Giancarlo del Monaco stages the Willow Song under a luxuriant willow tree.

The biggest impact, both visually and emotionally, comes at the beginning of Act IV. Del Monaco stages the Willow Song under a luxuriant willow tree, which can be interpreted as either a touch of genius or a sign of insufficient imagination.

I would go for the former because so many productions of the opera simply set this act in the bedroom. The gently swinging willows are so emblematic of Desdemona's fate that it provides the perfect visual balance.

The swift scene change between the Willow Song and Ave Maria, with music uninterrupted, speaks of Del Monaco's cinematic flair and NCPA's technical wizardry.

But stagehands should take extra precaution not to make any stage noise as this is the juncture any sound of stage movements could be distracting and may jolt the audience from arguably the saddest moment in both Verdi's and Shakespeare's tragedies.

The use of two intermissions, after acts one and three, is a weird choice. A single intermission right in the middle would have done more justice to the tautness of the piece.

The set is designed by William Orlandi, with costumes by Jesus Ruiz, lighting by Vinicio Cheli and projections by Sergio Metalli.

Otello runs until April 14 and will surely come back by popular demand. Two casts in the four principal roles rotate on alternate nights.

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