Otello in OTELLO

Washington National Opera

“Esultate,” exult: It’s the first word out of the mouth of Verdi’s Otello, a passionate tenor with lungs of steel, and a benchmark for one of the hardest roles in the repertory. At the Kennedy Center’s Opera House on Saturday, Washington National Opera’s Russell Thomas burst onto the stage, brandishing a red flag, and sang it in tones of finespun gold. Thomas has only recently taken on this role, and is judiciously rationing future performances. He wisely marshaled his sound — which is on the light side of the “Otello” spectrum — especially in convincingly showing the character’s crescendo into jealousy, his voice shining with the bright ping of fury, and in caressing the quieter moments with dignity. He did himself proud. The main interest of the evening was Thomas’s performance, since hearing a new credible Otello is always an event — almost a sporting event, as one waits to hear how he fares at each hurdle the score places for him. Thomas met each hurdle with aplomb, through to the final anguished “Niun mi tema.””
–Anne Midgette, Washington Post

“The three leads offered diverse strategies for tackling Verdi’s challenges. Russell Thomas, as Otello, mined his muscular tenor for as many colors as the necessary vocal force would allow, shifting as the emotion demanded. But he marshaled his forces, carefully approaching softer and gentler passages until the opera’s second half, when he took more risks throughout his range.  Moments of noticeable caution were balanced by justified payoffs…[like] Thomas’s thrillingly volatile third-act meltdown in front of the Venetian delegates.”
–Matthew Guerrieri, Washington Classical Review

“The tragedy unfolded tautly, thanks in no small measure to the ardent performance of Russell Thomas in the title role… He produced abundant warmth and steadiness of tone, enhanced by keen musicality and incisive acting. His melting way with the love duet’s tenderest phrases was just one highlight.”
–Tim Smith, Opera Magazine

“The music of the title character makes the most varied demands upon the singer—requiring both the easy lyricism of a bel canto lover in the fleeting moments of tenderness with Desdemona and the stentorian tones of a warrior hero. The tenor Russell Thomas has steely, ringing high notes in abundance, and, while never actually losing control of his voice, he went about as far as he could in an effort to suggest the extent of Otello’s undoing at the hands of Iago. The approach was risky, bold, and largely successful. Thomas’s depiction of Otello’s emotional outbursts came across as uniformly intense…”
–Richard Giarusso, DC Theatre Scene

“At the center of the storm is Otello himself, and Russell Thomas arrives invested, expressive, and offering an exciting sound.”
–Kate Wingfield, Metro Weekly

“Thomas’ masterful portrayal of the role as an introspective but gullible ruler was complemented by his mighty voice, resonating powerfully even when singing supine in hushed tones, making him the star of the evening’s performance. Thomas’ “Niun mi tema” was superlative.”
–Vishnu Bachani, Bachtrack

“From the first crackling notes, Washington National Opera’s season-opening performance of Verdi’s Otello caught fire. A cast headed by the impressive American tenor Russell Thomas kept the sonic heat going all evening at the Kennedy Center Opera House… Thomas, confirming his claim on the title role, made a confident entrance with a firm, clarion “Esultate.” He provided bel canto elegance in every lyrical passage and a genuine glow emanated from his singing in the love duet… Thomas’s refined musicality and incisive delivery of text carried the day, as did his nuanced portrayal of the hapless hero.”
–Tim Smith, Opera News