In Verdi's masterful adaptation of Shakespeare's tragedy, a great warrior discovers the one weapon against which he has no defense -- his own jealousy. San Francisco Opera's 2009 production of Otello is this week's Saturday at the Opera.
Johan Botha, the South African tenor praised by The New York Times for his "effortless power and clarion tone," makes his San Francisco debut in the title role. Bulgarian soprano Zvetelina Vassileva brings tenderness and vocal brilliance to the role of Desdemona, the faithful wife who finds facts are no match for manufactured suspicion. Music Director Nicola Luisotti, praised by London's Financial Times for conveying Verdi's "sweep, lyricism and subtle detail," conducts.

Comments [6]
So, what is tomorrow's opera?
I adored Pavarotti and Cabelle as long as I did not have to look at them. Have also purchased their recordings, and therefore contributed to their support. This gives me the right to call them singing whales. Again, Opera is the ultimate theatre. I did not call them names. I have heard other critics refer to them as singing whales and these critics were paid to say what was on their mind. At least I did it for free and it was honest.
Let us be honest folks. Do you really want to see singers who fit the stereotype of the fat opera singer. And don't be so sensitive Everyone is so damn sensitive. Oh boo hoo.
Johan Botha as Otello is the major feature of this San Francisco Opera performance of November 2009 at the War Memorial Auditiorium. Familiar to we New Yorkers is his Otello sung at the "Met" Opera. His voice carries, projects, extremely well in the opera house. One cannot quite appreciate the importance of carrying power in a radio or TV broadcast where the sound is a constant and the relative dynamics values are kept within the bounds of transmission concerns. He sings musically, but his timbre is not rare or immediately identifiable as a Bjorling, Lanza, Caruso, Franco Corelli, or Gigli. His voice, even in his facilely sung acuti, top notes, does not have the ringing exciting quality of a Franco Corelli or the range of colors of the palette of a true dramatic tenor. But, he is exceptional and demonstrates a tenderness in his vocal delivery, VERY rare in singers essaying the role.
How sad some opera lover is more concerned with the size of a great tenor than his lovely wonderful voice. Let's get real here. Opera is musical theater and it's nice when someone "looks" the part, but it's scarcely the main point. This is a lovely production, excellent performances by all concerned. And the extraordinary music and libretto as always thrill and deeply move those with the ear to listen. And since when is it acceptable to comment on another human being's size or appearance and call them names?
sounds like ms. nardone is into the looks of singers. i presume she would disapprove of pavarotti and caballe, two of the most glorious voices ever. you can have your svelte, athletic singers; i'll take the whales.
Just what the opera world needs. Another singing whale. Opera is the ultimate theatre. As for this great masterpiece. What a wonderful libretto as well as the music. In Italy, Verdi is lovingly referred to as "Peppino". You did good Peppino.
As for Scarpia, Oh Spartan dog. Gaze upon the tragic loading of this bed. It poisons sight. And you Lord Governor, the time, the place, the torture. Oh enforce it.
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