About CNT

Verdi’s Otello of the CNT in Rijeka

The Opera of the CNT Ivan noble Zajc in Rijeka will give a guest performance of Giuseppe Verdi’s Otello on March 28, 2018 under music direction of Ville Matvejeff. The stage director and dramaturge is Marin Blažević, the costume designer is Sandra Dekanić, stage movement was created by Selma Banich and light design and sets were created by Dalibor Fugošić and Alan Vukelić.

The performance announced for March 29, 2018 is cancelled due to technical reasons. All purchased tickets for this event can be exchanged at the Box Office for the same title that is scheduled for March 28, 2018 or if the tickets were purchased online, please phone 01/ 4888 – 414. In the same manner, you can ask for a refund.

The drama performance Gypsy, Yet so Handsome will be shown instead of Otello, on March 29, 2018 and the tickets are available for sale.

The cast is: Luis Chapa (Otello), Anamarija Knego (Desdemona), Giorgio Surian (Iago), Ivana Srbljan (Emilia), Marko Fortunato (Cassio), Voljen Grbac (Roderigo), Slavko Sekulić (Lodovico), Luka Ortar (Montano). They are accompanied by the Orchestra and Choir of the Opera, the ballet ensemble of the CNT Ivan noble Zajc and the Children’s choir Toretta and Children’s Choir Josip Kaplan.

NOTE Stroboscopic light is used in the performance.

A part of video footage French Frigate Latouche-Tréville (D646) Vs Huge Storm, recorded from a helicopter and published under the copyright licence of Anastasia Moraiti is used in the performance.

Duration of the performance is 2 hours and 30 minutes with an interval after the second act.

The opera is sung in Italian with subtitles in Croatian.

From the press:

Excellent, brilliant, fabulous, magic … – are the most common words spoken after the ovations and the long applause at the CNT Ivan noble Zajc in Rijeka have gone into silence and the stage lights have been turned off after the premiere of Verdi’s Otello.. (Novi list)

Verdi’s Otello is not an opera in which a single aria is emphasised and then expected to be sung at concerts – it is a harmonious and melodious opera whose beauty surfaces when it is in the hands of connoisseurs. (Kritikaz)

The scenes thanks to creative protagonists have double power: both Shakespearean and Verdian, created by plastic, suggestive lights and light design, effects of counter-light and red scenes. (Vijenac)

Several introductory dramaturgical issues:

Is the plot really taking place in reality or in Otello’s nightmare? Caused by jealousy? Obsessive character? His inferior feeling of an outsider? Whose and of what is Otello a victim? Origin? Belonging? Status? Ambition? Quick temper? Iago? Of everyone who notices a different skin colour? Apart from Desdemona?

How to stage a world in which limitations toward dreams and theatre, nightmare and evil are scattered and vague? A world that is not entered, departed (from the stage); in which he appears and disappears? Like a shadow, illusion, apparition, dreamlike vision, suggestion, silhouette …

Can Emilia become more than a supporting character, gain a dramaturgical role more significant than that of Iago’s wife and Desdemona’s companion, survive in a world which reduces a woman solely to the reproductive function of the species and nation, an object in the reach of desires of the other sex, a collateral victim in war games of the husbands, fathers, brothers? Can the character of Emilia be a clue to a feminist reading of Otello, that is Desdemona? (M. Blažević)