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New York’s Metropolitan Opera has replaced its tired old Elijah Moshinsky production of Otello with another indifferent one by Bartlett Sher. The stage is dominated by large semi-transparent boxes that reconfigure to provide a variety of backdrops that are dramatically useful but dull to view. Otello is thankfully no longer in blackface, but Sher fails to find another way in which to give him a sense of otherness, consequently he seems as much of a gull as Cassio. Aleksandrs Antonenko provides clarion tone in the title role, Željko Lucic doesn’t make much of Cassio, and it’s left to Sonya Yoncheva’s spirited Desdemona and Jennifer Johnson Cano’s feisty Emilia to inject life to the stage. Yannick Nézet-Séguin’s conducting provides some excitements.

Francis Muzzu Read the full review on Agora Classica

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