Last week, the Canadian Opera Company debuted its newest interpretation of Giuseppe Verdi’s Otello, an operatic staple based on Shakespeare’s masterpiece. The classic work, critically understood as one of Verdi’s finest operas, is usually enjoyable to watch based on the insight it provides into Shakespeare’s characters and its dazzling display of vocal virtuosity.
The production currently running at the Four Seasons Centre was developed in collaboration with the Welsh National Opera and directed by Paul Curran, who is no stranger to the COC: he produced Shostakovich’s Lady Macbeth of Mtensk for them in 2007 and Puccini’s Tosca last season.
The plot of Verdi’s Otello differs somewhat from the original Shakespeare: the entire first act, in which Brabantio learns of the secret marriage of his daughter to the Moor, is not present in the opera. This can be somewhat frustrating for viewers unfamiliar with the play because it makes the story’s details harder to follow. Verdi’s version also discards several plot movements, from Roderigo’s jealousy to Iago’s resentment of Michael Cassio to the slow unfolding of the secret elopement (which is instead hurriedly announced). Though Verdi’s interpretations can often be deeply interesting, this is where the COC’s production falters.
When I see a Verdi opera, I want to indulge in his trademark bombastic emotion, political treachery, dramatic violence, and heroic sacrifice. As a famous adaptation of a Shakespearian tragedy, I was expecting that Otello would provide just that. However, I was not captured by the COC’s production of the opera, though it did provide some interesting slices of interpretation.
The stage’s use of movement and colour was poor, unexciting and slightly scandalous—the choice of so many dark red, orange, and gold tones was often overpowering and ungrounded. The props also lacked inventiveness and reflected a poor aesthetic: the play’s famous handkerchief, for instance, was nothing but a silky, fuchsia rag. Meanwhile, for the last few acts the major stage element—a massive sculpture of the winged lion of St. Mark, national symbol for the Venetian republic—served little purpose except to radiate over the chorus.
I also personally had a problem with the choreography for the final violent scene, for instead of smothering his beloved with a pillow, Othello (Clifton Forbis) stabbed her. Without Emilia’s death at Iago’s hands and the tense confrontation between Iago and the Moor, the conclusion was confusing. Overall, Otello was severely disappointing in its representation of the most significant moments in Shakespeare’s plot.
On a more positive note, the singing was quite good, with some truly stunning performances (although others fell short). The chorus did especially well in the first and the penultimate scenes. The true star of the show was American baritone Scott Hendricks, who sang Iago’s part. His performance was so central and enthralling that I felt the production should have been titled Verdi’s Iago rather than Verdi’s Otello.
Overall, I found that Otello did not meet the standard set by the COC’s brilliant productions both this season and in the past. I was not inspired or creatively shaken at any point in the evening. Still, I wholly recommend a visit to our local opera company—based on their past work, hopefully their next few shows will be more enjoyable.
Otello runs at the Four Seasons Centre through February 28. For more information, visit coc.ca.
