Name: Otello
Start: 2016-03-19T00:00:00.000Z
End: 2016-03-27T00:00:00.000Z
Location: Großes Festspielhaus

Organization

Osterfestspiele Salzburg

Singer

Tenor

Johan Botha

Otello

Soprano

Dorothea Röschmann

Desdemona

Baritone

Dmitri Hvorostovsky

Iago

Benjamin Bernheim

Cassio

Mezzo-soprano

Christa Mayer

Emilia

Bass

Georg Zeppenfeld

Lodovico

Bror Magnus Tødenes

Roderigo

Csaba Szegedi

Montano

Gordon Bintner

A Herald

Conductor

Christian Thielemann

Stage director

Vincent Boussard

Costume designer

Christian Lacroix

José Cura

Carlos Álvarez

Sofia Pintzou

Ein Engel

Orchestra

Staatskapelle Dresden

Others

Sächsischer Staatsopernchor Dresden

itāļu

Otello -  (Othello)

Salzburg

Austria

Großes Festspielhaus

A superb new Otello from the Salzburg Easter Festival: “Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour” (Südwestpresse). “Röschmann as Desdemona guarantees effortless perfection” (Neue Musikzeitung). “Álvarez as Iago would be hard to surpass” (Abendzeitung). “Thielemann has discovered an impressively modern sound for Verdi” (Süddeutsche Zeitung).
This Salzburg production – featuring “a cast worthy of any festival” (Südwestpresse) – is conducted by Christian Thielemann, who displays a command of Verdian tragedy to match his celebrated sovereignty in Wagner. He and his great Dresden Staatskapelle, a consummate opera ensemble, “achieve wonders” (Die Presse), “generating Italian ‘Musikdrama’ with their incandescence and precise nuances” (Abendzeitung). As the tragic hero, José Cura “deploys his treasurable timbre and intensity” (Der Standard), while Dorothea Röschmann’s Desdemona “enchants with her dramatic lyricism, delicate phrases and internalized clarity” (Wiener Zeitung). Utilizing “elegant parlando and seductive bel canto, Carlos Álvarez’s Iago is a philosopher executing a socio-psychological experiment” (Frankfurter Allgemeine Zeitung).
In his fascinating staging, director Vincent Broussard integrates video with set and lighting design to create an idealized visual context for what he calls Otello’s “conflict of ancient and modern, of 2D and 3D”.

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