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| Simon O'Neill as Otello |
Opera
Australia
Joan
Sutherland Theatre until August 2nd.
Reviewed by
Bill Stephens
There can be
few opera productions with a more breathtaking opening than Harry Kupfer’s masterful
staging of Verdi’s “Otello”, currently being presented by Opera Australia in
the Joan Sutherland Theatre of the Sydney Opera.
Amidst the
sounds of a raging storm, Otello and his courtiers burst into a war-damaged
foyer, through the French windows high at the back of the stage, and tumble and
rush down a huge flight of stairs. The effect looks so stunningly dangerous
that you immediately want to reach for the rewind button to see how it is done.
However it sets the mood perfectly for the emotional turmoil that follows as
Otello succumbs to the jealousy skilfully and relentlessly fanned by his
treacherous ensign, Iago.
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| Desdemona (Lianna Haroutounian and Otelo (Simon O'Neill) argue in front of their guests. |
The entire
opera is staged on Hans Schavernoch’s single setting of a massive black and red
bomb-scarred staircase dominated by a huge statue of Atlas. For the most part this works well, as the
stairs provide endless opportunities for imaginative staging of the huge chorus
scenes. The bomb damage allows plenty of dark areas in which the various
characters can skulk and spy. However,
it is not so appropriate for the later scenes. Surely Otello would have found a
more intimate space in which to harangue and ultimately murder Desdemona.
Armenia soprano,
Lianna Haroutounian, making her Australian debut taking over the role of
Desdemona at just one week’s notice from Tamar Iveri, proved a pleasant
surprise with her dark beauty, warm, milky soprano and captivating stage
presence. One might have wished for her to show a little more gumption at
Otello’s constant accusations of infidelity, but her resigned acceptance of her
fate, as she sang the final “Ave Maria” was very moving.
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| Desdemona (Lianna Haroutounian) and Otello (Simon O'Neill) |
New Zealand
heldentenor, Simon O’Neill, soon to be seen in Canberra as one of the stars of "Voices in the Forrest" at the Nationals Aboretum, and making his role debut as Otello, was a thrilling
and commanding Otello, carefully shaping his interpretation as the opera
unfolded. His interpretation is very physical and the moment when he plummets
headfirst down the stairs is quite breathtaking. However he is a very pale Otello,
which made Iago’s constant references to “the moor” a bit puzzling.
Another
newcomer, tall, dark and swarthy baritone, Claudio Sgura, was an excellent Iago,
oozing malevolence, and insuring the audience was never in doubt as to who was
the baddy in this opera. Richard Anderson (Montano) and David Corcoran
(Roderigo) offer fine supporting performances, although James Egglestone was a
rather colourless Cassio.
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| Cassio (James Egglestone) Desdemona (Lianna Haroutounian) and Emilia (Jacqueline Dark) |
Although
having little to do in the early sections of the opera, Jacqueline Dark, as Iago’s
wife and Desdemona’s maid, Emilia, was a sympathetic presence throughout, and in
the final moments, following Desdemona’s murder, her spirited performance is
completely compelling.
Once again
the huge Opera Australia chorus was impressive, both in the richness and
accuracy of their sound, and with their attention to detail with their movement
and acting. Particularly as in this production they have a rather daunting
setting to negotiate while wearing at various times costume designer, Yan Tax’s splendid evening
wear or large coats. AS always, the Australian Opera and Ballet orchestra, this time under Christian
Badea, impressed with its spirited playing of Verdi’s magnificent score.
Despite what
must have been a difficult rehearsal period, given the number of changes from
the originally announced cast which offered Tamar Iveri or Nicole Car as
Desdemona, Marco Vratogna as Iago and Michael Honeyman as Roderigo, none of
whom are present for this season, Harry Kupfer’s superb production, under Revival
Director, Roger Press, remains an impressive staging of this superb Verdi
masterpiece.
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| Otello and chorus |
