Othello

The production at the Tel Aviv Opera, originally staged at the Wiener Staatsoper in 2019, does not seem to offer a particularly fresh take on the opera’s drama. The opening, where the people of Cyprus await the arrival of the new governor during a storm, is strikingly staged. A large sheet of white cloth at the back of the stage simulates flapping boat sails, and a shadow of a sailor battling the waves appears on it. On opening night, the orchestra, conducted by Dan Ettinger, was electrifying. Each instrument sounded sharp, powerful, and precise, mimicking the wind and thunder. The chorus also performed wonderfully. However, the large, rust-colored walls on either side of the stage, likely intended to evoke military barracks, left the singers little space to move, making the stage feel overcrowded.

Niv Hoffman, who directed the revival of Adrian Noble’s production, explained that the plot remained set in Cyprus, as in Shakespeare’s original, but was moved from the 16th century to the late 19th century. “The story is about the friction between the British imperialists and the local residents,” he told the Habama website. “The Victorian period stands out in the costumes. For example, the English who rule the island are always hot compared to the locals, who are used to the Mediterranean weather… We see that the English are sweating and uncomfortable in the heat.” I must admit, I did not notice these distinctions. Perhaps if the set had incorporated more Cypriot elements, it would have been clearer that this was the director’s intention. As it stands, the sets are quite dreary, with the exception of the final scene, where many candles surround Desdemona on the floor.

The most significant issue of the performance emerged when Kristian Benedikt, in the role of Othello, began to sing. The Lithuanian tenor appeared to be ill on opening night, his voice weak and lacking in color, occasionally muffled by a cough. During the intermission, an announcer informed the audience that Benedikt had agreed to continue the performance despite his illness. In hindsight, it would have been better to replace him rather than strain both his voice and the audience’s patience. Benedikt did sing more robustly in the second half after receiving some kind of treatment, but he was still far from his best.

On a brighter note, Alla Vasilevitsky was a sublime Desdemona. Her pure and powerful soprano voice was beautifully showcased, as was her considerable acting ability. Her lyrical, heartbreaking rendition of the Willow Song was undoubtedly the highlight of the evening. I sincerely hope she avoids whatever illness Benedikt was battling, especially since they shared a kiss in the first act.

Russian tenor Alexey Dolgov was striking as the young captain Cassio, delivering a flawless performance both vocally and dramatically. Romanian baritone Ionut Pascu brought his usual commanding presence to the role of Iago, portraying the villain with subtlety and force. Perhaps the standout performers, aside from Vasilevitsky, were the two choirs. The Meitar Children’s Choir, dressed in sailor costumes reminiscent of The Sound of Music, sang beautifully in their single scene. The Israeli Opera Chorus was also at their best throughout the performance. Here’s hoping Benedikt recovers before his next scheduled performance.