Without a subscription for the opera we would not go out of the house respectively the flat. But so you have to go – also if such a subscription is a little bit stuffy.
Hier der Link – wenn man die Bilder sehen möchte - und die Beschreibung zu der Oper:
OTELLO
Giuseppe Verdi
1813 - 1901
Dramma lirico in vier Akten
Text von Arrigo Boito nach The tragedy of Othello, the Moor of Venice (1603) von William Shakespeare.
Zum Werk
Diese Oper »öffnet« sich nicht (im Wortsinne der üblichen Ouvertüre), sie
bricht herein und stürmt drauflos. In den tosenden Wellen seiner eigenen
grausamen Geschichte versucht Otello obenauf zu schwimmen. Es gelingt ihm nur
für kurze Zeit. Das Stigma, das ihm mit der schwarzen Hautfarbe angeheftet ist,
vermag er nur für eine gewisse Zeit zu tilgen. Desdemona, in ihrer
bedingungslosen und unnachgiebigen Liebe kein zartes Pflänzchen, sondern eine
Streiterin für Vergebung und Güte, ist ihm zur Seite und gleichzeitig
gegenübergestellt. Für die Partie konnte Leah Crocetto, ein Jungstar der
Musikwelt, gewonnen werden. Ihre Antithese ist Jago, getrieben vom Glauben »an
einen grausamen Gott«. Sein Credo gehört zu den kraftvollsten Momenten in
Verdis spätem Meisterwerk. Klug, und auf seine bösartige Weise ungeheuer
einfühlsam, erkennt Jago, wie Otello wieder zurück auf einen Pfad der
Traumatisierung und der Gewalt zu lenken ist. Der Seelensturm verschlingt
sowohl Desdemona als auch »den Mohren von Venedig«.
Handlung
Otello, der in der Seeschlacht siegreiche venezianische Statthalter
Zyperns, wird jubelnd auf Zypern begrüßt. Fähnrich Jago aber hasst den Mohren,
der ihn zugunsten des jungen Cassio bei der Beförderung übergangen hat. Durch
perfektes Intrigieren entehrt er die Integrität seines Rivalen und schürt
darüber hinaus Otellos Eifersucht, indem er ihm suggeriert, dass Cassio der
Geliebte seiner Gattin Desdemona ist. Das Verhängnis nimmt seinen Lauf. Die
Eifersuchtstragödie kulminiert schließlich in Otellos Mord an Desdemona und
seinem eigenen Freitod.Here the link – if you want to see the pictures - and the description of the oper
OTELLO
Giuseppe Verdi
1813 - 1901
Dramma lirico in four acts
Libretto by Arrigo Boito after Othello by William Shakespeare
First performed February 5th 1887, Teatro alla Scala, Milan
About the piece
To
be unloved: what greater hurt can be imagined? Jago, Otello’s standard bearer
who has been passed over for promotion, now knows exactly. He also knows all
the tricks of intrigue, how to draw suspicion, proves himself an expert in
treachery, and the calculation of power. As a virtuoso and archetype in power
politics he is also the enzyme which allows jealousy, the »green-eyed monster«,
to penetrate the soul of his hated black superior.Verdi and his librettist Arrigo Boito make Otello’s adversary almost satanic. Never before in the history of opera had true evil been expressed so blasphemously as in Jago’s great Credo aria: »I believe in a cruel god who has created me in his image.« Otello’s wife Desdemona, the victim in this profound tragedy of jealousy, is the diametric opposite to evil. The eponymous hero stands torn between these two extremes.
Verdi’s late work Otello, written after a good ten year period of stagnation, brought on not least by Wagner’s synthesis of the arts aesthetic, was an incomparable new beginning. New was the expressive sound representing the storm at the beginning of the opera, new the boundary breaking tutti outbursts in the orchestra, new the taut, never straying music dramaturgical concentration, new the sad, lyrical colours which accompany the deeply moving prayer of the young woman before she is murdered. This opera does not »open« with a normal overture, it crashs in, a storm rages. Otello tries to swim to the surface in the towering waves of his own dreadful story. He is only able to set aside the stigma attached to his dark skin for short amounts of time. Desdemona’s unconditional and obstinate love make her a fighter for forgiveness and goodness. The role will be sung by Leah Crocetto, a young star of the music world. Desdemona’s antithesis is Jago, driven by his belief »in a cruel god«. His credo is one of the most powerful moments in Verdi’s late masterpiece. Clever, and in his malicious way horribly understanding, Jago knows just how to steer Otello back onto the path of trauma and brutality. His tormented mind devours Desdemona as well as the »Moor of Venice«.
Synopsis
Otello
returns safely to Cyprus in a raging storm and is welcomed home by all except
Jago, who hates Otello because he passed him over for promotion in favour of
Cassio, and is working on a plan to destroy Otello. He advises Cassio to ask
Desdemona, Otello’s wife, to try and persuade Otello to pardon him. Jago sows
seeds of jealousy in Otello’s mind, making him suspect that Desdemona of being
unfaithful with Cassio. Desdemona’s protestations of innocence are to no avail
- he kills her. Horrified by Desdemona’s murder, Emilia reveals the truth. Jago
flees. Otello lies against Desdemona’s body. Life, as we know it, has ceased to
exist for him. Otello returns safely to Cyprus in a raging storm and is
welcomed home by all except Jago, who hates Otello because he passed him over
for promotion in favour of Cassio, and is working on a plan to destroy Otello.
He advises Cassio to ask Desdemona, Otello’s wife, to try and persuade Otello
to pardon him. Jago sows seeds of jealousy in Otello’s mind, making him suspect
that Desdemona of being unfaithful with Cassio. Desdemona’s protestations of
innocence are to no avail - he kills her. Horrified by Desdemona’s murder,
Emilia reveals the truth. Jago flees. Otello lies against Desdemona’s body.
Life, as we know it, has ceased to exist for him.
Normalerweise habe ich hier noch ein
Bild mit Blick von der Oper auf die Baustelle – aber lieber war ich in der
Pause mit einem Glas Wein in der Wärme. Daher von heute (Sonntag) aus der Entfernung – vom
Museumsufer – einen Blick auf die Baustelle.
Normally I show a picture
of the view of the construction site from the opera – but this time I preferred
to stay warm inside with a glass of wine. Therefore some of today (Sunday) at a
distance – from the ‘Museumsufer’ – a view to the construction site. 
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