocal power to confront it, albeit at times with
uneven intonation, but here he is saddled with costume and makeup that
exaggerate his status as an alien among the Venetians under his command.
As Iago, Jean-Philippe Lafont is neither in his stage manner nor with his
robust baritone destined to be the subtlest of villains, but he was not
helped much by the heavy-handed staging of his role, not to speak of the
unnaturally red hair produced by the makeup department. Barbara Frittoli's
Desdemona, sympathetic and well-sung, did not extract all the role's
dramatic possibilities. The German tenor Jonas Kaufmann made an
impressive house debut as Cassio. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|