This was a performance which after a frankly indifferent first Act got better and better until by the end, justice was being done to this marvellous work.
The set was relatively simple but effective. There were towering walls on two sides of the stage, which allowed for lurking and loitering, as well as a place to vanish behind. The central rear of the stage was clear and for the opening storm and Otello’s arrival, was imaginatively used with billowing gauze with shadows projected on them of sailors hauling rigging. This well matched the music; it can often happen that in this opening scene either the visuals or the music dominates but here they were in accord. Shadows on the flat surfaces were effectively but sparingly used, particularly of Iago at key moments. This was never overdone, which it could easily be. However, disappointingly, the entry of Otello was rather underwhelming; he almost slipped in which was very much at odds with the music which surely demands that he make a heroic, god-like entrance to make his tragic fall all the more powerful. I felt this was a disappointing error on the part of the original director, Adrian Noble, who, with his extensive RSC experience should surely have made more theatrically of this moment. Likewise, the breaking –up of the brawl was again underwhelming although it may be that the director responsible for this revival is more responsible. Likewise the moving and placing of the chorus was somewhat dully unimaginative – very block-like. They are certainly responsible for some of the most feeble and unconvincing sword fighting that I have seen on stage. By contrast, Otello’s appearance, looming, back and centre stage out of the darkness at the head of Desdemona’s bed in the final act was chillingly powerful as he just watched her as she finished her prayers and lay down on the bed.
The costumes were late 19th Century, the director apparently wanting to draw attention to colonial remnants but I did not think that there was anything particularly original or effective in doing this. I did not have the sense of an original vision, given this temporal relocation, for the work.
The orchestra and conductor were first-rate although there were moments when the brass were too raucously noticeable. But this performance reminded me just how much of the emotional drama goes on in the orchestra and the vocal lines and what is actually being enacted on the stage very much take second place. This is particularly true of the Act 1 love duet. The conductor also brought out the frequency and effectiveness of the slithering downward chromaticism associated with Iago, often most effectively when he is not the central focus of the action.
The three main performers were varied. Willis-Sorenson, until the final act was perfectly fine. She sang competently and had some lovely floated notes in the love duet. However, she really came into her own in the final scene, which she performed, vocally and acting-wise, very well indeed. Her voice sounded at its best in this final act and I loved the details of her final farewell to Emilia. Initially there was an apparently cold good-bye as if deliberately distancing herself from Emilia and what she feared would imminently happen. But then, finally, she could not hide her feelings and flung her arms passionately around Emilia and clung to her, all this perfectly matching the glorious musical climax at that point. Wonderfully done.
Kaufman, although obviously the main draw, was mixed. Act 1 and much of Act 2 was frankly unimpressive. Exultate was roughly sung and there seemed to be little sweetness of tone left in the voice with the baritonal quality being very much to the fore, which was particularly regrettable in the love duet. But once his scenes with Iago started, he markedly improved, if not in vocal tone, then certainly in terms of dramatic commitment and feeling. There was an intensity to his performance which became gripping, and never more so than in his superb performance in the final scene. Here his vocal and dramatic expression were in fine accord and he gave a far stronger sense of being emotionally involved in the drama.
This marked improvement, from the l/atter part of Act 2, I believe was because he had far more scenes in direct contract with Iago and it was Ludovico Tezier’s performance that was the real star one of the evening. Right from the beginning, he held the stage and was invariably the focus of dramatic and emotional involvement. He coloured his words very vividly and conveyed the thunderous nihilistic anger of his Credo as well as his creepily seductive vocal line when telling Otello of what he overheard Cassio saying in his sleep. I think it was this intensity that helped Kaufman drastically improve from the first Act.
So, finally then, a very strong ending, in all respects. Worth the strain of so much standing!