Name: Otello
Start: 2016-09-15T00:00:00.000Z
End: 2016-10-03T00:00:00.000Z
Location: Teatro Real

Admin

Organization

Tenor

Gregory Kunde

Otello

Alfred Kim

Baritone

George Petean

Iago

Angel Odena

Alexey Dolgov

Cassio

Xavier Moreno

Vicenç Esteve

Roderigo

Bass

Fernando Radó

Lodovico

Isaac Galán

Montano

A Herald

Soprano

Ermonela Jaho

Desdemona

Lianna Haroutounian

Mezzo-soprano

Gemma Coma-Alabert

Emilia

Conductor

Renato Palumbo

Stage director

David Alden

Costume designer

Jon Morrell

Set designer

Teatro Real de Madrid

Otello -  (Othello)

Madrid

Spain

Teatro Real

David Alden approaches the setting of Othello from the point of view of Giuseppe Verdi’s adaptation of the Shakespeare text. In the first act of the play, which Verdi omits, we see the great love of Desdemona, a young, beautiful woman of the Venetian upper class, for the rough-mannered and hot-tempered foreign soldier Othello. Her father, the patrician Brabantio, opposes their love. In the first act he asks how his daughter could have chosen to “run from her guardage to the sooty bosom of such a thing as thou, to fear, not to delight.”

Desdemona’s love for Otello is even thought to be a thing of magic. In contrast, Otello’s love for Desdemona is perfectly logical: Desdemona is so refined, so white, so aristocratic and so devout that anyone could understand why Otello would fall in love with her. They love each other, but their difference in social standing is undeniable. And these differences will be how the resentful, devilish Lieutenant Iago is able to wreak his vengeance on his General, Otello, for not promoting him to Captain as he had hoped.

This vengeance requires a minimum of effort, because all he really has to do is convince Otello of what everyone else already believes: such a gentlewoman could never really love someone like him. Consequently, it is very easy for him to make Otello believe that Desdemona has fallen in love with a man of her own rank, Cassio, whom Iago describes as the antithesis of Othello. And so, despite Otello’s noble soul - even though Desdemona truly loves him, even though Cassio is loyal and honourable -, Iago’s insinuations take root and Otello believes that Desdemona is unfaithful to him.

In the play, Shakespeare explains the action through the theme of racism, this is the driving force of the tragedy. But both the librettist, Arrigo Boito, and Verdi understood that the drama could be even more intense if racism played a less prominent part.  The focus was put on the fragility of a character who physically differs little from any of the others; a vulnerable character who is dominated by inner turmoil. Thus Verdi reduces racism to a marginal issue which is scarcely mentioned. David Alden takes a similar approach: Otello is an outsider; he is “other” because that is how he feels inside. He need not be black or physically different from the other characters.

His conflict is internal: insecurity, that which has led so many men to commit the worst atrocities. We watch with horrified fascination the tragic disintegration of the hero, locked into the destructive cycle of destiny. The set design suggests a courtyard in Cyprus, but above all, this is a militarised, brutal world with dehumanised soldiers in a war which prevents them from responding to love or tenderness. In this context, Otello brings us face-to-face with one of the most secret human fears: to not feel worthy of what one loves most.

Based on a story by William Shakespeare, the Italian composer Giuseppe Verdi wrote the opera Otello. Stage director David Alden created his version of this tragedy for the Teatro Real, in Madrid. Renato Palumbo conducts the orchestra and chorus of the Teatro Real. The performance also features Gregory Kunde, Ermonela Jaho, and George Petean. Othello, the Venetian governor of Cyprus, returns to the island after a victorious campaign. Iago, his ensign, feels snubbed by Cassio's promotion to captain and seeks revenge on Othello. After arranging for Cassio to be dismissed, Iago makes Othello believe that his wife Desdemona is having an affair with Cassio. Othello decides to kill her. At night, he wakes her with a kiss and asks her to admit that she betrayed him. Although she tries in vain to convince him of her innocence, Othello strangles her. Emilia then exposes Iago's plot. Racked with guilt, Othello plunges a dagger into his heart.

Othello

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Saxophonist

Trombonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Bass-baritone

Contralto

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

Como cada mes, José Luis Téllez expone los particularidades de la ópera en cartel. En esta ocasión, el musicógrafo analiza 'Otello' de Giuseppe Verdi, en una nueva producción del Teatro Real en coproducción con la English National Opera y la Ópera Real de Estocolmo. En el Teatro Real del 15 de septiembre al 3 de octubre de 2016.

José Luis Téllez analiza 'Otello' | Teatro Real 200 años 16/17

Othello by Verdi, Mar 27 Sept. 2016, De la (2016/2016), Regizat de către David Alden,, Dirijor Renato Palumbo, Teatro Real, Madrid, Spain

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