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Michael Weinius, Jens Søndergaard, Gothenburg Opera Chorus | Photo: Lennart Sjöberg

It’s the era of the paired-back opera set. The depth of the psychology is enough for Verdi’s Otello, some may think and for Rafael R Villalobos’s new production of the work at Gothenburg Opera, he makes a solid case.

It’s a setting that feels strangely familiar, though gives few clues as to its whereabouts. Emanuele Sinisi’s design goes in for distressed walls, pastel, 60s era costumes and a huge broken hole in the ceiling, visible throughout, suggesting a prior collapse.

Verdi’s music is immediately captivating and the opening chorus ‘Una vela!...Esultate!’ hit with a spellbinding punch, chorus members directed to boogie to Verdi’s epic score. Framed photographs of children line the walls and we are introduced to child actor versions of both Otello and Desdemona alongside a lively children’s chorus. Villalobos chooses to make the darkness of the storm less visible and more internal in Act 1.

The drunken physical comedy is effective, as is the pacing of the movement and drama into the fight scene between Cassio and Roderigo. Adam Frandsen plays a memorable Cassio with a bright tenor sound and Tobias Westman as Roderigo matches with a strong, arresting voice.

Michael Weinius as Otello and Julia Sporsén as Desdemona | Photo: Lennart Sjöberg

Act 2 allows Iago and Otello to hold the stage. Dressed in sports gear and playing tennis together, the acts only focal point appears to be this sporting union. The pace slows as the set’s monotony is felt. A mild break to reveal the children’s chorus provides some light relief, with clear, bright voices and marvellous ensemble direction from Vincenzo Milletarì in the pit. Jens Søndergaard is the detestable, deceptive Iago with fantastic command of the drama and indefatigable communication. Michael Weinius, too, as Otello embodies the protagonist’s complex psychological decline with harrowing belief. His tenor was increasingly meaty and vibrant, growing as his mind spiralled.

The show’s highlight was undeniably the drama and emotion of Julia Sporsén as Desdemona. Act 4 was her opera, masterfully aided by the now angled set and intimate lighting. She sang her great aria ‘Ave Maria’ with an introspection and delivery second only to Callas herself.

The Gothenburg Opera Orchestra showed fantastic command of the score – one apparently not heard in the city for 55 years. Special mention must go to the cello quartet clinging to every word of Otello’s aria in Act 1. Some slight timing issues distracted in Act 3 but forgotten by Desdemona’s takeover in Act 4.

The repeated Freudian childhood element is brought off with varying degrees of success. Desdemona’s child self appears more frequently that Otello’s for no clear reason. Her presence sometimes provides impact and, at others, is a distraction to the reality of the opera’s progress and chemistry between the two lovers.

As the opera draws to a close and Desdemona is brought to her death and Otello ends his life, the cracked ceiling descends to engulf the two dying lovers lying on the mattress. The final act brings together the best of Villalobos’s vision, leaving the audience with a palpable, troubled insight into Shakespeare’s timeless story.

Until 12 January opera.se