Cher Public

Broadcast: Otello

Yet more webcasting! Tonight at 8:00 PM ET, The New School telecasts LoftOpera’s production of Rossini’s Otello, live from Bushwick!

  • Brackweaver

    Well I’m watching!

  • questocor

    I’m watching too. I have the LiveStream app on my Roku! The singers are impressive.

  • QuantoPainyFakor

    How funny to hear the finale of Il pietra di paragone (“Il cor di giubilo brillar mi fa”) of 1812 recycled in the Otello (1816). Rossini was sooo clever. Kudos to this group of talented youngsters, but the conductor has got get himself a proper pit and learn about tempi in Rossini.

  • aulus agerius

    Totally amazing that this is on at all. Finale was well done esp the stretta. Sound is subpar but considering the ambient acoustics as good as 0ne could hope. Thanks foe the heads up!!

  • Camille

    Just now back home from the wilds of East Village and hope to catch the rest of this production which I had in any case planned to see next week. What a boon to get to preview it and am grateful to see and hear what they are all about as they have been touted by so many. Looking for people in the audience--did I see Plotkin therein?

    Silenzio!

  • Camille

    Is that production with Cecilia Bartoli from around 2012 still on Youtube, I wonder?

    This is oriented where--in Cyprus or Venezia?

    • simonelvladtepes

      It’s on blu-ray; it’s amazing.

      • Camille

        Oh--don’t have blu ray—--yes, I really liked that a lot and she left all her bad habits at home that day and turned in what I recall as excellent performance.

  • simonelvladtepes

    This is a great idea to stream this. The singers are impressive, some more than what OONY gave us 10 years ago (even though Robert McPherson was unforgettable). Rossini is good for young voices and vice versa. When I see all the young faces in the audience I feel there is hope for opera. I guess what’s wrong with opera is…ticket prices. Gotham Chamber Opera did Rossini’s Il Signor Bruschino 10 years ago at the Henry Street Settlements Abrons Art Center (with Alek Shrader before he became famous -- Eric Jordan was the standout) on the Lower East side. The program said that the theater was very much like the one Rossini premiered that piece in. IIRC Robin Guarino staged it La Dolce Vita style. It was very successful, tickets were $50, there was a tiny pit and I feel that venue and format were preferable.

  • Camille

    Who is this tenor guy?

    • simonelvladtepes

      was that a high Eb? He has an amazing top and agility.

      • Camille

        Yessir, absolutely. Shocked the helloutta me.

        • simonelvladtepes

          and what was that? Is this a high Eb’s tournament?

          • simonelvladtepes

            Oy, again…

  • I see La Cieca in the front row!

  • Camille

    E F$CKING FLAT!!!!! Who the hell this guy???

    • simonelvladtepes

      Bernard Holcomb is a perfect Otello, he negotiates the passagework with rare ease, power and grace. They both really show off beautifully -- that duet was amazing.

      • Camille

        Bernard Holcomb is the name of the Otello then?

        Povera Desdemona. It always is heartrending to see her thus.

        • Leontiny

          I agree on the string tone, but it’s a pickup band in a barn and many of them spend as much in travel as the nightly pay ($50). We have a friend who plays cello for them. Some of them literally arrive at the last minute not realizing how much time it takes to get to Bushwick. It’s also very hot and humid in the space so tuning may suffer. None of this matters when hearing something that hasn’t been presented in almost 50 years.

    • simonelvladtepes

      How can you check on the piano? Do you capture this?

  • Camille

    Wonderful, just wonderful to hear such audience enthusiasm for this work and for young singers.
    La speranza

  • Camille

    Oh, guessing this be the duet which Camarena and Brownlee sang at the Tucker Gala!!! Madonna, now an E natural. What an AcutiFest!!!!

  • simonelvladtepes

    Amazing, just amazing, it just get wilder and wilder above the staff.

  • Camille

    I have just no idea at all how much of this is written; how much are standard interpolations or ossia, or how much is made up by someone’s coach or teacher. Another expensive score, ugh! This was a very important primadonna role once upon a time, at least in the 1820’s.

    • simonelvladtepes

      Last I checked it was only available from Kalmus and was $30, but that was awhile ago. I don’t like that edition (the Kalmus).

      • Camille

        Oh those Kalmus things are only when you are a desperate cheap student. The Ricordi CE has been out a while--I’ve picked it up a number of times but put it back down, not wanting to wade into the waters. It is most likely at Juilliard Store now or easily obtainable from them Last time I was there the CE of Semiramide and Guillaume Tell were both in stock

        • simonelvladtepes

          I got all my scores from Hal Leonard (before and after he left NY), but I don’t sit and follow scores anymore.

