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Subject: Re: Kaufmann's Otello
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Tue, 8 Aug 2017 11:01:10 -0500
Content-Type:text/plain
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text/plain (152 lines)


Margaret Price, Kostas Paskalis, Domingo, Paris. Paskalis is a possessed Iago, far from one dimensional. Price has a magnificent voice. Gorgeous production.

Patrick Byrne

Sent from my iPhone

> On Aug 8, 2017, at 9:15 AM, donald kane <[log in to unmask]> wrote:
> 
> The fundamental problem with OTELLO and OTHELLO has always
> seemed to me to be the somewhat implausible attraction he has
> for Desdemona.  What is the secret of Desdemona's yearning for
> so innapropriate a lover?  And don't tell me there's no such thing
> as impropriety when it comes to "love".
> 
> dtmk
> 
> On Tue, Aug 8, 2017 at 10:01 AM, A Katalin Mitchell <
> [log in to unmask]> wrote:
> 
>> Well…. thank you for that video – but Vickers is so scary to look at even
>> in repose in this getup that I am not sure how far he has to go to be truly
>> frightening, for starters.  He walks in completely calm and regal, and
>> grabs his sword (by the blade???? How can he not slice his hand open?) to
>> threaten D as she begins the plea for Cassio and he asks for the
>> handkerchief.  Kaufmann’s Othello (I saw it live and on video, two
>> performances), is obviously disturbed as he walks in, and can barely
>> restrain his anguish, which increases every second, erupting at same time.
>> I found his performance very moving instead of scary, of a slowly
>> disintegrating soul.
>> 
>> But I still find that the performance of Domingo and Freni, which I only
>> ever saw in video, the most perfect of them all; I was in tears during this
>> scene, they are so emotionally convincing and brilliant.
>> 
>> 
>> On 8/8/17, 12:31 AM, "Discussion of opera and related issues on behalf of
>> Max D. Winter" <[log in to unmask] on behalf of
>> [log in to unmask]> wrote:
>> 
>>    Idia Legray wrote (in another thread):
>> 
>>    "After all the hype about how superb the Moor role would be for
>> Kaufmann, frankly, I was
>>    disappointed in his interpretation.  It lacked a certain excitement
>> and foreboding for me."
>> 
>>    Saw Kaufmann in the ROH "Otello" yesterday and I would agree with that
>> assessment.  I
>>    thought it was splendid, vocally, but it was a very low-key
>> interpretation of a very intense
>>    role.  I don't mean scenery chewing.  Vickers, for example, the
>> greatest Otello in my
>>    experience, was very restrained through much of the opera.  But you
>> always had the sense
>>    of a volcano about to erupt, and when it did erupt - as at the end of
>> Act II and in the Act III
>>    confrontation with Desdemona - the effect was cataclysmic.  Certainly
>> by the last act, one
>>    should feel that Otello has lost it completely and has, in effect,
>> become a homicidal
>>    psychopath.  I did not get that feeling from Kaufmann.  Again, I think
>> his singing and
>>    phrasing were superb - as usual - but that animal excitement and
>> feeling of danger was
>>    missing.  Also, I have to admit that, as with the Met's recent
>> production, I was put off by
>>    the lack of any noticeable darkening makeup on Kaufmann.  He did not
>> look any different
>>    from his Werther at the Met.  Otello doesn't have to look like Ving
>> Rhames, but he should
>>    have a noticeably darker complexion than Desdemona, otherwise an
>> important dramatic
>>    element is compromised.
>> 
>>    Check out Vickers' Otello here:
>> 
>>    https://www.youtube.com/watch?v=wjtKkulTLPw
>> 
>>    This could be PSA for a spousal abuse center!  Vickers is crazy
>> terrifying, and you really fear
>>    for Scotto's Desdemona.  I didn't get this feeling when Kaufmann did
>> the same scene.  He
>>    didn't scare me.  And he should have.
>> 
>>    (BTW, I can't imagine anyone except a PC-addled moron being offended
>> by Vickers'
>>    makeup.)
>> 
>>    MDW
>> 
>> 
>> 
>> 
>> 
>> 
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