OTELLO

In what other opera are the face of feelings and the shape of passion so plastically rendered? Otello is a vast sculpture. A sound sculpture.

Alberto Savinio

Tenor Arsen Soghomonyan makes his debut at the Festival d’Aix-en-Provence in one of the most complete and demanding roles in the entire repertoire. Verdi’s penultimate masterpiece, based on Shakespeare, flows in one breath from the crash of the initial storm to the whispered kiss of the final agony, letting the poison of jealousy quickly work its way into the soul of the Moor Otello, manipulated by Iago at the expense of the beautiful Desdemona. With Ludovic Tézier – indisputably the best contemporary Verdian baritone – they are reunited here, singing these roles for the first time in France. They are joined by Maria Agresta, one of Italy’s finest voices and stylist. Returning after his success in Moses and Pharaoh last summer, Michele Mariotti leads the full musical forces of the Teatro di San Carlo of Naples. Terror and pity: you have a rendezvous with sheer tragedy, in an infinite range of nuance.