BWW Reviews: When It Comes to Desdemona, LoftOpera Shows the Rossini OTELLO Outdoes Verdi
I must admit that I entered LoftOpera's performance of Rossini's take on OTELLO with some trepidation. Besides having a particular affection for the Verdi version, my experience with "alternate universe" adaptations of famous operas has been iffy at best.
But this OTELLO, predating Verdi's take by over 70 years, seemed a horse of a different color--with LoftOpera making a strong musical case for Rossini, especially in his treatment of Desdemona, Otello's beloved, sung sensationally by soprano Cecilia Lopez.
While Verdi's librettist, Arrigo Boito, took Shakespeare and pared away minor characters and sidebars, and gave us a version that spun tightly around Otello, Desdemona and Iago, Rossini's Francesco Maria Berio di Salsi went off in a quite different direction, working from a French adaptation of the play. In some ways, Rossini and Berio seem to have created more of an ensemble piece, though Desdemona and Rodrigo are the winners in the battle for stage time, while Iago and even the title character are the losers.
In the LoftOpera production, Desdemona makes a strong case for being the center of the story, as the fleshed-out character that Shakespeare and, following him, Boito, neglected to give us. Luckily for LoftOpera, they put the role in the hands of the voluptuously voiced Lopez, who took the opportunity to dominate the stage.
The character is loved and/or manipulated and/or betrayed by men--her husband (Otello), her husband's foe (Iago), her would-be lover (Rodrigo), her father (Elmiro). This being the start of the 19th century, she had little recourse but to let it happen, though with Lopez in the role, it was no-contest in wresting the spotlight from the men. The exciting results included a beautiful "Willow Song" that was different from, but just as moving as, Verdi's.
Then there was Rodrigo, based on Cassio in Shakespeare/Verdi and sung by tenor Thor Abjornsson. In Verdi, he's a minor character--little more than a plot device, giving Otello the opportunity to be jealous and go off the rails. Here, he has a major role, fighting for Desdemona's love. Arbjornsson sang the role with great conviction--if not always quite enough voice. He was terrific in the title role of LoftOpera's LE COMTE ORY, last June, with the charisma and voice to pull off that role. Here, Rodrigo pressed him dearly at times, though he gave it his all and was more persuasive than we had any right to expect in this killer role.