I admit having a problem watching Otello by Giuseppe Verdi. Any version. The opening scenes are so dramatic, you’d understand why they skipped the overture. I just need to look for 2 things in that tempestuous opening to keep on watching. First is the sound of the trumpets while the ship of the Winged Lion ravaged in the eye of the storm. Most of the time I keep on watching even if the trumpet’s sound is underwhelming. Second is “Esultate!” I’ve seen some versions online where this aria is sung not with a heroic strength but a wobbly voice. No names. I’d just leave you to guess which tenors often crack and wobble while singing “Esultate!”
I then chanced upon the 2016 version of Otello by Giuseppe Verdi staged at Teatro Real in Madrid, Spain. Not too modern. Not too “period”. It’s almost minimalist with one set and very little costume changes. And a torn Turkish flag for the crowd to take part in the spoils of victory. The tenor Gregory Kunde play Otello without the blackface. But the rest of the characters mention him as a Moor. Iago (played by George Petean) claim credit for the wars that Otello won that he got promoted for. Of course, that claim conflicted with how he wished Otello dead as the latter waged war against the Turks while Iago just watched on the seashore. In less than 15 minutes into the story, you immediately recognize who is the villain in the story.
Iago found it easy to get some people to trust him. He has a way of sympathizing with the other characters that makes his agenda not obvious. Like when he saw Roderigo seething in anger on the side. He was quick to console the disgruntled man. But instead of pacifying his anger, he utilized Roderigo’s rage for his own ends. He then helped Roderigo push Cassio to his demotion. An incident that Cassio deeply regretted. Iago then found an opportunity to frame Cassio again by pushing him to talk to Desdemona. It became an opportunity to push 2 more souls into his draconian plan of putting everyone into the hell that he wallows into.
The people surrounding the couple at Otello by Giuseppe Verdi knew how much influence Desdemona had over Otello. Tributes are offered at her feet as if she’s some goddess that descended upon Cyprus. It was this same perceived influence shown at Otello by Giuseppe Verdi that also served as the key to her downfall. Desdemona might have been the only pure character here at this opera. All she ever did was love Otello and be a sweetheart to everyone else she meets. It was this niceness that ended up looking malicious to Otello as egged on by the words of Iago. The fact that Desdemona herself interceded in behalf of Cassio was enough to push Otello to further suspicion.
This needs to be said. Otello is a dick. Iago knew him way more than Desdemona herself. Iago knew how to manipulate Otello. Desdemona on the other hand had to apologize to Otello even if he was the one who snapped angrily at her efforts to comfort him. Then again, Desdemona talked to Otello after Iago has already to the general. Emilia herself has realized it after Iago stole Desdemona’s handkerchief from her. Iago saw the fire in Otello’s anger. And instead of throwing water, he poured gasoline into the situation. It is what made Iago one of the most dangerous villains in opera. He has a way of making you believe that he is helping you when in reality he is orchestrating for your personal and professional damnation.
The minimized lighting on the set in some scenes helped in presenting the dark personality that Iago possessed. Iago narrating Cassio’s “sleep-talking” was done where most of the light was directed at the unoccupied chair. Not much light is left for the characters Otello and Iago. With the light emanating from behind Iago, he reminded you of the shadow that engulfed Otello’s rationality and common sense. Proof that even high ranking officials in Otello by Giuseppe Verdi are devoid of critical thinking due to intense emotions.
These intense emotions fueled the dramatic music resonating in Otello by Giuseppe Verdi. If ever there is one opera that served as a response to criticism about opera’s lack of character build-up in the name of “bel canto” (beautiful singing), that would be Otello by Giuseppe Verdi. Too bad Desdemona’s father had to go through the chopping block once it is Verdi’s turn to present his version. He thought that having only one villain in the story would give focus to the story. It helped since it obviously presented Verdi’s opinion of Iago as a character.
The production’s decision to go with the kinda sorta modern version of Otello by Giuseppe Verdi meant a focus on the psychological aspect of trust and insecurity. Otello never lost his insecurity because people around him like Roderigo has this way of making him feel like an outsider. But he lacked trust in people that care for him too. He can’t tell the difference between Iago and Desdemona in terms of concern for his welfare. When a person lets his emotion go afoul, he ends up trusting the wrong people. Making decisions while angry results in the biggest mistakes ever done. As big as the stage that Otello and Desdemona tread around while fighting.
The position of the cameras made sure to show the events that transpired in this 2016 version of Otello by Giuseppe Verdi. Some cameras at the ceiling showed the changes on the floor implying a change of setting. Some cameras showed the characters up close as if daring us viewers to read their facial expressions. Lighting also helped. I have discussed how putting Iago that makes him look like his back is turned against the light as a technique to present his villainy. Otello on the other hand is shown facing the light with the light diminishing depending on the scene. In effect, this makes it look like Otello failing to “see the light”.
This 2016 version of Otello by Giuseppe Verdi is not yet available on DVD. Not sure if Teatro Real plans to release their David Alden production of this opera. For the meantime, I have to recommend another version of Otello featuring the same tenor, Gregory Kunde, now out on
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