Ever have one of those moments where an opera you never paid an unusual amount of attention to before suddenly becomes more interesting? I had one of those this week with Verdi’s Otello. I have a ticket to see it on the 10th, and though I own both CD and DVD versions of this opera, it never really transfixed me. But I listened the other day to the CD version that I have (Domingo, Ricciarelli, Diaz at La Scala) and it became apparent that there was a lot of it that I somehow failed to really register before – most of the ensembles, for instance.
This impression was reinforced by a library DVD of a Met performance from 1995 with the ubiquitous Mr. Domingo in the title role, looking like he was dipped in deck stain beforehand – which has the effect not of making him look African, but of making him look like a white guy who was dipped in deck stain – and Renée Fleming singing Desdemona and James Morris as Iago (also: I kept registering the unusual mellifluousness of the tenor singing Cassio and I just looked to see who it was – Richard Croft! no wonder. The wig disguised him.) I am not a fan of the visual aspects of Fleming’s acting in this case – there is much cocking of her head in sweet puzzlement early on, and a lot of whimpering and cringing later – but if you shut your eyes, she’s pretty fantastic. I was listening with headphones instead of on the speakers, and this may be an artifact of my headphones or it may be the audio on the DVD, but the orchestra was more forward than on my CD recording, and this made a real difference for me. The whole thing jumped into focus.