Why Verdi's Otello is an 'Everest' for opera singers (The Royal Opera)
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- Опубликовано: 2 июл 2017
- Jonas Kaufmann, Antonio Pappano, Maria Agresta and other members of The Royal Opera on what makes Verdi's Otello one of all opera's greatest challenges. Find out more at www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’s Othello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success - but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years. 
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Saw it in cinema - it was so good - enjoyed it very much. Thank you!
She doesn't love Otello just for his heroic deeds. Like any good and loving wife she is stroking his ego a bit--IMHO. His ego is a little fragile and that is part of his tragedy. This is a complex man and and Iago's treachery overpowers even faith in the one he loves most. Opera is quite an achievement for all involved. Many heartfelt thanks.
ALL World LOVE Verdi !!! BRAVO !!! I LOVE You ENDLESS !!! Your eternal fans Nadya Mirkova and all my big family, and all my friends from Sofia - Bulgaria - Europe and all World !!!
I love Jonas as Otello. Bravo! I'm a huge fan.
Very Awesome!!!! Otello!!!😆
I know what you say, it's his first otello and in all his roles improves each representation more and more, He is in his best age foe his voice
He is best otello. In this years, his voice is personal an d powerful, I love him
Yes of course the ethnicity of Otello as we know in our enlightened age means he was not necessarily black. Verdi based the opera on Shakespeare who reflected the Elizabethan attitudes of his day. That does not mean he was personally a racist about Otello just as the debate goes on about Shylock. Thank you for sharing your knowledge and concern for truth.
Following the period when Del Monaco held the mantle for the role, I think it's now fair to say that Kaufmann is the successor to Domingo's portrayal of Otello.
Katherine Roppel This MERCHANT OF VENICE reference is absolutely brilliant. BRAVA!
Being a successor to Domingo's Otello requires more than just having a debut in the role if he is truly to hold the mantle. Give the man some time and more productions first and then we will have proper perspective in the aggregate.
Adorabile Antonio Pappano
IT WAS WORTH IT, JK. I SAW IT LAST NIGHT AND OTELLO WAS EXTREMELY MOVING. CONGRATULATIONS ON YOUR DEBUT AS OTELLO. AND GOOD LUCK IN THE FUTURE TOO.
VIVA SHAKESPEARE AND VERDI!!!
For the greatest playwright who artistically articulated racism and for VERDI who had the biggest heart for music. Jonas, definitely put the black face on, it's the right thing to do. Let other's be cautious about and uncomfortable. VERDI would approve.
MrQbenDanny In this age of political correctness people seem more comfortable ignoring historical facts. I believe most come from a good place. Shakespeare's play leaves no doubt Otello is black and some of the racist dialog of several characters is ugly and snarkily bawdy. To black or not to black cannot be solved to please everyone.We know what we know and let us enjoy what so many good people have worked hard to try and please us nonetheless.👏
Katherine Roppel Good point Katherine, let the Moor's tragedy and color live individually in people's minds. In truth, people are there to watch sexy stud tenor Kaufman and could care less about whether his Othello is black or white.
It is an often forgotten fact that Othello the Moor was not in fact black. The Moors came from North Africa, they were Middle-Eastern, Arab. Certainly darker than European Desdemona and the rest of the Italians, particularly the Italians of Shakespeare's imagination (Shakespeare was an Englishman, Italians were "us", therefore "look pretty much like us"), but he was never black. Considering Jonas is naturally tanned, , he wouldn't in fact need any make-up to play a "historically-accurate" Othello.
Of course, with so much racist hatred hurled at the "dark", "stranger", Othello, I think Shakespeare speaks quite eloquently against racism. A lesson which would be strangely lost if, conforming to modern morality, Othello does not look any different from the others.
My darling Danny--I have learned that some people will not change their mind despite every possible fact. I have to deal with Donald Trump and try not to rationalize my opinion. This is not easy and some might think I have not succeeded. Your sensitivity about Otello is noted. What about this sexy stud idea? I have no idea what JK's personal life is like behind closed doors, do you?
Katherine Roppel Dear Katherine, I comfort myself thinking that if Maria Callas had been a Tenor, HIS Othello would have been BLACK. I have seen Mr Kaufman at The Metropolitan in Carmen, a crazy arse production of Manon, and Siegmund, and I can tell you what the conversation about MR Kaufman is during intermission:
"He's sooo sexy...",
"Oh MY GOD!! He's sooo sexy"
" He's got such a sexy sound"
"He could gargle on the Met stage and he would sound sexy"
These quotes are from patrons on the MET board of both sexes and would welcome being strangled by the Othello of Jonas Kaufman. I go for the voice and artistry which is abundant. MR Kaufman is married with children.
