The version of Otello by Giuseppe Verdi that I recently watched starred Giancarlo Monsalve in the title role. Staged in Chile and uploaded on YouTube, while economical in production, the big widescreen at the background made up for the scarcely decorated stage. Even better, the voices that interpreted Verdi’s version of the Shakespearean play were enthralling. I like being surprised in a pleasant way when watching unfamiliar productions of a beloved opera like Otello.
While most versions have shied away from the blackface treatment, this Chilean production went through with presenting Otello in blackface. (I have yet to see a production of Otello by Giuseppe Verdi that featured dark-skinned, if not outright black, tenors.) They must have understood that at the bottom of Iago’s envy is racism. Why is this Moor promoted to a government position instead of a white man like him? Then again, the white supremacists can’t use Iago the character (played by Leonardo Estevez) to justify their agenda in case there is any of them reading this article now.
Otello by Giuseppe Verdi is a difficult opera to stage not only because of the PC crowd. It also analyzes how, despite a lofty position, Otello’s insecurities never left him. Having a beautiful wife in Desdemona (played by Paulina Gonzalez) might have aggravated those insecurities knowing everyone else still found her beautiful. But Verdi did not include Desdemona’s father anymore among his characters. Iago is enough to expose the weaknesses of the Lion of Venice.
Iago’s schemes are almost similar to gaslighting. Almost except that there was no serious questioning to his motives. He managed to isolate Otello into making him think that he has no one else to rely to but him.So effective that he convinced to get Roderigo to his side and convinced Otello that Desdemona’s a little too close for comfort with Cassio (played by Leonardo Navarro).
It is easy to blame PTSD when trying to analyze Otello’s mindset. He was a war veteran rewarded with the governorship of Cyprus. He was so preoccupied with his status that he forgot about the enemies that tried to crush him right under his nose. At least he did not use the race card or play the victim card in the story. But something worse happened. By the time he has realized how everything Iago told him was a lie, Desdemona is dead. Classic tragedy as it was popularized in the Shakespearean play. Otello by Giuseppe Verdi exerted the drama to a psychological conflict with the way he handled Iago’s advice.
When it comes to the production, the stage director was obviously familiar with the versions where Otello wore the red Venetian tights with the red top. It was closer to certain versions of the Shakespearean play where the costumes are more similar to how English noblemen dress than how Venetians are expected to look like. Again, a little nitpicking maybe. But the Shakespearean costumes fitted the backdrop shown on the wide screen. From the stormy shore to the painted glass often seen in Roman Catholic churches to that fateful moonlight. I liked it that the production did not go the minimalist/modernized route to present the story. It was already minimalist in itself. But not too minimal to forget dressing the characters in the same POV that Shakespeare would have dressed them. All that is left for them is to sing the parts believably.
Every time an opera is presented in dramatic fashion, the word “verismo” is thrown in for good measure. I can say that Otello by Giuseppe Verdi is one that can be classified under the “verismo” category simply because it’s not enough that the cast consisted of great singers. The libretto consisted of acting arias - arias that you sing to the point of breaking because they let the emotions take over in the song. I mean if you’re already consumed with so much emotions, can you still sing beautifully? Some can. But it will sound hollow since it does not unleash the emotions necessary for the piece. I am referring to that scene where Otello just goes batshit insane angry. So angry he collapsed. There were some parts where Monsalve was yelling like in this scene. But it did not sound bad.
The only character in this version of Otello by Giuseppe Verdi that did not have as much “breaking parts” was Iago. Then again, he as a character had to put up a facade of being cool, calm and collected even if deep inside, he is seething in rage over Otello’s good fortune. Even “Credo” was sung beautifully with a poker face. Other baritones are often seen performing “Credo” with an angry face granted that said angry face is seen only by the audience, not by Otello. But in this production, even the audience saw a somewhat poker-faced Iago justifying his evil deeds through the aria “Credo”.
I am one of those “casual” opera fans that don’t have a problem seeing Otello by Giuseppe Verdi with yelling parts. Perhaps because they are not that numerous. And the cast more than made up for those moments by singing the arias beautifully. Desdemona’s duet with Otello reminded me how this couple really loved each other. And how Otello let his inner demons be awakened by Iago to push away everyone from his intimate circle of confidantes, including his wife. At the end, the only person worth all of the sympathy and mercy was Desdemona. She died before Otello discovered her unwavering loyalty.
I have a feeling that this version of Otello by Giuseppe Verdi will be available on YouTube for a limited time only. (This is not a suggestion. Just a speculation.) Anyone interested to watch one of the few versions that dared take the blackface route may view said upload below on Monsalve’s (unofficial) YouTube channel no less. Don’t forget to drop your tips after reading this article by clicking the “Donate” button below. I’d be expecting you. Thanks for reading.
No comments:
Post a Comment