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Much attention was drawn in 2015 to the first Met production not to use ‘blackface’ for Verdi’s Moorish hero; would that as much attention was paid to an elegant, cogent production and incandescent music-making coming from the pit. Antonenko is not vocally the largest Otello but he colours and phrases with care and expressiveness. Likewise, the compactness of Lučić’s Iago is sometimes at odds with the breadth of the production. Best of all, though, is Yoncheva’s Desdemona: alert, thrilling and ultimately defiant, she is wonderful throughout. Fine camera work and sound.

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