Name: Otello
Start: 2022-06-24T00:00:00.000Z
End: 2022-06-30T00:00:00.000Z
Location: Teatro Comunale di Bologna

Organization

Assistant to the scenes

Andrea Di Gregorio

Режиссер-постановщик

Gabriele Lavia

Тенор

Arsen Sogomonyan

Отелло

Gregory Kunde

Roberto Aronica

Сопрано

Mariangela Sicilia

Дездемона

Federica Vitali

Баритон

Franco Vassallo

Яго

Angelo Veccia

Меццо-сопрано

Marina Ogii

Эмилия

Marco Miglietta

Кассио

Pietro Picone

Родриго

Бас

Luciano Leoni

Лодовико

Luca Gallo

Монтано

Художник по свету

Художник по костюмам

Andrea Viotti

Художник-постановщик

Alessandro Camera

Хормейстер

Gea Garatti Ansini

Alhambra Superchi

Дирижер

Asher Fisch

Assit Director

Gianni Marras

Teatro Comunale di Bologna

Otello -  (Отелло)

Болонья

Италия

Otello Verdi

Public

Одобрено

L'OTELLO SOSPESO TOLD BY THE ARTISTS Rehearsals for Giuseppe Verdi's Otello were already underway when the Prime Minister's Decree was released on 24 October last, which suspended the activities of theaters open to the public. The show, which should have been staged at the

Otello , an opera in four acts staged for the first time in Milan on February 5, 1887, was born from the maturation of Verdi's immense talent, a very wise doser of stage effects and a profound reader of the human soul. In fact, Verdi's theater has man at the center of its universe. A man who, like the protagonist, is for Verdi constantly stretched between two absolute abstractions: the most genuine and candid good (Desdemona) and the devious and cynical incarnation of evil (Iago). Otello moves between these two poles, letting himself be guided by the blinding passion and not by reason, which would have allowed him to defend himself from both abstractions, tending inexorably towards a tragic ending.

English

Otello, dramma lirico in quattro atti messo in scena per la prima volta a Milano il 5 febbraio 1887, nasce dalla maturazione del talento smisurato di Verdi, sapientissimo dosatore di effetti scenici e lettore profondo dell’animo umano. Il teatro verdiano ha, infatti, l’uomo al centro del suo universo. Uomo che, come il protagonista, è per Verdi costantemente teso tra due astrazioni assolute: il bene più genuino e candido (Desdemona) e la subdola e cinica incarnazione del male (Jago). Otello si muove tra questi due poli, lasciandosi guidare dall’accecante passione e non dalla ragione, che gli avrebbe invece consentito di difendersi dall’una e dall’altra astrazione, tendendo inesorabilmente verso un tragico epilogo.

italiano

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