As a preamble to his new production of Verdi’s late masterpiece, director David Alden had some refreshing things to say apropos the eternal debate over whether Otello should be a black, white, or blacked-up figure.
The orgy with which David McVicar opens his production of Rigoletto – now on its seventh outing – was always that show’s one big fault: the scene should be about droit de seigneur, not a comically-heaving Soho sex-party.
The delighted whoops as the curtain went up for the second half of Anna Nicole suggested that for its opening night this revival had found its proper level: an audience of sixteen to twenty-five year olds on very cheap tickets.
“Beware, my Lord, of jealousy” warns Iago, planting the seed of doubt in Otello’s mind. Beware, too, the dangers of preconceptions. Keen anticipation of this new production of Verdi’s Otello was tempered by the prospect of David Alden as directo
From one great operatic storm to another. 2014 opened at English National Opera with David Alden’s Peter Grimes, gale-tossed and wet with sea-spray, and now the director turns his attention to Verdi’s Otello. Restlessly urgent, Edward Gardner’s open