Otello is a wonderful opera. Verdi's music is both powerful and beautiful, sometimes at the same time, but always in equal measure, I find the character of Iago much more believable in his evil and dramatically of all of Verdi's operas it is for me his most concise(I love Don Carlo, but I find Otello has a more conclusive ending). This 2006 production from Gran Teatre Del Liceu is well worth watching. My favourite production? No, not quite. I know there is dislike for Zeffirelli's film, however despite the cuts I find it captivating and Domingo's performance magnificent. The Jon Vickers 1974 film is also worth noting, but the best production on DVD is between the 1992 and 1996 performances for me.
This production is not perfect. The orchestral playing sounds great, playing up a storm especially in Si Pel Ciel, but in terms of rhythmic and dramatic flow it doesn't quite flow as naturally as other Otellos available, some of it is even a little choppy. It's almost as if they had a Verdi opera like Ernani in mind, Otello is more continuous in flow and less focused on the recitative and aria format. The conducting is efficient and allows the dramatic thrust to come through when needed which is a lot concerning Otello, yet the sensitivity for Desdemona's two arias in Act 4 is there also. The chorus sing beautifully and react to the action better than one would expect.
Willy Decker's production is quite effective. The sets are minimalist yet darkly atmospheric, perfectly suited to the opera's basic story and to Iago's motivations. The large mirror in Act 3 is a very striking touch, intensifying this sense of claustrophobia set by the raked stage and the side walls. The costumes are sumptuous, and the lighting is in keeping with the sets. The video directing is professional and unobtrusive, with good, clear picture quality, while the sound quality does feel as though you are there watching it in person which has always been a thrilling effect on me. The staging is mostly compelling especially in the exciting Cassio/Rodrigo duel and Otello's frightening pursuit of Desdemona, though the crowd scenes could've done with being less awkward, whether intense with Iago's manipulation of Otello and poignant with Desdemona in Act 4.
Jose Cura I am not a fan of strictly speaking, though I don't dislike him either. He has actually given good performances, his best being his 1998 Des Grieux, though his 1996 Turridu is also good, he has his good moments in 2002's Il Trovatore and his singing was the best thing about the otherwise pretty awful Tosca production with him, Patane and Bruson. On the other hand, he has also given performances I have not cared for, especially in later years with his Zurich Turridu/Canio, which showed him in bad voice and unconvincing dramatically. I am happy to say that his performance in the title role, inarguably Verdi's most difficult and most complex tenor role, is one of his best. It is not perfect though, with some strain to start with, a tendency to sing too much in half-voice and his annoying habit of scooping from under. However his baritonal middle register is pleasing and his top when it gets going is freer than I expected. Dramatically, he thrillingly convinces in Otello's increasing intensity and torment and moves in his final scene. A highly commendable performance indeed, even if not definitive.
And what a find in Krassimira Stoyanova. Her Desdemona is just wonderful. Gia La Notte shows strong rapport between her and Cura, but it was in Act 4 where Stoyanova really shone. Ave Maria and the Willow Song are both beautifully sung, flowing with real lyrical beauty, while in terms of acting she is delicate, dignified and overall heart-breaking. I found Lado Ataneli to be excellent as Iago. Maybe his voice is not the most evil-sounding(then again not every baritone in this role are Cappuccilli or Milnes), but it is while not the powerful sound a burnished and strong one. He also does something interesting when it comes to the acting. I have read before that Ataneli's Iago is more personal than political and I have to agree. Playing smoothly one of the most evil-incarnate villains in all of opera(along with Scarpia from Tosca and Hagen from Gotterdammerung) as Otello's confidante and friend in a false way made the manipulation of Otello and Iago's overall actions more convincing, more chilling and more monstrous.
