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The reason usually given for the rarity of performances of Rossini's ''Otello'' is that Francesco Maria Berio di Salsa's libretto is a hack job that makes hash of Shakespeare. If the characters were called by names other than Otello, Iago and Desdemona, audiences would have no idea that they were watching an operatic retelling of the drama. Another charge is that only the third act, when Desdemona meets her fate in the one segment that hews closely to Shakespeare, is truly inspired music. This judgment is unfair, for the first two acts have long stretches that are lyrically beguiling and imaginative. Perhaps the main reason that this opera seldom turns up is that it is so challenging to perform and difficult to cast. There were some pretty fancy tenors in the company in Naples for which Rossini wrote ''Otello,'' and he felt compelled to use them. So the opera contains three virtuosic tenor roles: Otello, Iago and Rodrigo, who becomes a full-fledged rival for Desdemona's love. You cannot imagine the Metropolitan Opera attempting Rossini's ''Otello'' any time soon. That is why we should be grateful to Will Crutchfield, an intrepid champion of bel canto opera, who conducted the Orchestra of St. Luke's, and a committed cast in a semi-staged performance of this work tonight at the Caramoor International Music Festival, where he is director of opera. Unfortunately, several singers were not up to the challenges of their roles, and the overall performance was shaky. To make matters worse, before the concert a stagehand fell, damaging two string basses. So there was only one for the performance. Still, this was a chance to hear the opera under the guidance of a musician who clearly grasps its style and significance. After Verdi's depiction of Otello -- the most colossal tenor role in the Italian repertory, a tormented, complex and pitiable characterization fully the equal of Shakespeare's tragic hero -- some operagoers may find it hard to accept a bel canto Otello who sings lilting tunes over oom-pah-pah accompaniments and dispatches phrase after phrase of coloratura roulades. A Rossini Otello should have both heroic power and bel canto agility. In your dreams imagine Jon Vickers combined with Alfredo Kraus. The tenor Carlo Scibelli gave the role his all. He has a beefy tone and considerable flexibility. But the high tessitura strained his voice, and the fleet passagework taxed his technique. The tenor Matthew Chellis has a rather lightweight lyric voice for the role of Iago, which lies somewhat low and needs a singer with more weight in his sound. Still, he and Mr. Scibelli understand that Rossini's highly ornamented vocal lines are meant to be mesmerizing and eerie, not just decorous and frilly. In the Act II duet where Otello's trust in Desdemona is
dismantled by Iago's lies, the two unite in their determination to avenge Otello's disgrace. Here Mr. Scibelli and Mr. Chellis caught the right quality of oily lyricism and chilling coloratura. Though Rossini's Rodrigo is an ill-defined character (as if Shakespeare's Rodrigo and Cassio had been merged), the role is virtually as long and as difficult as Otello's. David Adams is surely a better tenor than he sounded here. His voice had a bright ping, and he sang with an energy that matched his lithe physique. But in the end he was confounded by the music. The fullest characterization is that of Desdemona, who also has the most memorable music, especially in a scene that clearly resonated with Verdi, when she sings the beautiful ''Willow Song,'' accompanied by a consoling harp, and a gentle bedtime prayer. Though the soprano Marguerite Krull has yet to command the role fully, she brought rich, rosy sound and lyrical sensitivity to her portrayal. As a conductor Mr. Crutchfield was bursting with insightful ideas about the score. In places he kept the tempos swift and the phrasing crisp. When called for, though, he showed great restraint, allowing the vocal lines to flow and breathe. That said, he does not have the kind of technique that would enable him in a limited number of rehearsals to get even the fine players of this orchestra to execute his subtle interpretive ideas with comfort. He was at his best where it mattered most: in the passages of orchestra-accompanied dramatic recitative that dominate the score. In those moments you could sense Mr. Crutchfield virtually singing along with every line, trying to keep the dramatic pace taut and expectant. The soprano Georgia Jarman as Emilia, Desdemona's maid and confidante, sang sweetly. The most accomplished performance came from the robust baritone Daniel Mobbs as Elmiro, Desdemona's father. The great period of Italian 19th-century opera can be seen as framed by Rossini's ''Otello'' in 1816 and Verdi's ''Otello'' in 1887. Mr. Crutchfield will conduct Verdi's treacherously difficult version at Caramoor on July 21. But he has already made the point by giving us a chance to hear this neglected Rossini work. Photo: Will Crutchfield conducting a semi-staged performance of Rossini's ''Otello'' on Saturday night at the Caramoor International Music Festival. (Chris Maynard for The New York Times)(pg. E5)
Verdis Otello
Voice type
tenor
Francesco Tamagno
soprano
Romilda Pantaleoni
baritone
Victor Maurel
tenor
Giovanni Paroli
tenor
Vincenzo Fornari
Francesco Navarini
bass
Napoleone Limonta
A herald
bass
Angelo Lagomarsino
Chorus: Venetian soldiers and sailors; and Cypriot townsfolk and children
Voice type
Otello
tenor
Andrea Nozzari
Desdemona
mezzo-soprano
Isabella Colbran
Rodrigo
tenor
Giovanni David
Jago
tenor
Giuseppe Ciccimarra
Emilia
mezzo-soprano
Maria Manzi
Elmiro
bass
Michele Benedetti
tenor
Gaetano Chizzola
Lucio
tenor
Nicola Mollo
A gondolier
tenor
Nicola Mollo