Name: Otello
Start: 2015-11-22T00:00:00.000Z
End: 2016-06-18T00:00:00.000Z
Location: National Theatre

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Organization

Тенор

Dušan Plazinić

Отелло

Janko Sinadinović

Nikola Kitanovski

Soprano

Jasmina Trumbetaš Petrović

Дездемона

Ana Rupčić

Баритон

Miodrag D Jovanović

Яго

Dragutin Matić

Vuk Zekić

Nikola Mijailovic

Carlos Almaguer

Меццо-сопрано

Svetlana Nestorov

Эмилия

Ljubica Vraneš

Tamara Nikezić

Nenad Čiča

Кассио

Marko Živković

Ljubomir Popović

Slobodan Živković

Родриго

Danilo Stošić

Бас

Sveto Kastratović

Лодовико

Stahinja Đokić

Ljubodrag Begović

Монтано

Pavle Žarkov

Predrag Gligorić

Герольд

Gavrilo Rabrenović

Дирижер

Ana Zorana Brajović

Dejan Savić

Режиссер-постановщик

Paolo Baiocco

Художник-постановщик

Nevenka Vidak

Видеодизайнер

Petar Antonović

Художник по свету

Miodrag Milivojević

Звукорежиссер

Tihomir Savić

National Theatre Belgrade

Otello -  (Отелло)

Белград

Сербия

National Theatre

Otello Verdi

Public

Одобрено

Aida , which was performed for the first time in Cairo on December 24, 1871, during the opening of the Suez Canal, she performed a break of almost sixteen years in Verdi's work. It was thought that the great maestro, long old, had definitely left his creative work and that the time had come for him to be one of those old men whom Manzoni said "open their souls to the pure and innocent thoughts of the grave". However, during this break and silence of sixteen years, old Verdi transformed into a new and rejuvenated artist, who gave his masterpiece, Othello , at the age of seventy-four . The idea to compose a shocking Shakespearean tragedy has long occupied Verdi. The inner work of his thought and his spirit around Shakespeare's plot had to be long and complex; composing the opera itself was, as always, very fast. One can imagine how much interest there was not only in Italy, but all over the world, when Verdi was heard composing Othello or Jaga, as it first seemed that the new work would be called. In vain did the old maestro try to announce that he was not doing anything new, that music required "youthful senses, fervor and fervor of blood and fullness of life", that "the children of the elderly are rickety and anemic". The whole world knew that Verdi still had youth of soul and spirit, that his blood was still warm, that he was still enjoying the fullness of life; the whole world was sure that this old man could still give life to healthy and strong children, to create new and great deeds. Indeed, Othello was performed on February 5, 1887, on the stage of Milan's Scala. It was another great victory of the Latin genius who knew how to adapt to new tendencies and new laws of modern art, change tastes, and use all the progress of compositional technique, but at the same time preserve his plasticity, his warmth and his type. This is not the first time that Verdi has composed a Shakespearean summary. Thirty-seven years before Othello , he composed Macbeth , a work of unequal value, which had only moderate success. Later, before he decided to do the Masked Ball , he dealt with the problem of composing King Lear. This time, Verdi's younger contemporary and his librettist Arigo Boito knew and was able to unite Shakespeare and Verdi into one masterpiece worthy of both. The poet, as well as the composer himself, a man who had an accurate understanding of the dramatic and musical possibilities of a good libretto, Boito, created the best operatic text written after Wagner's death. Made after Shakespeare, Boit's libretto has more unity and contrast in places. Let us first mention the love duet of the first act. Zonenthal has already noticed that in Shakespeare's Hotelit lacks an intimate love scene between Desdemona and Othello, which would mean contrast and deeper motivation to scenes of jealousy. In Shakespeare, Othello expresses his love in just a few words; alone with Desdemona we see him solely as her tormentor and murderer. The love duet at the end of the first act, in addition to filling that gap in the dramatic fabric, provided Verdi with the opportunity to write several sincere and deeply lived melodic phrases, which will be repeated as a reminiscence and leitmotif detail in the score at the final scene of Desdemona's murder. . In addition, in the fourth act, one of the most beautiful in opera literature in general, Boito merged the scene with Emilia with the scene of the murder, throwing out Rodrigo's murder. In that way, the plot gained more unity, and the dramatic construction made a higher whole. Finally, it seems to us that Boito set up the character of Jara differently. In Shakespeare, Iago is intriguing. The basis of that intrigue is his neglect in his career. In Boit, however, Iago, in the famous "Cretaceous", was raised to the symbol of evil, "to the demonic ruler of destiny". Verdi je u Otelu ostvario reformu muzičke drame na osnovama koje se razlikuju od Vagnerovih principa. On je hteo da dođe do cilja, kako je sam govorio, „drugim putevima i kroz druga vrata“ i da stvori tip muzičke drame nov i moderan, ali u suštini italijanski i latinski. Ako je u izgrađivanju dramske celine čina i aktiviranju orkestra sledio Vagnerove muzičko-dramske principe, u muzičkom postavljanju karaktera ličnosti i crtanju njihovih psiholoških profila, Verdi je, kao južnjak i Italijan, ostao veran tipičnoj latinskoj koncepciji melodijskog ostvarivanja opere. I u Oteluthe melodic line is the bearer of dramatic expression, except that it waves over a more mobile orchestral tissue in which the dramatic moment is more strongly emphasized. His warm and singing melodies, in which a stronger relationship between words and tones was achieved, and his more detailed recitatives, remained inspired by pure Italian and preserved Latin elegance and purity. Among the important places in Othello 's score are the strong and dramatic scene of the bora at the beginning of the first act, in which the youthful temperament of seventy-year-old Verdi came to full expression and which reaches a grandiose description of the bora and storm in the introduction, Jagovu i Kasijevu napitnicu, ljubavni duet koji se odvija u opojnoj atmosferi mediteranske zvezdane noći sa prekrasnom i nezaboravnom melodijom koja se penje do visina tristanovskih ljubavnih scena, zatim scenu između Jaga i Otela, izvanrednu po ekspresiji skrivenih duševnih pokreta, demonski Jagov „Kredo“, priču o Kasijevom snu, u kojoj se Verdi harmoničar pokazuje u novoj svetlosti, čuveni kvartet u kojem su na jednoj harmonskoj osnovi ostvarena četiri raznorodna raspoloženja: strah Dezdemone, crne slutnje Otela, uznemirenost Emilije i trijumf Jaga, zatim tercet o maramici, dva uzbudljiva Otelova monologa i najzad, kao kruna svega, četvrti čin, u čijoj muzici čudno zvuče noćne misterije prirode, ljubav, strah i sumnja: Dezdemonina dečja pesmica, njena večernja molitva, uzbudljivi tragični kraj Otela sa poslednjim zvucima divne ljubavne melodije dueta iz prvog čina.

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