The genius of Giuseppe Verdi’s voluptuous music, played superbly by the WNO orchestra under the finest control of the ever popular Carlo Rizzi was, for me the most seductive element of this production. Despite fine singing with a number of virtuoso moments the drama and the production failed to present the truth, the most important aspect of any work of theatre art, of the very strong emotions associated with this passionate story thus undermining the complete success of the evening.
The opening bars of the music are quite overwhelming, the chorus are in strong voice but Paul Curran’s direction of them fails to convey the strength of the storm that Otello eventually overcomes and returns, the conquering hero, to his post representing the Venetian Doge as his Governor in Cyprus. Paul Edwards give us a rich, old master set design but it’s far too enravishing for this somewhat remote part of the Venetian Empire. The act three décor with the chorus in rich crimson velvet and gilded thread and the enormous gold, winged Venetian lion may have been very seductive but out of place in this gritty story.
It is difficult to give oneself up to this very melodramatic plot; the principal men, Iago and Otello sang with great strength by David Kempster and Dennis O’Neil behave so badly and exasperate us but however dishonourable they may be somehow the verisimilitude is lost and one is not able to be sufficiently concerned about them. Kempster does a splendid musical job as he tells us what a nasty piece of work he is but I wasn’t convinced.
Maybe casting Dennis O’Neil in this role wasn’t the best idea. As ever he sings with a powerful beauty but his jealousy and passion fail to convince. For Otello to command only vocally is not enough to properly colour the character. Amanda Roocroft is a little more believable; her voice giving us something of the tragic emotional journey she is forced to undertake. Although the outcrop of rocks from the Cyprus beach turning up in her bedroom does rather undermine the drama of her execution.
Wynne Evans gave us a more convincing drunken and dramatic Cassio and the self- effacing Emilia of Claire Bradshaw was my treat of the evening. In this overwhelming and quarrelsome décor, as Ludivico, David Soar stood and sang and registered his authority.
We all know that Otello has been convinced by Iago’s lying. This gap between reality and appearances and the themes of honour and trust that lie at the core of this sad tale and are reflected so well in Verdi’s music never, in this production quite find the significance they deserve.
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