La neta se ve bien chida la obra habrá que ir a verla ese pinche Yago es un lokillo
well that video did NOT explain why otello is "an everest" for a singer.
4:09 - 4:21 is, I believe, the explanation.
No, he has a diferent voice color modulation and flexibility and I think
A dark and some times lyric if it's needed, both are diferent ,for me jk is superlative
❤️
The stench from 200 years ROH pervades this production. Compared with the outstanding 1973 Karajan-production (starring the Berlin Philharmonic, Mirella Freni and Jon Vickers) this production appears old-fashioned and strange - despite great singers like the wonderful Jonas Kaufmann and Maria Agresta with her beautiful soft voice.
paperlapip Are you advocating a more Regie type production. Not judging one way or another but would like your take on it. Thanks.
An opera he wrote in his old age ar the persuation of Arriego Boito .
How do the rehearsals work if some of the cast do not speak English?
There's always a language coach present during rehearsals and for those artists who do not speak any English, directions from the conductor and/or director are translated for the individual concerned. Also, in the preliminary rehearsals, non English speaking artists are given written instructions and notes which have been translated for them.
I have sung Otello Radames and other Verdi roles Radames is hard because you are constantly singing at the top of your range Otello is hard for most tenors because you need darkness and power in the lower range register plus a blazing top I was lucky enough to have both Why am I not a world famous tenor Because I had retrain from baritone and I am really ugly good looks are part of the deal now
I wished they talked more about what is happening vocally rather than turning it into English class
Janos Kuffman : German male tenor
The Rossini Othello is more difficult to sing only for Rossini Singers
Making a joke that Otello's marriage will not be a long one is not helpful in really explaining the complexity of these two people who are in love then must deal with a horrible outside force conspiring against them.
Maestro, me displace che ridevi quando dici che l matrimonio non Sara ' lungo. Non cap Isco Che era buffo.
Un po' di umorismo nero? la serietà 24 ore su 24 diventa pesante, l'opera poi cavalca la linea sottile che divide il sublime dal ridicolo, non trovi?
'Otello' might be Verdi's greatest opera, but you cannot convince me that the true Everest for operatic tenors is anything but Tonio's "Ah! Mes Amis!" from 'La fille du régiment'
As they say in the video, the difficulty of singing Otello is not necessarily the technical part of singing this role, as much as it is dealing with the emotional baggage of Otello. This is the reason Jonas Kaufmann waited this long even though he had/has plenty of technique.
So the diffulty of an aria or an opera is not only defined after how many high notes you have to sing, but also the very amount of REAL feelings you have to present while singing. And as they say: "Otello is like singing with a two ton sack on your back".
Hope you understand.
- All the best
malte løvgren
That's a very detailed reply, and I appreciate you taking the time to answer. I just happen to like 'La fille' better, from a mechanical but also emotional standpoint. There are certainly performances where Tonio is sung technically correct, but the trick of conveying the youthful richness and optimism, the humour and heart of the character without making him naive or saccharine - especially when quality tenors tend to much older then the character's actual age - somehow I just appreciate that all the more. I think my opinion is certainly coloured by the fact that there are just so many serious, tragic operas in regular circulation - everyone seems to be carrying a sack, as they put it. We're practically tripping over them.
i believe that it is enormously hard for a tenor to sing otello, but you can never convince me that otello is verdi's best opera. not by long shot.
it's rigoletto. then traviata, then maybe don carlo, trovatore or aida, but otello is nowhere near these great operas.
and also i think that rossini's otello is way better than verdi's.
Guys, you can't talk about Verdi's "best" opera or anybody's best opera. It is totally subjective and it depends on what you are are looking for. To think that exactly your opinion is the right one and therefor you are master of opera, is a bit ignorant.
Say instead: In my point of view, Verdi's best opera is Rigoletto.
It is all about taste.
Exactly, petal. That's why I can say I don't think 'Otello' is the Everest of opera. It's just how I feel based on what I like and have experienced.
otello is blac
bla bla bla !
ragazzi,al posto di parlare troppo perché non provate di cantare come cantavano i vostri colleghi negli anni 1958-68?...