And again

Fourth Otello last night. And I did sort of claim I would stop posting after every performance but oh, what the hell. I'm a completist. Not that I suppose there's very much left to say.

I was in the second last row of the stalls, which makes a change from my usual front loge seats. I can't deny that I'd rather see Cheryl & co at close range, but it's interesting to have wider view. There are aspects of the production which actually come across better from a distance. I hadn't really noticed until last night that the whole set actually tilts slightly, adding to that sense of a world gradually sliding into destruction. Details of blocking — especially all the sinister skulking Iago does — made more of an impression from afar as well. There are some striking tableaux in this production. The end of the Act I duet, as first Otello, and then Desdemona, ascend the stairs and gaze out into that notte densa, is captivating: the glow of the lighting matches that of the music. And I'm noticing patterns. Everyone seems to meet their downfall at the same spot on those fateful steps: it's where Iago takes in both Roderigo and Cassio, Otello collapses with grief there at least once, and it's where Desdemona sings both her Act III "A terra, si" and much of her final scene, including that terrible, beautiful "Amen". Likewise, the affectionate way in which Otello brings Desdemona's hands together as if in prayer is mirrored later in his much more brutal treatment of her. And as exquisite as they are at a distance of mere feet, Cheryl's pianissimo, unaccompanied "salice"s are even more poignant when they come travelling through so much space and darkness.

Meanwhile, I'm starting to think that my tiny taste of a house with a proper pit has spoilt me for good. Now that I know what I'm missing, I'm more frustrated than ever by the appalling conditions in the Opera Theatre. While the thought of a missing or reduced season frightens me, I think I'm willing to face it if it means doing something to make the world's most recognisable opera house into a good venue for opera.

Comments

[David]

Wow, you have stamina, but I can relate to this for it will be The Makropulos Case in October that I will have to see repeatedly. It is one of my all time opera favourites and if Cheryl Barker is even half as thrilling as she is in the live Chandos recording then I will be in operatic heaven!! In fact I am anticipating that it will be one of my life time operatic highlights!

Interesting how as you say your appreciation for details and nuances shifts and changes all contingent on where you are seated. Very glad you still enjoyed it and have you warmed up a bit more for Mr O'Neill??

[Sarah]

After 8 Streetcars I sort of feel I can handle anything. Although I'd shy away from a whole season Boheme.
Dennis is what he is. I like him well enough. Dramatically he's satisfactory, vocally more than satisfactory, and that's fine. It would be interesting to see it with an Otello as physically/theatrically compelling as Cheryl's Desdemona though.

[Sarah]

PS I'm with you on Makropulos. Hoping to see all of them.

[Thomasina]

Of course, if the "missing" season were in, say, the Capitol Theatre, we just might never want to move back, for all that the SOH has lovely views and the most stunning architecture in the world. I would love to hear/see a season of opera and ballet at the Capitol and would subscribe in a heartbeat if that were to happen! (It probably won't, fate being what it is. Just hate to think what SOH renovations would involve…)

[David]

Can you imagine an Otello with the raw animal magnetism of a Teddy Tahu Rhodes next to Cheryl Barker's Desdemona?? Wow, that would be something and the sparks would really fly!!! I'm being swayed by you and as much as I like Dennis, I will concede that it is about time that a more convincing match was made in casting lead pairings!!

By the way, at the pre-performance talk Cathy Dadd let it slip that Dennis will be singing I Pagliacci next year. This is probably more suited to him as the match with Nedda as the significantly older and less attractive husband fits Dennis O'Neill very well and therefore justifies Nedda's roving eye!! She also said that Peter Coleman-Wright was quite ill with a gastro-reflux problem and had cancelled all his scheduled performances untill this was fixed.

I also remember reading somewhere that if and when renovations occur, Richard Hickox had an agreement with Covent Garden that at least 2-3 of the scheduled productions for that year would be integrated into the ROH schedule as guest productions from Australia. That would be a marvellous experience for those Opera Australia singers who are yet to have overseas exposure.