WEEKEND REVIEWS : Opera : Real Otello, the Verdi Way, Shows Up at Music Center

Vladimir Bogachov. Remember the name.

Saturday afternoon, he took over the title role in “Otello” at the Music Center Opera. It is a daunting assignment under any circumstance, but it must have seemed doubly daunting on this occasion. A little-known tenor from Moscow was following in the formidable footsteps of Placido Domingo.

It must be significant that the Dorothy Chandler Pavilion, capacity 3,000, had been sold out for the first five performances of Verdi’s masterpiece, which happened to feature Domingo. Tickets were available, however, for the last two performances of the run, which introduced Bogachov.

As everyone knows, Domingo is a splendid artist. But--dare one say it?--Bogachov is a better Otello.

Domingo looks heroic as the brooding Moor of Venice. He sings the role resourcefully and, in his way, imposingly. Nature did not endow him with the staggering vocal trumpet demanded by the composer, however, and his technique precludes close attention to the softer dynamic markings in the score. Domingo’s Otello succeeds more on his terms than on Verdi’s.

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Bogachov lacks Domingo’s vast experience in the role, not to mention his sense of routine. The Russian--short and rather stocky--isn’t an instantly commanding figure on the stage. But...

I know of no other Otello before the public today better equipped to meet this challenge. Here, at last, is an Otello with enough.

Enough voice to rattle the rafters in the treacherous “Esultate.” Enough stamina to sound as strong and fresh at the end of the last act as at the beginning of the first. Enough intelligence to understand both sides of Otello’s character--the ferocious warrior and the tender lover--and enough control to project the emotional extremes with power and pathos.

Bogachov’s huge, essentially dark tenor is capable of a bright, triumphant ring at the top, and he doesn’t stint. His scale is even. His phrasing is precise, his style idiomatic. Most impressive, however, is his sensitivity.

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Here, at last, is a tenor who takes the composer at his word when asked for a pianissimo and, yes, for a pianississimo.. Here is a heavyweight who savors flights of gentle lyricism. Here is a singer who actually respects the meaning of that dangerous word diminuendo.

Vocally glorious, dramatically at least elemental, Bogachov dealt in revelations. Let us hope he nurtures his resources carefully. And let us hope the Music Center Opera remembers him if we ever get around to “Aida.”

Although the rest of the “Otello” cast remained unchanged, standards have risen since the May 6 opening. June Anderson, the exquisite Desdemona, has found the necessary security for the early scenes. Gregory Yurisich, the canny and conscientious Iago, now rides the high climaxes with laughing ease. Randall Behr, the conductor, still does little to ignite the fires in the score, but brings welcome finesse to the reflective passages.

* “Otello” returns to the Dorothy Chandler Pavilion of the Music Center for a final performance, with Vladimir Bogachov, Tuesday at 8 p.m. $21 - $115. Information: (213) 972-8001.