Ballet Pécs: Otello

It was in the last months of 1884 that Verdi started the composition work of the opera, and he finished it in just under a year. He then decided to make the title of the piece Othello rather than Iago, since “Iago is the demon, who sets everything in motion, but it is Othello who acts.” The Shakespearean drama provides adequate room and opportunity for the slow development of jealousy. However, the form of expression is more condensed in the opera.

The Othello of the opera reacts with fury even at the first hints from Iago, and the idea of revenge develops in him by the end of the second act. The libretto is essentially a two-person piece because the Desdemona of the opera is virginal and faithful, remaining largely in the background, though her presence can be sensed all the way through.
Dance is a sensual art form. The instruments and media of which are the dancers: it is their mental and physical accomplishment. The dance stage composition of Othello’s story is an excellent opportunity for creator and dancer alike.
The widest range, the greatest amplitudes of human emotions appear in the fatal drama of the true love of Othello and Desdemona. The piece is proof of the fact that even the purest love can turn into a murderous passion by stirring up groundless jealousy. Even the noblest human emotions can turn into a lethal weapon on the appearance of “the green eyed monster”.



Otello
- Ballet in Two Acts-
Ballet Pécs

Dancers:
Othello: Zsolt Molnár / Péter Koncz
Desdemona: Tünde Czebe
Iago: Márton Szabó / Dóri István
Emilia: Írisz Nagy
Cassio: Szabolcs Pataki / Szilárd Tuboly

also dancers of the Pécs Ballet and the students of the dance faculty of the Pécs Arts Grammar and Vocational School
Music: Giuseppe Verdi, Richárd Riederauer
Sets and costumes: Zsuzsa Molnár
Dramaturgs: Dóra Uhrik, György Böhm
Assistant to the choreographer: Tünde Czebe

Directed and choreographed by Balázs Vincze