    • QuantoPainyFakor

      What a hoot! I keep thinking of Dorothy Dandridge with a voice (a beautiful voice).

      • Camille

        It’s interesting to hear this type of voice sing Desdemona as opposed to the lower ones. I’ve only listened to La Cece Bean sing it and it worked very well for her, very well indeed.

  • simonelvladtepes

    They bring back the raw excitement and edge to bel canto; when did I last hear Rossini sung with such spirit! Demented, Cecilia Lopez is truly demented, they all are!

    • Camille

      Would this be Cecilia Violetta Lopez??

      • simonelvladtepes

        Yes!

        • Camille

          Yes, I recall La Cieca writing about her performance with Martina Arroyo’s group as Violetta (appropriately enough!) in La Traviata a couple
          summers back and had wanted to hear her.

  • simonelvladtepes

    high F??

    • Camille

      I’m sorry do not know--oh her that was an E natural in alt she sang. So said mio marito.

      The gondolier is too loud. It’s supposed to be faintly in the background.

      “Nessun maggior dolore che ricordarsi del tempo felice nella miseria”

      • QuantoPainyFakor

        How I wish the conductor understood how Rossini uses the orchestra to punctuate and propel the drama in the recits. Marilyn Horne used to explain some of this (and probably still does encourage understanding of same) by saying that a chord or a figure serves to close the door on what has just been uttered and open the door to the next utterance. Oh well, there are too many positive things about this performance to dwell on this criticism. Bravi.

        • Camille

          Well yes, but it is a VERY important critical point and crucial in these operas and even at this level, there should be an awareness of recitativi style. It ain’t just all about the roulades and acuti.

          Very commendable though that they have resurrected this opera and Le
          Comte Ory, as well. Maybe Guillaume Tell next,
          I hope,
          I wish.

          • QuantoPainyFakor

            Yep. Too much plodding and no real understanding of “dopo la parola” in terms of beat patterns and impetus.

            • Camille

              Either they just don’t know or they are too scared to do anything that isn’t written and in front of them. I find that so increasingly. Well, let’s hope General Horne never stops because she ain’t
              Afraid to call a spade, a spade.

              Now I am more sorry than ever to have lost my chance of hearing Tancredi in Philly!

            • QuantoPainyFakor

              I could not agree more. But they need the proper coaching and encouragement for things like that and more and more coaches and conductors haven’t got a clue about those extra-musical aspects.

      • Probably because you need tenors able to sing it. Apart from the old Philips set, I’ve only heard it in concert, in Brussels in 2012 (ironically with a Turkish Doge and gondolier):

        Conductor: Evelino Pidò. Otello: Gregory Kunde. Desdemona: Anna Caterina Antonacci. Elmiro: Giovanni Furlanetto. Rodrigo: Dmitry Korchak: Jago: Dario Schmunck. Emilia: Josè Maria Lo Monaco. Lucio: Stefan Cifolelli. Doge/Un Gondoliere: Tansel
        Akzeybek. Orchestra and Chorus of La Monnaie.

        • (On La Monnaie’s web-site: “Le casting de ce tour de force virtuosissimo du belcanto place toute maison d’opéra devant un défi passionnant”.)

        • grimoaldo2

          Only time I saw this opera
          http://www.rohcollections.org.uk/performance.aspx?performance=6106&row=0
          Covent Garden 2000, Bruce Ford Otello, Juan Diego Florez in the surprisingly huge role of Rodrigo (first time I ever saw him) Mariella Devia Desdemona. Fantastic!

        • Cameron Kelsall

          I have to imagine that Gregory Kunde might well be the only tenor to sing Otello in both the Rossini and Verdi adaptations.

  • Camille

    What a treat and how wonderful to hear this and the great the fabulous the ne plus ultra of “La liberté” in Guillaume Tell all in ONE day.

    Bravi tutti e mille grazie!! I’ll get my ancient bones the L train this coming week and creak out to Bushwick!!

    The best Saturday broadcast this year by far and one of the best ever!!

    • Leontiny

      just make sure you leave plenty of time in case the train breaks down which happened to us for the Cosi. Half the band and a lot of the audience were 45 minutes delayed. They held the start. More beer!! And bring an ass pad if you’re not endowed in that area. the wooden benches and 3+ hours are a tough sit. Really pissed we’re not in the City for this, but the stream was fabulous. Thank you La C for making it available.

  • QuantoPainyFakor