L.A. Opera brings back Verdi's 'Otello,' the first opera it ever produced, with tenor Russell Thomas delivering inner torment with heartbreaking beauty.
Angelenos woke up on Saturday to the New York Times featuring L.A. Opera as a happening operation, a company rife with innovation. It lived up to the reputation well last month when it presented a troubling, timely pair of experimental operas, Emma O’Halloran’sAnother of L.A. Opera’s accomplishments has been to make going to the opera a trendy occasion. Its audience loves to dress with Hollywood flair and pose for selfies.
The curtain rose with startling suddenness. “Otello” begins with a spectacular storm, and with no warning, the company’s music director, James Conlon, had the orchestra erupt as though a tornado of tremendous force had suddenly blown into the hall. On the set, designed like a ship, a large lantern violently swung back and forth, dizzy-making. The chorus burst out in terror.
Slightly elevated from the stage floor, the set makes everyone feel far away. The lighting is dark, so it’s hard to catch individuals’ expressions. The singers look at the audience more than at one another. He arrives in Venice not as a blustering leader but more as man of the people, and vulnerable. That he might be susceptible to Iago’s treacherous insinuations of Desdemona’s unfaithfulness, jealousy seems a natural response. Golovatenko’s Iago, moreover, comes across as more bro than monster. The words may be wily, but the Russian baritone, whether poisoning Otello with lies or hosting a drinking song, sings with agreeable gusto.
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