The Opéra national de Nancy-Lorraine kicked off its season with a revival of Otello, directed by Ted Huffman. This staging had previously premiered in October 2025 at the Opéra du Rhin in Strasbourg, with a different cast except for the role of Cassio. The production was documented by Yannick Boussaert. Franciska Ery, the new director of the Aix-en-Provence Lyric Arts Festival, oversaw the revival, bringing a committed and activist approach to the staging. Before the performance, surtitle panels displayed grim statistics on femicides in France over recent years, sourced from noustoutes.org, reflecting Huffman's feminist perspective. The production includes a vocal excerpt from Act IV, Scene 3 of Shakespeare's Otello, specifically Emilia's monologue, which was not included in the original libretto by Boito or the score by Verdi. This addition adds a new layer to Emilia's character, emphasizing her role in exposing the flaws that can lead to the murder of a woman. Huffman's staging is minimalist, using only a few props like chairs and tables, focusing on the themes of jealousy, domination, and blindness that drive the drama. Huffman sets the opera in the present day, using contemporary costumes and props, allowing the protagonists to speak directly to the audience from the edge of the pit. The final act takes place in the reception hall of the Doge's envoys, avoiding a bedroom setting. Desdemona, portrayed by Yaritza Véliz, sings the "Willow Song" and "Ave Maria" while holding a rosary on a chair, resisting Otello's accusations and ultimately being shot before Otello turns the pistol on himself. The premiere in Strasbourg was conducted by Speranza Scappucci with the Strasbourg Philharmonic Orchestra, while in Nancy, Giulio Cilona made his debut with the Orchestra of the Opéra national de Nancy-Lorraine, achieving a brilliant success. Cilona, a young Belgian-American conductor with upcoming appointments at Teatro alla Scala and Garnier, delivered a flawless performance, capturing the nuances of the score from the initial storm to the heart-rending accents in Act IV. Yaritza Véliz, a Chilean soprano born in 1991, impressed with her strong stage presence, warm voice, and well-developed technique. Samuel Sakker in the title role faced vocal challenges but managed to deliver a merited performance. Daniel Scofield as Iago lacked the absolute bitterness of previous portrayals but conducted the role with ease. Marie-Juliette Ghazarian's Emilia had a more substantial presence, acting as a confidante and friend to Desdemona. Joël Prieto entered his role as Cassio in the first act and delivered a fine performance. Grégoire Mour, Yong Kim, and Marco Gemini from the Nancy chorus performed Montano and the herald. Sulkhan Jaiani, as Lodovico, was noted for his fine presence and voice.