Christopher Schaldenbrand

Verdi’s monumental score is fully the equal of Shakespeare’s famous tragedy—and both demand great actors. This is one performance where both playwright and composer are well served. Plácido Domingo’s Otello is one of the glories of the operatic world, beautifully sung and so commandingly acted that audiences are devastated by the end. Renée Fleming’s ravishingly beautiful Desdemona is deeply moving, and as Iago, James Morris is as beguiling as he is menacing. Under James Levine’s conducting the Met orchestra and chorus are vital characters in the drama.

Le réalisateur Nicholas Hytner, qui a fait ses débuts au Met avec cette production, fait ressortir toute l'intensité passionnée qui est au cœur du drame monumental de Verdi. Don Carlo (Roberto Alagna), le prince héritier espagnol, et Elizabeth de Valois (Marina Poplavskaya), fille du roi de France, tombent amoureux, pour être déchirés par la politique internationale lorsque le père de Carlo, le roi Philippe II (Ferruccio Furlanetto ), décide d'épouser Elizabeth lui-même. L'ami de Carlo, Rodrigo (Simon Keenlyside), joue un jeu dangereux, équilibrant ses objectifs politiques avec la confiance de son monarque. Et lorsque la belle princesse Eboli (Anna Smirnova) découvre que son amour pour Don Carlo n'est pas rendu, sa vengeance se retourne terriblement contre lui. Yannick Nézet-Séguin dirige l'orchestre et le chœur du Met.

This live from the Met telecast from October 1996 of Giordano’s infrequently performed verismo gem is an absolute pleasure to watch and listen to and I highly recommend it. Nicholas Joel’s production is extremely elegant while at the same time being simple and uncluttered. Act I, for example, is dominated by an enormous gilt-framed mirror precariously tilted. I assume that it is a metaphor for the imminent downfall of the decadent aristocracy at the party given by the Contessa di Coigny. The costumes designs by Hubert Monloup are terrific. The prerevolutionary costumes in Act I are simply stunning each one individually tailored for the choristers and major performers.

Live performance from the Metropolitan Opera, 25 March 1997.

This all-star cast is framed by Peter Hall’s gritty, realistic production and conducted by James Levine, who brings out all the surging emotion and gripping drama in Bizet’s score. At the center of the story is Agnes Baltsa, whose smoky mezzo is tailor-made for the gypsy Carmen, an independent woman who glories in obeying only her own rules, but who is haunted by fate. Superstar tenor José Carreras is Don José, the solider from a small town who catches Carmen’s eye and is destroyed by his growing obsession with her. Samuel Ramey is the charismatic matador Escamillo, who lures Carmen away from Don José with tragic result. Leona Mitchell is Micaëla, the simple girl from Don José’s hometown who cannot save him. March 21, 1987 Matinee Broadcast.