Verdi's Otello

Our president, Frances Dharmalingam, shares her views on this remarkable work.

A few days ago I was at last able to use the Christmas present given to me by my family: a ticket to a performance of Verdi’s opera, Otello, by the WA Opera Company.

I admired the skilful production, particularly the handling of the very large chorus (augmented with singers from South Africa, New Zealand and other parts of Australia) and the choreography of Cassio’s drunken brawl;  revelled in the glorious playing of the WA Symphony Orchestra and the wonderful singing – Desdemona’s beautiful clarity, Otello’s impressive range and control of tone and volume, and the menacing force of Iago; and was impressed by the versatility of the set, which was designed to show economically  and with minimum fuss the many aspects of a great ship, from the operation room, to the decks, to the private apartment of the commander, with a clever suggestion of the endless long corridors and companionways.

It all made a powerful impression, with much to think over at leisure.

At home next day I had time to consider how the Shakespearean text had been used.

The entire action occurred on board an aircraft carrier, either at sea or in harbour on Cyprus, so there were no scenes in Venice. Otello’s courtship (originally described by him to the Venetian senators) was recounted by Otello and Desdemona in a love scene after his safe delivery from the dramatic opening storm, a love scene which occurs off-stage in the play.

Dispensing with the Venetian scenes omitted the parental opposition to the marriage, and the sense of Desdemona’s independent courage in defying father, Duke and senate. Also, the reasons for Iago’s hatred of Otello were somewhat curtailed, and we just had to accept it without extensive explanation.  However, we were given a quite terrifying glimpse into Iago’s nihilistic soul in the detailed self-analysis of a long aria which ended with an almost playful (and illustrative) game of Russian roulette.

For most of the opera I felt that Iago powerfully dominated the action (almost to the point of wondering whether it should have been called Iago rather than Otello). Iago was played by James Clayton. With his tall figure and strong baritone voice, and his excellent acting, it was hardly surprising that he seemed so easily to undermine Otello’s confidence. However, the great turning point (Act III sc. 3 in the play) for me lacked the impetus and dramatic tension of Shakespeare’s dialogue, the rapid exchanges perhaps slowed by the requirements of the music. My daughter turned to me in the interval after this scene with the irritated comment: 'How could Otello  have been so gullible?' It is perhaps unfortunate that I had seen the film of the wonderful National Theatre production of Shakespeare’s Othello just a few months ago, in which that scene showed Othello putting up real resistance, fighting every inch of the way before succumbing to Iago’s insinuations.

In the second half, Otello, played by Antonelli Palombi, took a more prominent part, his rage and confusion very effectively conveyed through his singing and acting. It must surely be the ultimate theatrical challenge to combine first-class singing and convincing acting, which modern opera production certainly demands, and this cast rose to the challenge. Cassio, played by Henry Choo, gave a splendid performance as the nice man who knows his own weakness but hasn’t the strength to resist Iago’s blandishments as he allows himself to sink into drunkenness and be completely humiliated.  He sustained his characterisation consistently through the subsequent  events. Fiona Campbell, as Emilia, had a rather less significant role than in the play, but established the fond relationship between Emilia and Desdemona.  The hostility between herself and Iago was also made clear.

Because the action was confined to the ship it was not possible to show the scene in the dark back streets on shore, when Roderigo attempts to murder Cassio, but is himself killed. We were less aware of Roderigo’s part in the action throughout than in the play, with little emphasis on his use to Iago as a source of income as well as a tool in the working out of his plots.

Desdemona’s death scene was genuinely moving, though much prolonged by the prayers (which are not performed in the play) and by the Willow song, which was of course so 'operatic' in contrast with the simplicity of an unaccompanied version. Cheryl Barker’s lovely voice and touching manner did justice to poor Desdemona’s end.

Otello played out the dreadful conclusion of his own weaknesses and insecurities, Palombi showing that he is an actor as well as a fine singer, and he capably commanded the centre of attention, as Iago was relegated to an insignificant corner.

I am not really sure why it was necessary to change the ending. In the opera, Emilia was allowed to live, and Iago committed suicide by shooting himself in the head (an echo of his earlier game) and so escaped the threat of torture and execution back in Venice.  Perhaps leaving him almost ignored in the corner enabled us to focus more fully on Otello’s tragic end – which I certainly did – as a wonderfully stirring production concluded.

I should not like my comparisons between the libretto and the play’s script to be seen as a form of criticism. It is obvious that changes must be made in telling the same story through two different mediums. While I very much enjoyed the opera, I couldn’t resist thinking of the play, of which I am fond, and the exercise allowed me the pleasure of  re-examining it.

