OTELLO

CENTRAL CITY OPERA

(playing in repertoire with Gounod’s "Romeo and Juliette" and Cole Porter’s "Kiss Me, Kate" through August 6)

 

 

 

     If you’re a purist regarding Shakespeare’s play, be aware that "Othello, The Moor of Venice," is the Moor of Rome in this production of Rossini’s opera. 

     Rossini’s librettist, Francesco Berio de Salsa based this version on an adaptation by French playwright Jean Francois Ducis. In following Ducis’ lead with his libretto, de Salsa takes numerous liberties with Shakespeare’s characters as well as the text. The handkerchief is replaced with a misdelivered and unaddressed letter.  Iago is made far less prominent, and Rodrigo much more central to the plot. What does remain in place is the patriarchal bigotry of Desdemona’s father, Elmiro, and society in general.  And finally, the “green-eyed monster, jealousy,” annihilates faithful feminine goodness and innocence by means of treachery and deceit.    

      Premiering in Naples in 1816, Rossini created the piece as a vehicle for tenor voices for the three prominent male characters.

    An excellent opera, Rossini’s "Otello" came seven decades prior to Verdi’s masterful "Otello," and was overshadowed not only by Verdi, but by Rossini’s own huge successes with “Cenerentola” and “The Barber of Seville.”

     Cast well by director Ashraf Sewailam, this season’s production is given a profoundly deliberate pacing.

     Mezzo-soprano Ceciiia Violetta Lopez sings Desdemona’s famous third Act aria “Salce” or “Willow Song” magnificently. 

     Hilary Ginther delivers an Emilia with a soprano that soars.

     Whether receiving the highest accolades of the Doge for his conquests abroad at opening or committing the final violent act(s) of the opera, Kenneth Tarver is most memorable as the noble Othello with the tragic flaw of jealousy.

     Bernard Holcomb’s Iago is very well sung.

     As Rodrigo, Christopher Bozeka received massive applause for his superb rendition of some of the more difficult musical passages.

     Federico de Michelis delivers the basso of Desdemona’s father, Elmiro, with power. One might have wished however, that he be wigged to give us the illusion of advanced age.

     Conductor John Baril and Chorus Master Brandon Eldredge conspire to bring the choral and orchestral elements together with  true artistry.

     The lighting is fine, but oh how one misses the artistic expertise and genius of the last two decades of David Martin Jacques’ exquisite luminescence magic.

     Go and support Central City Opera. It’s the fifth oldest opera company in the country. 

 

 

     After reading today of the change that has just now taken place regarding the management of CCO , one is hopeful that a new president/artistic director of the caliber of John Moriarty and Pelham (Pat) Pearce can be found to return this venerable company to its Glory Days.    

       Thanks to the late John Moriarty’s influence Colorado has been blessed by being introduced to great American operas: “The Ballad of Baby Doe,” “Susannah,” and “Gabriel’s Daughter” among them. Hopefully our growing appetite for the wonders of American opera will be reflected in future seasons. 

     How lucky we were to have been blessed with Maestro Moriarty’s genius in the world of opera. He is forever in our hearts. We miss him greatly.

      Pat Pearce’s legacy was immense!  Over the last two decades his leadership garnered critical acclaim internationally for productions of such operas as Benjamin Britten’s “Gloriana,” “A Midsummer Night’s Dream,” and “Billy Budd.” Pearce introduced Colorado operagoers to almost all of Benjamin Britten’s catalog! His  awareness of the need to introduce more people to great opera has, in this reviewer’s interesting point of view, been incalculable in its vision and scope. His inclusion of Jake Hegge’s operas such as "Dead Man Walking," "Three Decembers" and "Two Remain" added greatly to the treasure trove of new works here in Colorado.  

     Hopefully some of the other faithful employees who left during 'the interim' will return as well. Gail Bransteitter was highly professional in the marketing and publicity arenas. And at the risk of being redundant, David Martin Jacques will hopefully return as company lighting designer.

 

For tickets call 303-292-6700 or go online at centralcityopera.org