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The Stage, Jun 22, 2017 |
by George Hall |
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Verdi: Otello, Royal Opera House, London, 21. Juni 2017 |
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Otello starring Jonas Kaufmann at the Royal Opera House
review – ‘real dramatic sweep’
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When the world’s most famous tenor takes on for the first time the mighty
challenge of the title role of Verdi’s Otello, it’s an important step for
his innumerable fans. Though he’s perhaps not an ideal exponent of the part,
Jonas Kaufmann is an imaginative singer and a highly capable actor.
Thought-through and sung with skill, his first Otello is a more than
respectable achievement, and one that will surely develop further.
Some will be disappointed that the Royal Opera has not yet felt able to cast
a black singer in the role – though it’s fair to point out that even singers
who specialise in the bigger Verdi repertoire often turn Otello down as
unmanageable. There are very few tenors who will attempt it, and vocally
Kaufmann is entirely credible in the part.
His colleagues are
worthwhile, too, with Maria Agresta’s intensely lyrical Desdemona something
more: this is quite simply a performance of outstanding vocal beauty and
dramatic poise.
Marco Vratogna’s Iago is more roughly handled, his
interpretation solid though scarcely subtle. Frederic Antoun’s Cassio is
delivered with elegance and Thomas Atkins brings Roderigo’s foolishness into
sharp focus.
Boris Kudlicka’s dark sets are a blend of realism and
abstraction, while Keith Warner’s broadly traditional new staging is
clear-sighted if not notable for intensity.
Where the evening scores
most highly is on the musical side, with Antonio Pappano once again showing
his impeccable command of Verdian style in a reading with real dramatic
sweep. Orchestral playing is strong on detail and flawless in ensemble,
while the choral attack under the company’s new chorus director William
Spaulding is regularly thrilling.
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