Steve Walsh said 3 months ago

I didn't see the ON productions of either Faust or Otello and in truth I'm a bit inexperienced at this live opera game. However, as a general point on this debate, although all art is a product of its time and place of origin, surely great art transcends both. Great music is timeless as are dramatic themes and stories that speak of fundamental aspects of human nature and experience. By comparison, things like set design and costume are surely secondary (if capable of excellence in their own right). If an individual opera can't survive the updating of its less timeless aspects, then perhaps it's lost it's relevance. And any art form that stops evolving will end up in a museum.

TheFinn said 3 months ago

I've disagreed with Mike earlier in this thread about Faust, which (projections apart) I thought was great.

However, I thoroughly agree with him about Otello. I too thought it was outstanding.

I also agree with his pondering about whether some of the harsher critics have axes to grind.

Unlike others here, I'm fairly new to live opera, in fact Opera North's productions over the last five or six years have been my main experiences of it. I have to say I've enjoyed just about everything I've seen ON perform, and not having a history of opera-going I don't feel a purist's obsession with the setting being exactly like every other setting I've seen in the past.

And how outrageous that there was no hint of Venice in an Opera based in a military outpost in Cyprus! - I'm no ex-professional theatre designer and it might be pushing it to say I was an Opera fanatic, but I think if I was I'd have spotted that.

I guess its the same as seeing settings of Shakespeare that aren't in Elizabethan costume and performed at the Globe - a good story will out if acted well.

But hey, what do I know? I'd been boogieing to Status Quo the night before :D

Elisabetta said 3 months ago

To my opinion, it is quite ok to set an opera wherever and whenever, as long as it is artistically justified. I'm not sure what I think about the military touch on 'Otello', though. It isn't the best Verdi production I have ever seen but it had its touching moments, e.g. children with fairy-wings giving presents to Desdemona or light effects in the storm scene. And it is much better than Don Goivanni, which - I hate to say that - was an abomination. I don't usually condemn things, but what was done to Mozart was just not fair. This 'Otello' at least has some conception behind it, some thought.

Musically, Ronald Samm is the strongest part of the cast, and it is also great to hear a black voice sing Otello. David Kempster's Iago was, dramatically, very untypical to me. Did you notice that during his credo aria the character clearly was... afraid? Iago - afraid! I have to think about it :)

Probably the hall in Theatre Royal in Nottingham is too small for a Verdi orchestra, but dramatic moments sounded so loudly that it was hardly possible comprehend the details. I do understand that sometimes being loud is good with Verdi but even the storm scene has its subtler moments.

Opera North said 3 months ago

Dear Peter Lewis Fairchild,
Many thanks for taking the time again to describe your concerns about re-setting productions. Our forthcoming productions of Albert Herring and Death in Venice will be approximately set in the time they were written, so we are looking forward to hearing your comments on either.

PETER LEWIS FAIRCHILD said 3 months ago

As an ex-professional theatre designer and opera fanatic, i think i have the right to believe that i know what i am talking about, and i repeat that i thought Opera North's production of Otello was absolutely appalling, ( though not as bad as their Faust i might add). When are they ever going to give us a production set in the period specified by the composer and librettist? This mania for up-dating and re-setting serves only to distract and confuse. There is nothing wrong with tradition. These directors and designers should remember that they are the servants of the composers, librettists and singers, not the raison d'etre for the proceedings.I dread to think what Opera North have in store for us in future programmes, and don't forget that this is public money they are playing around with.

Mike said 3 months ago

I could not disagree more with M.F. Lang and Donald Rich - I do not think they could possibly have been at the same production as I was. The orchestra was anything but 'flat and flabby' and it is a gross insult to call the singers incompetent (it makes me wonder if people have axes to grind?).

The early departure of Mr Rich meant that he missed one of the most dramatically acted and tender scenes that I have seen.

Of course the statement from Mr Rich that Acts 3 and 4 were better on his DVD is invalid - how can you compare two things when you have not seen one of them?

I was, as I have said before, disappointed with Faust. However, I do not think that opera should be stuck in the past with traditional only settings - and this modern setting worked (as did WNO's Cosi Fan Tutti and the Lulu they also produced and the GTO's Hansel and Gretal and also the production of The Marriage of Figaro they recently toured).

As I have previously indicated - Otello was outstanding.

Irene said 3 months ago

'Otello' inspired me and challenged my pre-conceptions of Opera. Despite studying Theatre Design at University and regularly visiting the Theatre, Opera still seems intimidating to me . However, this combination of classical and contemporary gives a wider opportunity for everyone to enjoy Opera, despite their age or social class. It is great that Opera North is exposing this art form to a wider audience :)

Opera North said 3 months ago

Dear M.F. Lang, We are of course very sorry to hear you didn't enjoy the performance. It hurts that you are comparing us so unfavourably to some unknown standards, but obviously that is your right. However, you will hopefully understand that we simply can't accept your comments on our singers and orchestras. To describe artists that have trained and performed at some of world's most renowned institutions and stages as 'inadequate' and 'incompetent' without any further explanation is simply disrespectful.

