One of the great nights of the Colón.
… A passionate and gripping portrayal… The scenery was cleverly constructed on the revolving stage with three unequal elements —the largest the front of the castle, leading to an interior room and in turn to Desdemona’s bedroom, enabling easy flow from one to another as well as in rotation showing snapshots of behind the scenes happenings.
We must applaud the staging of José Cura, based on three stage sets, mounted on the revolving stage, representing an exterior courtyard, the main hall of the palace, and the bedroom of the leading couple, which were rotated on the wooden platform with such precision that every scene occurs in the right place, creating an almost cinematographic framework. An example of this was seen at the end of the third act when Otello—totally driven mad—is lying on the floor of the courtyard but rises up at the beginning of the fourth act and steps towards the main room while the stage rotates, there to sit in a chair to meditate, then with a new turn of the stage to go to the conjugal bedroom where he murders his wife.
Cura follows the contents of Verdi’s opera. And he explores them with intelligence, according to two basic ideas: one is the scenic concretisation of Verdi’s dramaturgy; the other is Jago’s radicalisation. The fluidity of the action pays tribute to Verdi’s extraordinary musical and dramatic achievement, and Cura achieves it through the admirable use of a rotating stage, not only in order to create three different spaces - the square and two interior spaces in the palace: the main room and the bedroom - but also in order to facilitate a constant movement, and efficient temporal illusions.