The Metropolitan Opera in New York did its second Live in HD transmission of the season. This time, it's another Guiseppe Verdi classic, Otello. The second of Verdi's forays into Shakespeare, the opera tells the story of the tragic Moor Othello and his wife Desdemona, two unfortunate souls brought down by the evil Iago.
In the story, Otello has recently promoted Michael Cassio to the rank of captain. Iago, who has fought alongside the general in many battles, feels that he deserves the rank and plots his revenge. He tricks Cassio into getting drunk and starting a fight, which causes Cassio to forfeit his rank. Iago then manipulates events from there, tricking Otello into believing that Desdemona is committing adultery with Cassio. Of course it's completely fabricated out of whole cloth, but Otello swallows it, and poor Desdemona by no fault of her own ends up on the receiving end of her husband's insane jealousy. Otello murders his wife in her bed, but then the faithful maidservant Emilia reveals Iago's treachery. Filled with remorse, Otello stabs himself and dies attempting a final kiss.
I am still reeling somewhat after seeing this performance, even though it's been a few days. This production utilizes trickery of perspective and how it affects a person's life. The backdrop is a very dark iron grey while these semi-transparent acrylic walls are moved around to show various locations. There were also a lot of light effects. For example, at the end of Act 3, Otello is resolved to kill his wife and the jealousy and anger provoked by Iago torment him. As he convulses in agony, the interchangeable walls box him in and the lights turn Hell-fire red. The screen that the Met uses in some productions at the beginning of each act portrayed a turbulent sea, as though there is an infernal storm brewing.
Speaking of storms, if you listen to the Act 1 opening scene, there is a storm raging after a battle at sea. The music makes it sound like the very foundations of the universe are being rent asunder. At the climax of the storm, the sound of the woodwinds and trumpets begin to sound like horses neighing, as though the Four Horsemen of the Apocalypse themselves were on the scene. The populace prays for mercy on their vessel. The music eases as the ship enters the harbor safely.
I saw Aleksandrs Antonenko last season as the unfortunate Don Jose in Bizet's Carmen (see the November 2014 post for more info). I'd make a joke about specializing in guys who are brought down by jealousy, but I don't think it's accurate. He did an amazing job with the role. In fact, I'd say he rivals Placido Domingo when it comes to this role. I will admit, however, that I shut my eyes quite a bit when I saw this; I just couldn't bear to watch Otello get manipulated by Iago like that.
Sonya Yoncheva debuted at the Met in the role of Mimi in Puccini's La Boheme. She claims that Desdemona is not necessarily a victim, but a strong woman who ends up in a very awful situation. I think she was best when she was defending herself against the false accusations of adultery. I'm not too sure about her vocal abilities, but her acting abilities could outdo the great Maria Callas.
And then there's Željko Lučić as Iago. I've seen portrayals of Iago before, but this one was particularly demonic. Oh my word, I have seen Lučić as the embittered Rigoletto, I have heard him as the conscience-tormented Macbeth, and quite a few others that I can't name off the top of my head right now. But I have never seen him as the semi-satanic Iago. His portrayal was such that I still get the creeps just thinking about it a few days later. Lučić may have a perpetually gruff look on his face, but Iago looks so normal and can go from seeming kind and helpful one moment to being terrifying the next. Also, it has been implied both in the play and in the opera that Iago was abusive to Emilia, his wife; in this performance, he was outright abusive, hitting Emilia when she wouldn't give him the handkerchief (which he uses plants in Cassio's house).
An amazing performance was done by all. I would like to close with James 3: 7-8.
"All kinds of animals, birds, reptiles, and creatures of the sea are being tamed and have been tamed by man, but no man can tame the tongue. It is a restless evil, full of deadly poison."
With only a few small insinuations, Iago ruins Othello and Desdemona, hurts Cassio, and upsets the whole balance of power in the area which affects the lives of hundreds of people. The tongue is truly a fire.
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