OTELLO by Giuseppe Verdi (Canadian Opera Company). At the Four Seasons Centre (145 Queen West). Runs to May 21. $22-$350. 416-363-8231. See listing. Rating: NNNN
Its hard to imagine a more effective staging of Verdis Otello than the Canadian Opera Companys current production.
From the thrilling opening scene, where the COC orchestra (under conductor Johannes Debus) and chorus (under Sandra Horst) evoke a tempestuous ocean storm and a towns frenzied reaction to it, to the quiet, sombre conclusion, director David Alden is in complete control of the story hes telling.
It helps that his production has a strong point of view. Two terrifying tableaux of the operas villain, Iago (Gerald Finley), bookend the production, emphasizing his importance as the works puppet master responsible for setting in motion, through lies, innuendo and the snatching up of one very important handkerchief, the tragic plot.
Alden has Iago hover over and around the action almost, you might say, like a director himself sometimes stepping outside a scene, sitting down and pondering his handiwork. This gives an extra frisson to Iagos famous credo, delivered by Finley with toe-curling horror and existential dread, not to mention complete vocal control. (Finley, one of the worlds best bass-baritones, is in his absolute prime throughout.)
While villains are always more interesting than the good guys, Russell Thomass Otello, Tamara Wilsons Desdemona and Andrew Hajis Cassio all earn our sympathy as they get caught in Iagos web.
Thomass performance is carefully thought out, his authority established from his clarion-call opening notes onward, his jealous fury building gradually and inevitably. Wilsons powerful, full-bodied soprano her Desdemona is no one-note victim, even in her mournful Willow Song bodes well for her turn as Turandot later this fall. And Haji is turning into one of the most winning lyric tenors around.
While Jon Morrells minimal, almost primitive set evoking Cyprus takes a while to get used to, his handsome costumes establish a fascinating between-the-wars feel, and Alden has a couple of post-colonial touches including a portrait of the Virgin Mary that Otello clings to that add interest, even if theyre not completely successful.
Make no mistake. Its in the music that this Otello triumphs. Debus and the orchestra bring out all the nuance in the score, from the sneering, sardonic music for Iago to the tender kiss leitmotif that ultimately binds Otello and Desdemona. And when the chorus joins in for the storm scene or the grand visit of dignitaries, you realize that this is music theatre of the highest order.
