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Otello

Andreas Kriegenburg tells Verdi's OTELLO as a drama about the mortal shattering of a great love in a war-conditioned society. One of the greatest love stories of literature fails - as all the other great love stories of literature - also brutal, cruel and pointless.

The black Venetian warlord Otello, a victorious type and upstart par excellence, husband of a wise and intrepid young woman of good family, becomes a raging murderer out of jealousy. When he realizes that he has been involved in an intrigue, he also kills himself and dying in the death of the dead body of the innocent lover last passionate kisses. A love death? Verdi is not Wagner, and his optimism in the question of whether a common death can actually mean the complete fulfillment of all desired in unification life desires are legitimate doubts to announce. A thunderstorm of immense, metaphysical dimensions overshadows the beginning of the work. It is an apocalyptic scenario that Verdi designs in the entrance to his opera, the condensation of impending disaster. An island full of people, far from home, surrounded by the roaring sea, which hardly gives hope to release the survivors of the campaign against the Turks. Out of a kind of choral "Dies irae", the voice of Jago stands out, which conjures up misfortune, not as a fear, but with a pleasant agreement. Despite his expectation, the war hero Otello emerges unscathed physically from the foaming masses of water.

The opposite of the apocalypse is the idea of ​​love as a utopian alternative model. The prerequisites for the realization of this utopia seem to exist and release a tremendous amount of hope. Desdemona loves Otello, she has defied the convention and at the mercy of all obstacles free, defiant and sovereign for this man decided that she has followed in the distant Cyprus to live the common love in radical affirmation. But the dream of a relationship without restrictions fails. The size of this love is not visible in happiness, but in the painfulness of its break. A single, untroubled encounter is granted to the couple who use it to make sure each other remember their complementary motives for the connection.

Intrigue Jagos - set in motion with the arrival of Otello on Cyprus - is beginning to take effect. Masterful are the mechanisms of manipulation that he unleashes. He stages a puzzle of loose suspicions and telltale polaroids, which Otello, once vaccinated with the virus of jealousy, effortlessly put together to a horror scenario of love betrayal and loss of honor. A few targeted impulses by Jago set in motion an avalanche of self-dismantling, which unchecked to the dreadest possible end. The honesty, innocence and impartiality of Desdemona and the greatness of the utopia of her love in this light take on the form of a provocative grimace, become the catalyst of an unmitigated misfortune.

The causative agent is Iago, quiet and cruel, iridescent in his wickedness, a human discerning in any of his actions with an inscrutable goal, driven by a motivation whose origin must be greater than envy, envy and racism, and ultimately remains in the dark. The soil on which his intrigue can flourish is that of a society at war. The war makes the man a man and destroy him immediately. He gives the war hero deep feelings of happiness and a kind of intoxication of the existential on the threshold of death.

The newcomer Otello is a great warrior, a strategist with courage and sense of responsibility, invulnerable he seems to be a general, whether in the fight against an enemy army or in existence against the forces of nature. His reflexes are trained and conditioned. Making quick decisions - if necessary even against one's own interests - does not cause him any difficulties. Everywhere lurks the enemy, lurking the violence, the physical annihilation or - worse still - the loss of honor.

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