LIFE

Nashville Opera wows with Verdi’s ‘Otello’

Amy StumpflFor The Tennessean
  • Dramatic tenor Clifton Forbis’ pure vocal strength is truly something to behold.
  • Dark and haunting, this “Otello” provides a worthy conclusion to Nashville Opera’s season.
  • Soprano Mary Dunleavy makes a dazzling Nashville Opera debut as fair Desdemona.

Theater review

It’s been called one of Verdi’s greatest operas, and is based on one of Shakespeare’s greatest tragedies. And with its current staging by Nashville Opera, “Otello” gets a modern interpretation that is both challenging and exhilarating.

Capitalizing on timeless themes of jealousy and betrayal, general and artistic director John Hoomes chooses a modern military setting for this production. It’s an interesting move, which shifts the central conflict to one of rank and distinction rather than racial prejudice. And by staging “Otello” in TPAC’s intimate Polk Theater, Hoomes effectively amps up the opera’s already explosive intensity.

Of course, Giuseppe Verdi and librettist Arrigo Boito chose to open the opera with their own brand of musical fireworks, dropping the audience right into the second act of Shakespeare’s play — and perhaps the most fearsome storm ever set to music. The atmospheric marvel marks a triumphant homecoming for Otello, a newly appointed military commander and devoted husband to gentle Desdemona. But as the mighty Moor soon discovers, the real battle is yet to come.

Such a powerful piece provides the perfect vehicle for dramatic tenor Clifton Forbis, a Belmont University graduate known for taking on some of opera’s most demanding roles. And though he did not always sing at full voice during Wednesday evening’s final dress rehearsal, his pure vocal strength is truly something to behold. His thunderous “Sì, pel ciel marmoreo giuro” (“Yes, by the marble heavens I swear.”) is remarkable, but Forbis balances his character’s rage with vulnerability, making his “Già nella notte densa s’estingue ogni clamor” (“Now in the dark night all noise is silenced.”) all the more affecting.

Malcolm MacKenzie sings the villainous role of Iago with authority, using his rich baritone to shade the philosophical “Credo in un Dio crudel.” (“I believe in a cruel God.”) Watching his smile give way to sinister intentions is a devilish delight.

Soprano Mary Dunleavy makes a dazzling Nashville Opera debut as fair Desdemona. Her gorgeous rendition of the Willow Song (“Piangea cantando nell’erma landa”) is but one highlight. But I also was struck by Dunleavy’s abilities as an actress, with a nicely detailed performance throughout.

Conductor Christopher Larkin and Nashville Opera Orchestra bring Verdi’s intricate, yet seamless score to life with great precision. And the large Nashville Opera Ensemble is in top form.

Peter Dean Beck’s scenery is simple yet effective, keeping us focused on the story at hand. And Barry Steele’s lighting adds layers of shadow and intrigue.

Dark and haunting, this “Otello” provides a worthy conclusion to Nashville Opera’s season.

If you go

What: Nashville Opera presents “Otello” (sung in Italian with projected English translations)

When: 8 p.m. Friday, 2 p.m. April 13 and 7 p.m. April 15. (General and Artistic Director John Hoomes leads the free Opera Insights preview one hour prior to each performance in the theater.)

Where: TPAC’s James K. Polk Theater, 505 Deaderick Street, Nashville

Tickets: starting at $26

Contact:nashvilleopera.org; 615-832-5242 or 615-782-4040