Dear Mr Rich, we are disappointed to read that you didn't enjoy our production of Otello, we believe that the updated setting really adds something new to the dramatic relevance of the piece and it is a shame you didn't stay for the whole performance.

Donald Rich said 3 months ago

Salford on 13 March was my twentieth Otello but the production was so awful that I did not last the evening; the set for Act 1 looked like an army canteen with no hint of proximity to the sea, and it got worse. At the interval I decided that Acts 3 and 4 would be more enjoyable on my DVD at home - they were. However, the orchestra and singing were fine and it is good that ON are now singing in the original language as opera in translation is a no go area for me.

m.f.lang said 3 months ago

OTELLO. a complete disaster. I can see this theatre from my bedroom window. It cost for 2, with dinner, 200 euros. It was like a back street farce, the singers completely incompetent and the orchestra flat and flabby. It is an insult to present an opera like this without adequate singers. It reflected the generally abysmal standard of Opera North.

Mike said 3 months ago

After a disappointing Faust I was a bit nervous about Otello. It turned out to be magnificent and has re-established my faith in Opera North after the fouling of Faust. The chorus in Otello were fantastic and Desdemona was played with tenderness and vulnerability - her last scene was really emotionally charged - very well played by Elena Kelessidi. A much better production that Faust (without a digital projector in sight). Back to form ON.

PETER LEWIS FAIRCHILD said 3 months ago

I thought this production was absolutely awful.Typical of what we have come to expect from Opera North these days. Once again infected with "produceritis" and barmy "concept" ideas. Why can't they leave well alone and let's have the operas as the composers and librettists intended.There was not a hint of Venice and the set was more appropriate to the prison yard in Beethoven's Fidelio.The drab 1950's costumes also didn't help. There was no co-relation to what we were listening to and what we were looking at. And i won't go on about the other debacles, Carmen, Norma (one of the worst productions i have ever seen), and i thought it couldn't get any worse,- Faust. A traditional production like John Copley's La Boheme at Covent Garden has lasted 40 years. These Opera North productions will be lucky if they are ever seen again. I felt sympathy for the Otello Ronald Stamm who was not well, particularly as i had regarded him as one of the best Otellos i had ever encountered, having already seen him in the Birmingham Opera Company's production. But, please Opera North, get us some decent producers and designers who really understand Opera.

TheFinn said 3 months ago

Otello at Salford Lowry last night (13 March).
Superb night out. Fantastic performances & the orchestra were great. Great use of the set and lighting.
Wanted to 'boo' David Kempster pantomime style at the curtain call, as his portrayal of Iago was so well done.
The Chorus! Wow! 'Glory to the Lion of Venice' pure powerful pomp - excellent!
And if that's Ronald Samm and Elena Kelessidi singing when they've got a cold, I envy those of you who see them when they're feeling well, because they were great. The Willow Song was beautiful & Samm was just presence all the way through with great acting and singing.
Well done!

Opera North said 4 months ago

Thank you for your kind words Gavin. Very pleased that you enjoyed the performance and a belated happy birthday to your wife as well - great to hear that you chose to celebrate this occasion with us.

Gavin said 4 months ago

The morning after a truly superb performance in Newcastle. There as a surprise for my wife's 40th birthday.
It didn't disappoint in any way shape or form.
The score was fabulous as were the acting and voices.
Emotional and comical, this had it all.
Bravo Opera North. Highly recommended.

John mitchell said 4 months ago

Saw Otello two days ago. Orchestra and conducting absolutely superb - everything one could expect from this wonderful score. From where we were sitting in the Upper Circle, Otello and Desdemona seemed underpowered for the high dramatic moments, apart from the last act in which Elena Kelessidis gave a heart-rending account of the Willow Song. Tim Albery's translation of the action in time and place added nothing to either Shakespeare or Verdi. Otello's presence was commanding enough but why did Desdemona look like someone straight out of the typing pool? An absorbing evening and great to see ON tackle this most challenging opera but, overall dramatically disappointing.

Susan Firth said 4 months ago

We had read the Sunday Times comments so we were not sure what to expect.

First the positives. Orchestra and chorus - both exceptional - can't praise enough.

Otello - strong and powerful.

Lago - played the part very well and delivered.

Desdemona - unfortunately this part was the weak link. Should have been played by someone much younger. The character therefore did not really ring true.

On the whole a lovely evening.

Graham Neal said 4 months ago

A wonderful production. We enjoyed particularly the tension and drama of the second act. The acting was convincing and did justice to the passions of the relationship. I loved the contrast between the voices of Desdemona and Otello which were tender and powerful. The chorus and orchestra were also very impressive. Thank you for a wonderful night at the theatre.

dermot stewart said 5 months ago

Sadly we arrived late, so had to sit at the back intead of my favoured front rows. So unable to empathise with the characters, though well sung and played. The elaborate realistic set and rather immobile acting detracted from my enjoyment. Cheering to see the lively and smiling bows taken, after the misery of the story.

