“Otello” is one of Giuseppe Verdi’s last two masterpieces. As with “Falstaff” (1893), the opera is based on a play by Shakespeare, adapted by Arrigo Boito (who was a composer in his own right; his “Mefistofele” deserves to be revived). The world premiere of “Otello” took place in 1887 (when Verdi was 74 years old) at La Scala and the Metropolitan Opera’s first production took place only four years later, when the company was on tour in Chicago.
The opera often falls out of the Met’s repertory because it is hard to cast the title role, which requires a dramatic tenor of immense power. This season, the company brought back the opera with two different casts, the first one (which I had seen several years ago), with Johan Botha and Renée Fleming and the second with Jose Cura and Krassimira Stoyanova, which I caught during the current run. Actually, Botha had cancelled all but the last of his scheduled performances because of health problems. Cura-Stoyanova were not an unknown combination because they appeared together on an Opus Arte DVD of the opera, directed by Willy Decker, in a more minimalist style than the Met’s more traditional staging, by Elijah Moshinsky, which had its premiere in 1994.
[topic]The opera begins with a storm in the harbor of Cyprus, with the crowd waiting for the return of the governor, Otello. He enters, proclaiming his victory over the Turks. His ensign, Iago, is determined to stir up trouble because Cassio has been promoted over him. Iago manages to get Cassio demoted by getting him drunk and tricking him into a fight with Rodrigo, a Venetian nobleman. At the end of the first act, Otello is reunited with his bride Desdemona.
At the beginning of Act II, Iago sets his scheme in motion by urging Cassio to seek help from Desdemona. After a soliloquy in which he expresses belief in a cruel god, Iago sets about to arouse Otello’s jealousy, making him believe that Cassio is carrying on an affair with Desdemona. Her pleas to her husband to reinstate Cassio only fuel Otello’s distrust of her.
This continues in the third act, when Iago induces Cassio into speaking about his mistress, leading Otello to believe it is Desdemona they are discussing. The last act begins with Desdemona preparing for bed with the assistance of her maid, Emilia, who happens to be Iago’s wife. Desdemona says her nightly prayers, after which Otello arrives, kisses her and tells his wife to prepare for death. He then smothers her, whereupon Emilia enters and reveals Iago’s deceit. Otello kisses the deceased Desdemona and stabs himself.
José Cura, a former body builder and Kung Fu black belt, certainly looks the part of a warrior. As Otello, a role he has performed around the world but never before at the Met, the Argentinean tenor, acts convincingly. He also has the vocal goods but his singing was not always in the best taste, often rushing the beat.
Otello should convey unchained emotions, but this can be achieved with musicality, as Placido Domingo and Jon Vickers demonstrated on numerous occasions. (Cura’s predecessor in the role at the Met this season, Johan Botha, provided vocal refinement but was dramatically inert.) Thomas Hampson’s voice is a bit light for Iago but he compensated by delivering an uncommonly subtle portrayal of villainy.
Over all, the most satisfying performance was the Desdemona of Bulgarian soprano Krassimira Stoyanova. Her “Willow Song” and “Ave Maria” in the last act were beautifully sung and highly moving. Conductor Alain Altinogl acquitted himself admirably, especially since he had to contend with an overly impulsive leading man.
“Otello” runs through March 30th at the Metropolitan Opera, 212-362-6000, metopera.org.
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