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Opera Canada Publications,
22-DEC-01 |
Covello, Richard |
Otello, Chicago, 22 September 2001
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Ben Heppner's first staged performance as Verdi's Otello,
seen Lyric Opera of Chicago's opening production, displayed his
characteristic and unfailing beauty of tone upon his first entrance and
through virtually all of the Love Duet. But difficulties became apparent
in Act II, necessitating an announcement that he was indisposed but would
continue. This he did, dodging a couple of high notes in the Act III
monologue but rallying in the last act to deliver a moving death scene.
However, it was obvious that this was a temporary indisposition. Anyone
who has heard him reel off Tristans with seeming ease, enact a most vivid
Stolzing in Die Meistersinger von Nurnberg or deliver stunning renditions
of "O Paradis" and Walther's Prize Song, as he did at a Lyric Opera
concert just prior to opening night, need not have any fears. The Otello
was likely an off night for him in a new role.
Since Lucio Gallo was a competent but routine ago, it was Renee Fleming
who alone shone among the principals. Her Desdemona was flawless, sung
with what must be the most gorgeous voice in opera today. The ascending
German tenor Jonas Kaufmann was a stunning Cassio, and Sir Andrew Davis
had the orchestra playing beautifully. But Sir Peter Hall's idea of
staging Shakespeare in 19th-century dress is by now a thoroughly hackneyed
device. Otherwise, his innovations included mounting the opera in a unit
set that recalled the Globe Theatre and directing the principals to roll
around the floor. Desdemona opted to go to sleep on the floor instead of
her nearby bed. At other times, she wrapped herself in a blanket as though
suffering from pneumonia instead of marital problems. |
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