Frühere Produktionsrezensionen
6Verdi's opera of love and politics returns in Nicholas Hytner's production
ixteenth-century Spain resembles a prison or a madhouse in Nicholas Hytner’s Royal Opera production of Don Carlo, first seen in 2008, now on its third revival. Though it has its flaws, it reminds us of the innate bleakness of Verdi’s vision, with its irresolvable clashes between church and state, liberalism and oppression, politics and desire.
He was widely admired as the grand old man of Italian opera but had not produced a new work since Aida some 15 years earlier. Yet Otello features some of his most powerful music, bursting with impressive originality and energy. With a very strong cast and Antonio Pappano conducting, Covent Garden does glorious justice to this fine work.
It’s good to have expectations confounded. For much of his career, American tenor Gregory Kunde specialised in bel canto repertoire, his light, flexible voice ideal for Rossini with easy top notes that also meant he could tackle Berlioz’ stratospheric tenor roles like Énée and Benvenuto Cellini with distinction. In recent years though, Kunde has taken an unexpected lurch into heavier repertoire. I was unconvinced by his Manrico and approached his Otello in this first revival of Keith Warner’s production at The Royal Opera with trepidation, having missed him when he played second fiddle to Jonas Kaufmann in 2017.
