I’m never quite sure what I think about large scale outdoor opera performances but the Macerata Opera festival’s 2016 production of Verdi’s Otello staged in the Arena Sferisterio comes over rather well on video. It’s a complete contrast with the Salzburg production I reviewed a few days ago. This is large scale “red in tooth and claw” Verdi. There is none of the subtlety of the Salzburg performances but it is spectacular and quite exciting.
The story line for Bellini’s opera I Capuletti e I Montecchi will be familiar enough though it’s very condensed and based on the earlier source by Bandello rather than Shakespeare’s more elaborate reworking. So, lots of feuding but no back story, no balcony scene, no friar’s cell. But (spoiler alert) the ending is the same. Vincent Broussard’s production, originally from Munich but filmed in San Francisco in 2012, sets the work around the time of its composition and seems at times to reference that it was composed for the Venice Carnivale. It also veers around between being quite literal and trying to make the story something going on in Romeo’s head. The production is quite influenced visually by the fact that the costumes were designed by Christian Lacroix and it’s unclear whether he’s trying to support the production concept or promote his brand.
Donizetti’s Lucrezia Borgia is based on one short episode in the storied life of the famous female pharmacist. In it she twice poisons her son; once at the insistence of her husband, the second time by accident. The second time her son refuses the antidote preferring to die with his equally poisoned buddies but learns in his dying breath that Lucrezia is indeed his mother. It’s pretty unusual for a bel canto opera in that the leading female role (a) has agency, (b) doesn’t go mad and (c) doesn’t die.