Robert Hart said 5 months ago

Gripping performance. The music and the orchestral playing completely set the pace, atmosphere and emotions of the stage action in a way I cannot recall experiencing before. Quite magnificent.

Damian Oxborough said 5 months ago

Really enjoyed the show this Friday gone: the leads were magnificent. I was even inspired to write a short review: http://www.finishmysong.com/review_otello_operanorth_leeds_feb13.php

Vix said 5 months ago

What a wonderful adaptation. The Orchestra were magnificent. I was sorry there was not more call for the harp! The set design is brilliant and inspirational.

Ronald Samm has an excellent quality to his voice that is so emotive, it pulls you in from the off. Elena Kelessidi's passion during the scene where Desdemona protests her innocence was played so well I found it upsetting to watch.

The final scene has quite an impact.

Thank you very much.

Catherine, Leeds said 5 months ago

A truly fabulous experience, my husband and I enjoyed it immensely. The whole range of human emotion on display, very powerful. The performances of the characters were all excellent.

Helen, Leeds said 5 months ago

A great production of Otello, with ON orchestra in stunning form. Iago was marvellous throughout. Otello and Desdemona started uncertainly but were soon in fine voice. Cassio - lovely sound. Extremely good acting too.

Tim Hills said 5 months ago

Good production. First reviews seem to be:

http://www.theartsdesk.com/opera/otello-opera-north

and

http://www.thestage.co.uk/reviews/review.php/38101/otello

Victor said 5 months ago

Like your other commentators, I am also looking forward to Otello. I recently saw David Kempster with the WNO and feel that he will make a fine Iago. However, for me, the quality of the singers is all-important and I hope that Ronald Samm will be able to give us a memorable performance in the title role. Even the greatest tenors don't always rise to this demanding role, and I particularly remember forking out for my whole family to see Ben Heppner as Otello in Covent Garden. Unfortunately, the tenor's opening "Esultate!" after the storm scene, which should ring out in a thrilling way as a portent of a heroic performance to come, was a damp squib.

I saw the Opera North Faust at Nottingham and was also underwhelmed by the production which probably suffered from necessary budget constraints. Like some previous ON productions, having the action take place on a flat stage, with little opportunity for the singers to appear at different levels, is very restrictive. However, in an expensive undertaking like grand opera, I much prefer that the money is spent on musical aspects, even to the extent of occasionally being restricted to concert performances. The Faust soloists did not disappoint.

TheFinn said 5 months ago

Fair comment Mike. I kinda know what you mean about the projections, but my tactic was to focus them out as much as poss after a while. By closing your eyes I think you missed out on some great performances.

I also think there's something a little bit more magical about a live voice in the room your in compared to a CD through your speakers.

But like I said, horses for courses.

Mike said 5 months ago

In response to TheFinn, the music and singing were both good. I can, however, get that from a CD (I listened to the Sutherland and Corelli version before going to the performance). I am not against modern versions of opera, but after a while the projections were repetitive and I found that the performance was best enjoyed with my eyes closed. As I have said, I can get that experience at home with a CD at a fraction of the cost.

TheFinn said 5 months ago

Horses for courses I suppose, but I really enjoyed the Faust production at the Lowry. Music and singing were superb - especially James Creswell's Mephistopheles.
I liked the way it was transposed onto an election rather than a war, although I can understand how others might have baulked at this.

The projections didn't fully work for me as they were a bit too repetitive, but apart from that I thought it was a great night out.

Mike said 5 months ago

I have to agree with Peter Hilton, the production of Faust at Salford was one the least engaging performances I have been to. It was dire and dreadfully directed. I feel hesitant about spending more money to see Otello and only hope that Faust was a blip for Opera North.

keep it fresh said 6 months ago

Let's not get bogged down with tradition here people. We need to make engaging, vibrant, living opera, we can't let this art form die as a dusty old museum piece. Modern dress is just as valid a choice as period costume: not every experiment will work, but we have to keep trying!

Pauline said 6 months ago

Well said Peter Hilton. I totally agree. I love opera, but only when it is performed as the composer intended. Why perform these beautiful operas in modern dress and modern times ? The composer's original works are prefect when performed as intended. Why some people have to change this and ruin it, I do not understand. Do they really think they can do a better job than the composer himself? ? Of course they can't! ! ! Come on Opera North let us go back to the beautiful traditional operas !

Opera North said 6 months ago

Dear Peter, we're sorry to hear that you didn't enjoy our production of Faust. Otello production photography will be online shortly after the dress rehearsal which takes place on January 14th.

Peter Hilton said 6 months ago

looking for photos of the production cos i will not be going if it has been mucked about as much as the rubbish version of Faust I saw in Salford this year