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OperaNotes Review
Metropolitan Opera House
September 23, 2004
By Charlene Frank
Otello
based on the play by William
Shakespeare
Music: Guiseppe Verdi
Conductor: James Levine
Libretto: Arrigo Boito
Production: Elijah Moshinsky
Set Designer: Michael Yeargan
Stage Director: Sharon Thomas
Cast:
Otello: Ben Heppner
Iago: Carlo Guelfi
Cassio: Garrett Sorenson
Desdemona: Barbara Fritolli
Emilia: Jane Brunnell
The chandeliers rose quietly almost to the sky and the golden curtain rose. The giant stage was completely full of people terrified that the storm off the island of Cyprus would would be too much for Otello's ship, and that their Moorish leader would be lost . Ah, the Met. There is nothing like it.
Otello was written many years after Guiseppe Verdi retired. At 74 years old he and Arrigo Boiro produced this very different and very modern opera. Quite a surprise from a man who was considered a bit old fashion and perhaps even over the hill. The opening at La Scala in 1887 won tremendous acclaim. This was a new style for Italian opera and a true challenge to Wagner; indeed the character of Otello could compete against any Wagnerian tenor.
More than a century later when one thinks of Otello, it is Placido Domingo. The pre-curtain conversation was as much as Mr. Domingo as it was about Mr. Heppner. Everyone knew that Mr. Heppner had been ill and his performances as Otello had not been up to par. They also knew that he had lost quite a bit of weight and many said it effected his voice negatively. But he had put the weight back on, an supposedly he was now in fine voice. But, could he make people forget the picture in their mind of Placido Domingo on the stage? There were quite a few questions before the big curtain went up.
The New York Times said that at the opening gala Mr. Heppner was a bit tentative. He seemed to have gotten over that. He played the role differently than Mr. Domingo, but that is fine, he is not Mr. Domingo. The important thing is that he played the role well. Very well. His voice was as powerful as the character he played, loving when he needed it to be loving and tortured when he needed that. He answered all the questions, his health was back, his voice was superb and yes, after the first scene we were picturing Otello the character, we were not thinking that Placido Domingo should have been on the stage. Mr. Heppner was Otello. There is room for two superb Otello's in our world, and even more! It has got to be rough to the next in line to one of Placido Domingo's signature roles. He may not be an equal yet, but he is on his way.
Baritone Carlo Guelfi was thoroughly horrible as Iago, as he should have been. There are some villians in opera who are judged by how much you hate them, Iago is one of them. His voice was strong and he was evil. The lovely Desdemona didn't stand a chance against him. Barbara Frittoli's sweet soprano met this role with a combination of tenderness and strength. She, her character and her voice, was everything good and light, and he was pure darkness. Ah, if only Emilia would stand up to Iago and tell her adored Desdemona about the handkerchief, so Desdemona could have told the insanely jealous Otello that he was being manipulated by the cruel deceitful Iago, and then he would not have felt the need to strangle her, the woman he worshipped. Well, I guess then we wouldn't have a tragedy. But, although Emilia (Jane Brunell) didn't save Desdemona and Otello when she could have, her mezzo was a delight.
James Levine, well, he is always wonderful. And he is a pleasure to watch as he mouths every word of the opera and smiles at all the beauty he is pulling together. It was a great evening, a great start to the Met season, who knows, maybe I'll even see it again!