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Otello
Metropolitan Opera House, Thu, April 14, 1994
Debut : Adam Fischer, Michael Myers
Otello (274)
Giuseppe Verdi | Arrigo Boito
- Otello
- Vladimir Atlantov
- Desdemona
- Ren?e Fleming
- Iago
- Timothy Noble
- Emilia
- Wendy White
- Cassio
- Michael Myers [Debut]
- Lodovico
- Paul Plishka
- Mont?no
- Kim Josephson
- Roderigo
- Charles Anthony
- Herald
- Bradley Garvin
- Conductor
- Adam Fischer [Debut]
Review 1:
Review of James Oestreich in The New York Times
?Otello?
Metropolitan Opera
However well performers of oversize skill and temperament may fare in the Met's oversize productions of recent decades, mediocrities inevitably shrink still more under their weight. After the many cast changes by Thursday evening in Elijah Moshinsky's new production of Verdi's "Otello," only one singer truly commanded the stage: Renee Fleming, as Desdemona. Ms. Fleming, a striking stage presence, maintained tonal finesse and achieved a certain subtlety even under the premature vocal assault of Vladimir Atlantov's Otello.
Mr. Atlantov's initial entrance, sounding hard, constricted, and forced rather than powerful, made clear that a long night lay ahead. Nor did his characterization allow the slightest sympathy for the Moor. Petulant, squirmy and bereft of dignity from the start, this Otello was all tragic flaw, with vocal flaws to match.
Timothy Noble brought good vocal quality to Iago, but his characterization lacked any strength or menace. Oh, he was a scamp all right, but the slightest setback might well have sent him scurrying off long before Otello finally shooed him away.
Michael Myers, in his Met debut, overcame a shrill start to sing a serviceable Cassio. Wendy White, inaudible at first as Emilia, emerged strongly in Act IV.
Adam Fischer conducted, also in his company debut, and seemed slow to gain control of the chorus and orchestra. Even then the playing proved singularly uninspired; a mistuned patch in the strings at Otello's last entrance was simply amateurish.
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