This new release is an almost proverbial “Tale of Two
Gentlemen”, featuring the lives of Giuseppe Verdi and Jonas
Kaufmann. Like train tracks, their steel rails are remarkably
similar in an artistic acumen. Verdi was at his apex while
Kaufmann patiently climbed his own “Mount Everest” by tackling
this exceedingly difficult role after years of patience and
vocal logic. Just as Verdi built his œuvres through “periods”
and tuned his trade, he was also persnickety when it came to
Otello in his prime. So too, did the Bavarian occasionally ‘test
the waters’. Time had to be on his side. “Too soon”, was his
reply, but the temptation was there, having been exposed to the
dramma lirico back in 2001 when he sang Cassio at the Chicago
Lyric Opera. Seven years later he would again return to the
"Windy City” to tackle the less dense rôle of Des Grieux in
Manon. His tenor repertoire has been slow and judicious as his
maturity moved ahead. Reaching beyond this illustrious tenor are
eight other phenomenal singers which carry beyond expected
boundaries...it can be said that this CD has markings of a
historical 21st century capture.
Verdi pointedly wrote
about Otello and its exacting vocal techniques. Reading through
these stipulations, Jonas Kaufmann listens, digests and acts as
he sweeps each page with exquisitely generous servings of
tonality and heft, discerning of the evolving emotions unfurling
within this Shakepearean character. While singing Otello is
nothing short of the immense challenge, Verdi would
wholeheartedly approve!!
The ability to give a seasoning
[to Otello] goes back in time when M. Kaufmann began singing
Otello on June 21, 2017 at London’s Royal Opera House. Earlier,
Jonas Kaufmann “tasted blood” after recording a Verdi album that
included two scenes from the opera. The camaraderie with
longtime supporter, Antonio Pappano, has been unshakable; hence,
one of the many reasons for such a propitious outcome. Perhaps
the lusciousness of this release has to do with the 14 sessions
required to complete the full recording. Antonio Pappano is a
consummate leader in perfection. Before each engagement he would
manage to polish every conceivable detail in order to provide
“an ultimate dramatic experience”. It succeeded tenfold. This
scope of perspicuity helped sharpen the singers’ unblemished
delivery.
Federica Lombardi is sublime as she fills her
Desdemona with warmth and purity. With dramatic leaps frequently
popping out, she leaves behind any harshness in the higher
register. Suave. During Act II, she retains her veil of
sweetness though the outrage surfaces, undaunted by Otello’s
snowballing jealousy. But that tone quickly changes, and Mlle
Lombardi is swiftly poised to control her mobile temperament.
Nuanced on a more somber side has its striking moments as she
woefully finesses “The Willow Song” with blanched solemnity.
Even the “Ave Maria” speaks graciousness...we gasp for
air...pathetic...a real tear jerker. Nowhere does Federica
Lombardi overplay; therefore, the painful dulcet qualities
become ever so penetrating.
Iago is supreme and
conniving. Carlos Alvarez gives every note its own sense of
appropriate friction, billowing upon gray clouds. Having
listened to M. Alvarez over the years, this time his timbre is
strikingly rich, arrogant and emblazoned with sinister tones.
Without over aggression, the wind furls about with a viral-like
pathogen in full suit. As the platoon leader, Liparit Avetisyan
comfortably wraps himself around Cassio with pristine cadences
and transparent clarity while Carlo Bosi’s light-toned
gentilhomme vénitien, Rodrigo, broadcasts a firm message of
immaturity and a hotly-ignited man who’s easily manipulated by
Iago’s scurrilous ranges. When it comes to Virginie Verrez, she
understates her Emilia as motherly protector and acts as the
most supportive shield to Desdemona.
Led by Ciro Visco,
the choral outreaches add to the immensity and dramatic planes.
Another “feather in the cap” is the tempo which Antonio Pappano
sets forth: in no way does it impede, languish, nor overconsume.
Extremely well-attended.
Not enough can be said about the
chemistry travelling both ways between voice and orchestra. In
this case, there couldn’t be a more fitting match of
personalities to assiduously absorb and wrap around every ounce
of energy. Charismatic to the core, enthralling on all
dimensions. This will go down in the annals of pristine Otello
recordings.