In regard to the support cast, they are not quite as good, though two are very good actually. Vittorio Grigolo is a forceful Cassio and Ketevan Kemoklidze as well as being strikingly beautiful is very good and suitably helpful as Emilia. The rest of the supporting roles are solidly sung if somewhat undistinguished. All in all, I found this Otello interesting, for how Iago was portrayed, and surprisingly good, coming from someone who wasn't sure initially whether Cura would work in by far his heaviest role on DVD. It is not perfect with some awkward crowd scenes, undistinguished secondary roles and the flow is rather choppy, but the minimalist production values, staging and Cura in a commendable performance ensures that it is well worth seeing. After seeing Stoyanova here too, I hope to see more of her. 7.5/10 Bethany Cox
This production is not perfect. The orchestral playing sounds great, playing up a storm especially in Si Pel Ciel, but in terms of rhythmic and dramatic flow it doesn't quite flow as naturally as other Otellos available, some of it is even a little choppy. It's almost as if they had a Verdi opera like Ernani in mind, Otello is more continuous in flow and less focused on the recitative and aria format. The conducting is efficient and allows the dramatic thrust to come through when needed which is a lot concerning Otello, yet the sensitivity for Desdemona's two arias in Act 4 is there also. The chorus sing beautifully and react to the action better than one would expect.
Willy Decker's production is quite effective. The sets are minimalist yet darkly atmospheric, perfectly suited to the opera's basic story and to Iago's motivations. The large mirror in Act 3 is a very striking touch, intensifying this sense of claustrophobia set by the raked stage and the side walls. The costumes are sumptuous, and the lighting is in keeping with the sets. The video directing is professional and unobtrusive, with good, clear picture quality, while the sound quality does feel as though you are there watching it in person which has always been a thrilling effect on me. The staging is mostly compelling especially in the exciting Cassio/Rodrigo duel and Otello's frightening pursuit of Desdemona, though the crowd scenes could've done with being less awkward, whether intense with Iago's manipulation of Otello and poignant with Desdemona in Act 4.
Jose Cura I am not a fan of strictly speaking, though I don't dislike him either. He has actually given good performances, his best being his 1998 Des Grieux, though his 1996 Turridu is also good, he has his good moments in 2002's Il Trovatore and his singing was the best thing about the otherwise pretty awful Tosca production with him, Patane and Bruson. On the other hand, he has also given performances I have not cared for, especially in later years with his Zurich Turridu/Canio, which showed him in bad voice and unconvincing dramatically. I am happy to say that his performance in the title role, inarguably Verdi's most difficult and most complex tenor role, is one of his best. It is not perfect though, with some strain to start with, a tendency to sing too much in half-voice and his annoying habit of scooping from under. However his baritonal middle register is pleasing and his top when it gets going is freer than I expected. Dramatically, he thrillingly convinces in Otello's increasing intensity and torment and moves in his final scene. A highly commendable performance indeed, even if not definitive.
And what a find in Krassimira Stoyanova. Her Desdemona is just wonderful. Gia La Notte shows strong rapport between her and Cura, but it was in Act 4 where Stoyanova really shone. Ave Maria and the Willow Song are both beautifully sung, flowing with real lyrical beauty, while in terms of acting she is delicate, dignified and overall heart-breaking. I found Lado Ataneli to be excellent as Iago. Maybe his voice is not the most evil-sounding(then again not every baritone in this role are Cappuccilli or Milnes), but it is while not the powerful sound a burnished and strong one. He also does something interesting when it comes to the acting. I have read before that Ataneli's Iago is more personal than political and I have to agree. Playing smoothly one of the most evil-incarnate villains in all of opera(along with Scarpia from Tosca and Hagen from Gotterdammerung) as Otello's confidante and friend in a false way made the manipulation of Otello and Iago's overall actions more convincing, more chilling and more monstrous.
In regard to the support cast, they are not quite as good, though two are very good actually. Vittorio Grigolo is a forceful Cassio and Ketevan Kemoklidze as well as being strikingly beautiful is very good and suitably helpful as Emilia. The rest of the supporting roles are solidly sung if somewhat undistinguished. All in all, I found this Otello interesting, for how Iago was portrayed, and surprisingly good, coming from someone who wasn't sure initially whether Cura would work in by far his heaviest role on DVD. It is not perfect with some awkward crowd scenes, undistinguished secondary roles and the flow is rather choppy, but the minimalist production values, staging and Cura in a commendable performance ensures that it is well worth seeing. After seeing Stoyanova here too, I hope to see more of her. 7.5/10 Bethany Cox
