Kino Citadele vēlreiz būs skatāma opera Otello ar Aleksandru Antoņenko titullomā

Sadly, Mr. Antonenko failed to rise to her level. He is an interesting artist with many of the raw materials of a great Otello, including a big, steely tenor as well as a menacing physical presence that makes the character’s murderous rage seem both plausible and terrifying. But his singing is wildly inconsistent, with a hard, unromantic timbre and an unreliable sense of pitch, flat in the middle register and gratingly sharp on top. What’s worse, his phrasing is generally unimaginative. All the notes are there, but precious little of the music. Some of these shortcomings might have been camouflaged had Mr. Antonenko given a more persuasive acting performance, or, to put it more bluntly, if he’d been able to act at all. As I mentioned before, he seems a good type for Otello, but here he behaved the identical way he did in previous Met seasons’ productions of Carmen, Norma and Il Tabarro: stiff, isolated and distracted.