James Clayton as Iago

West Australian Opera and Perth International Arts Festival present

Otello

His Majesty’s Theatre, Perth

4, 6, 8, 11 February 2014

Opera in four acts by Giuseppe Verd,

Libretto by Arrigo Boito

A co-production of Cape Town Opera, West Australian Opera,

New Zealand Opera, Opera Queensland,

State Opera of South Australia and Victorian Opera

Conductor Joseph Colaneri

Director Simon Phillips

Rehearsal Director Matthew Wild

Scenery Designer  Dale Ferguson

Costume Designer Michael Mitchell

Lighting Designer  Nick Schlieper

Lighting Associate Chris Twyman

Otello Antonello Palombi

Desdemona Cheryl Barker

Iago James Clayton

Emilia Fiona Campbell

Cassio Henry Choo

Roderigo Matthew Lester

Lodovico Andrew Collis

Montano Andrew Foote

Herald  David Dockery

WEST AUSTRALIAN OPERA CHORUS

AND

CAPE TOWN OPERA CHORUS GUESTS

Associate Conductor & Head of Chorus  Joseph Nolan

WEST AUSTRALIAN SYMPHONY ORCHESTRA

Acting Associate Concertmaster Semra Lee Smith 

Oh, you brute, Brutus!

Richard remembers his first collision with Shakespeare!

As a youth of fourteen, I was in a school class which had been set the task of reading and enacting “Julius Caesar” in English Literature.  I had entertained high hopes of being cast as the dashing Marc Antony, but alas, was allotted the more sombre role of Caesar.

This is what the teacher was hoping for ...

When it came to the assassination scene, the plotters were dispiritedly poking me with their wooden rulers. While I let out a few yelps, our teacher interrupted and called for 'more realism', and my classmates responded accordingly. To every enthusiastic  thrust of those wooden 'daggers' I yelled 'aarrgh' or 'aawrrgh', suppressing my natural inclination to shout 'ouch' as I finally moaned 'Et tu, Brute?' before 'expiring.' I sported the appropriate bruises for weeks thereafter.

Nevertheless, to this day, I still think Antony’s address 'O, thou piece of bleeding earth....' and his oration 'Friends, Romans, countrymen....' are two of the finest examples of prose ever written by Shakespeare or anyone else.

Shakespeare WA's Twelfth Night

Our president, Frances Dharmalingam, reviews Perth’s 2014 Shakespeare in the Park – Twelfth Night

This production seemed to be aimed particularly at a young audience, probably unfamiliar with Shakespeare’s works. The comedy was broad, reminiscent of circus and pantomime in delivery and costume, with much ad-libbing and (the most direct way to ensure audience participation) even dragging a hapless young woman from the front stalls on to the stage. I thought this redundant, and the extremely heavy-handed underlining of the more complex plot elements also seemed unnecessary. It could indicate lack of confidence in the performers’ ability to communicate, or lack of trust in the audience’s comprehension. However, I did like Aguecheek’s extra comment when asked his reasons for leaving Olivia’s house: ‘Beside the fact that it’s raining…’ which suited the damp evening very well. This was real ad-lib: spontaneous and appropriate.

Perhaps these introductory remarks are unduly critical, so I should hasten to say that there was much to enjoy.

Gracie Gilbert’s portrayal of Viola/Cesario was a delight. The voices of some in the cast were strained and forced, but hers carried easily in the demanding outdoor setting and every word was intelligible; but more to the point, she spoke the lines truly as if for the very first time with charming spontaneity and complete understanding. She had a deft comic touch and the details of Viola’s secret sorrows were treated with sensitivity. In Cesario, Gracie created a remarkably convincing boy, with subtle and appropriate mannerisms. Having watched this clever performance it was lovely to see Viola dancing with such feminine grace in the finale.

This play has very few ’spear carriers’ and not a very large cast. The characters are sharply differentiated, each quite individual, but together they must create a seamless whole. I was left with a sense of imbalance, with the more tender and romantic passages swamped by the coarser comic scenes, and it seemed to result from an imperfect mingling of two quite different styles of performance. On the one hand we had the twins and their sailor friends, Olivia, Malvolio and Orsino playing straight’, using the text to direct their characterisation, while on the other we had the trio of Belch, Aguecheek and Maria relying as much on quirky movement, odd voices and outlandish costumes as on their lines to create their characters. In style, Feste came somewhere between these two groups, as indeed he does in the script, and made good use of his remarkable voice for the many songs which he performed unaccompanied.

Malvolio, played by Nick Candy, was interesting. He conveyed his sense of moral rectitude with stiff posture, a strange stalking walk, and excessively precise diction and sustained this even as his excitement grew while reading the forged letter. He was certainly a “puritan” but with some kinky little tendencies unmasked with his ambitions. To confine him later in a dungeon was impossible in the park setting, so we have to accept his unusual imprisonment, with his head inside a suitcase. It allowed that episode to be passed over very lightly, with no time to consider the cruelty of his treatment.

The final scene of the play is challenging, requiring the resolution of so many confusions. It worked very well on this occasion with all misunderstandings clearly explained and a happy conclusion for everyone (except for Malvolio, of course). The cheery Jazz-age 1920’s style dance was an attractive end to a thought-provoking version of Twelfth Night.

Twelfth Night
Shakespeare WA
Director: Paige Newmark
Set and Lighting Design: Jake Newby
Costume Design: Ingrid Proos
Choreography: Jessica Waters
Sound: Warren Myers
Stage Manager: Simon Haydock
Cast includes: George Allen, Nick Candy, David Davies, Hannah Day, Gracie Gilbert, James Hagen. Andrew Kocsis, Stephen Lee, Nick Maclaine and Angelique Malcolm

Fraser Ave, Kings Park
Shakespeare in the Park 2014
www.shakespearewa.com
3 January – 1 February