The biblical episode is well known: during a banquet, Princess Salome dances for Herod and he promises her anything in return; the young woman asks for and obtains the head of John the Baptist. In 1891, Oscar Wilde turned the story into a drama, enriched with new elements, which enjoyed great success in Germany and consolidated the image of Salome as a combination of innocence and perversion. Richard Strauss, in search of a subject for a new opera, did not let it slip away and set Wilde’s text (translated into German) to music as it stood, with only minor changes.

Salome

Teatro Regio di Torino

Few figures in world literature embody so many tragic contradictions: Otello is both perpetrator and victim, hunter and prey – the bloodthirsty murderer of his beloved Desdemona, yet also at the mercy of the demonic manipulation of his secret adversary, Iago. Verdi’s operatic version further intensifies the gruesome outcome, as the scheming villain escapes. Kornél Mundruczó makes his debut at Deutsche Oper Berlin with this new production of Otello. His meteoric career in the film industry has garnered him awards at the Cannes and Venice Film Festivals and success on Netflix. Since Aviel Cahn discovered him for musical theatre with Herzog Blaubart/Winterreise in 2013, the internationally acclaimed director has increasingly turned his attention to opera. His psychedelic imagery and exceptional integration of film lend new impetus to the genre and are ideally suited to bringing us closer to the delusional inner world of the character Otello: Mundruczó leads us directly into the protagonist’s psychological abyss. When Verdi began his second Shakespearean setting, he had not dedicated himself to a major new composition for over ten years. The collaboration with Arrigo Boito resulted in a work that occupies a special place in Verdi’s oeuvre. The orchestra gains importance for characterisation and atmospheric development, becoming a fundamental driving force of the action. On the podium is Stefano Montanari, a specialist in early Italian opera; he demonstrated his sensitivity to Verdi’s late works with a fresh approach in a celebrated Otello at the Stuttgart State Opera. With the role of Otello, which demands everything from heroic radiance to lyrical tenderness and even violent outbursts beyond mere beauty of sound, Verdi shattered the conventions of traditional vocal categories. Najmiddin Mavlyanov, in demand worldwide for dramatic tenor roles in the Italian and Russian repertoire, brings all of this to the role. Alongside him, Ruzan Mantashyan makes her debut as Desdemona. Luca Micheletti is playing Iago for the first time outside his native Italy.

Monika Korpa

Events

Upcoming events

6 - 17 Apr, 2027

Salome · Teatro Regio Torino

Apr 16 - May 2, 2027

Otello · Deutsche Oper Berlin

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