Otello

Awarded productions of Macbeth, Otello and Falstaff, staged in two subsequent seasons, were presented as a hypothetical Verdi-Shakespeare Trilogy (CNT Rijeka, 2017, 2018). Besides the apparent Shakespearean origins, there were two particular dramaturgical arguments for theatrical correlation of the three operas. Although the dramaturgy of spectating was explored through different arrangements of performance space in the three productions, there was a clear intent to – step by step – overcome the gap between the auditorium/audience and the stage/performers. Finally, in Falstaff, the action unfolded and most of the opera was performed in the regular auditorium lighting, on the one-metre wide proscenium in front of the fire-curtain, then on the bridges above the orchestra, as well as in the auditorium, in a more or less direct interaction with the spectators.

Moreover, despite having the names of male lead characters in their titles, all the three operas in this Verdi-Shakespeare Trilogy were rather focused on their female characters. Ultimately, the four «marry wives of Windsor» represent neither the tragic victims (like Desdemona and always secondary Emilia) nor evil forces (like Lady Macbeth) in the backstage of history and politics, or simply – men’s tragedy. It is impossible to reduce them – Alice, Quickly, Nanetta and Meg – to symbolic roles or dramaturgical functions as they are already established as complex personalities that form and direct dramatic situations and actions. Their principles are irony and invention, resistance and solidarity. They are women that take control over their rights, doing so despite all those that contest these rights.