The Reviews are IN! Part Four

by Suzanne Calvin

“With a successful new Otello,” writes ConcertoNet’s Paul Wooley, “a new house, and a new fervor from the city’s residents, Dallas Opera has without question joined the ranks of the elite houses in the country.”

Read the rest of his very detailed review of the opening night performance here

We also got our first taste of Life-Style Editor Arnold Wayne Jones’ review in The Voice (Dallas).  Not so keen on the production but high on the house.

Photos courtesy of Production Photographer Karen Almond.

Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera

4 Responses to The Reviews are IN! Part Four

Gabriel says: November 4, 2009 at 12:48 pm

Well as stark as the sets were, it didn’t really bother me as much because I think Forbis, Deshorties, and Ataneli did a great job of keeping the focus on the characters. A dark plot needs a dark set. It wouldn’t have made sense if it were bright and cheery? That being said, I think it’s an unfortunate production to open a new house. I really look forward to Don Pasquale.

As far as the sightlines go, I know it takes months to build a set and since the house wasn’t finished being built until last month, I can’t imagine the stage director ever even had a chance to see the inside of the house until rehearsals. Certainly something all the stage directors Dallas brings in will have to be made aware of though.

Carol Young says: October 29, 2009 at 4:03 pm

I too had a negative response to the costumes & set.

It made the Dallas Opera look like you did it on the cheap!

The stage director’s vision should have been in the program as a program note.

Also while clearly the time was not 1571, nowhere could I find WHEN this production is set.

Also, I guess the stage director didn’t check out all the sightlines.
From the upper balcony, all characters on the third level were headless!!!!

Suzanne says: October 29, 2009 at 3:23 pm

George, if you will click on the link to Arnold Wayne Jones’ review, he makes much the same point. Ultimately, those decisions are made by the production team for very specific reasons relating to the stage director’s vision for the piece. In this case, the team wanted to project a harsh, military atmosphere – claustrophobic and inescapable – in which Desdemona stood out as the woman apart: fragile, feminine, and vulnerable.

George DePasquale says: October 29, 2009 at 1:13 pm

The Winspear is magnificent !!!

The singing in Otello was magnificent !!!

I don’t understand why the stage settings and costumes were so drab, or why the change was made from the original time period to a relatively recent time period.

Spectacular settings and costumes have always been important aspects of the opera tradition. Why the change from spectacular to dull ???