Name: Otello
Start: 2018-11-25T00:00:00.000Z
End: 2018-12-02T00:00:00.000Z
Location: Teatro Dante Alighieri

Organization

Ravenna Festival

Conductor

Nicola Paszkowski

Set designer

Cristina Mazzavillani Muti

Lighting designer

Vincent Longuemare

Costume designer

Alessandro Lai

Chorus master

Martino Faggiani

Massimo Fiocchi Malaspina

Elisabetta Agostini

Stage director

Luigi Barilone

Tenor

Mikheil Sheshaberidze

Otello

Baritone

Luca Micheletti

Iago

Giuseppe Tommaso

Cassio

Giacomo Leone

Roderigo

Bass

Ion Stancu

Lodovico

Paolo Gatti

Montano

Soprano

Elisa Balbo

Desdemona

Mezzo-soprano

Antonella Carpenito

Emilia

Teatro Comunale Alighieri di Ravenna

Teatro del Giglio

Others

Coro Lirico Marchigiano "Vincenzo Bellini"

Coro di Voci Bianche Ludus Vocalis

Orchestra

Orchestra Giovanile Luigi Cherubini

италиански

Otello -  (Othello)

Ravenna

Italy

Teatro Dante Alighieri

Otello Verdi

Public

Private

Othello

Approved

A new lyric marathon: three titles that follow one another night after night on the same stage, fast rhythms and a laboratory that plays on the edge of invention and creativity, intertwining young talents and modern technologies. It is the autumn trilogy, which once again chooses to investigate the genius of Giuseppe Verdi, transforming the Alighieri stage into a real "opera factory", capable of giving body and voice to three different moments of his artistic path. An unpublished production is flanked by the reinterpretation of works already presented (from the "repertoire" that the autumn formula can already boast): starting from the biblical and choral inspiration that dominates  Nabucco, in the light that springs from the dark, enhancing the soul of Rigoletto, up to the dramatic chromatic contrast that unites / separates Otello and Desdemona.

It could only be  Nabucco  who opened the Trilogy destined to retrace Verdi's extraordinary creative parable. The work with which, in 1841, he manages to rise from the adversities of destiny and take back his life, as a man and as a musician, and in which the biblical and prophetic dimension flows into a choral fresco capable of absorbing and subsuming into itself individual individuals, towards an ideal union of peoples. It is in that score that the foundations of  Rigoletto 's irresistible success are laid , the first piece in 1851 of the “popular” triptych, and above all the author's favorite work, for the vivid definition of the protagonist in a picture of perfect dramatic unity. And, after all, also of the extreme renewal that in  Otello (1887) will spring from the Shakespearean verb, the inevitable landing of Verdi's “scenic word”.

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