Returning to the Státní Theater in Prague on Friday, October 18, for Otello was yet another memorable evening. It’s a theater I deeply love, and coming back to it, especially for such a demanding opera as Otello, is always a great experience. The challenge of this role is immense, both for the singers and the audience, and that evening, it was a young 34-year-old tenor, Denys Pivnitskyi, who carried the opera on his shoulders.

Denys Pivnitskyi tackled this formidable role with great courage. Performing and singing Otello has never been easy, and many renowned tenors have stumbled when taking it on too early. In fact, there’s already great anticipation around Francesco Meli’s upcoming performance in Venice! But on this night in Prague, Pivnitskyi stepped up to the challenge. At just 34 years old, his potential in this role was evident. Though his opening “Esultate” was a bit timid, he truly came into his own during the heavier and more emotionally charged arias, particularly “Dio! mi potevi scagliar”, which sent shivers down my spine. His talent is undeniable, and there’s no doubt that he will become a key figure in future Otello performances.

As for his companion and rival, Mikołaj Zalasiński as Iago, he was phenomenal. Cruel, manipulative, and thoroughly villainous, he seemed to relish every moment of pushing Otello into darker and darker depths of jealousy and rage. He was the true mastermind on stage, expertly driving Otello’s descent into madness. The final ten minutes of Act II, during “Desdemona rea”, were especially impactful, showcasing Zalasiński’s control of the scene and his sinister laugh, which echoed throughout the theater.

Olga Busuioc portrayed Desdemona, and while her initial notes were incredibly powerful—leaving me awestruck for a full minute, thinking “wow”—her “Ave Maria” left something to be desired. The aria lacked the high notes and long phrasing that could have elevated the performance to another level. Despite this, her acting was strong, and she managed to convey Desdemona’s innocence and purity well. Hopefully, she’ll bring even more depth to this role in the future.

The staging itself was simple, with a few questionable elements. Some costume choices were inconsistent, ranging from the magnificent uniforms of Otello’s soldiers to others that felt too modern or out of place. It was a bit confusing in terms of setting. However, the idea of the large white sheet that falls during Otello and Desdemona’s love scenes was a nice touch, symbolizing purity and fragility.

Overall, it was a fantastic evening, as it always is in Prague. For me, the mark of a truly moving performance is when I, too, have to take out my own fazzoletto (handkerchief) to wipe away the tears during Otello’s final words: “Un bacio.”

CAST :

Conductor – Andriy Yurkevych
Otello – Denys Pivnitskyi
Jago – Mikołaj Zalasiński
Desdemona – Olga Busuioc
Emilia – Kateřina Jalovcová
Cassio – Martin Šrejma
Roderigo – Josef Moravec
Lodovico – Oleg Korotkov
Montano – Jan Hnyk
Herald – Martin Kreuz