A new production of Verdi's Otello, staged in Strasbourg and co-produced by Nancy and Luxembourg, has been revitalized under the direction of Franciska Éry. Originally staged by Ted Huffman nearly a year ago, the production had not fully impressed audiences at the time. This revival, set to return to Nancy and Luxembourg in October of next year, retains the original set design by Ted Huffman, costumes by Astrid Klein, and lighting by Bertrand Couderc. However, these elements are now complemented by Éry’s direction, which brings a fresh perspective to the performance. The staging emphasizes more natural interactions between characters, with singers using gestures and expressions to convey emotions and psychological depth, in addition to their vocal performances. The fight choreography by Pim Veulings is now more believable, and the stage itself becomes a character, with the violent act of Otello killing Desdemona being contextualized and questioned. The program includes interviews with Éry, historian Christelle Taraud, and author Camille Kouchner, as well as a projection of a feminist monologue from Shakespeare's play and an artistic installation titled "La Femme découpée en morceaux" by sculptor Aleteïa. Samuel Sakker, who previously performed in an acclaimed Tristan on the same stage, faces greater challenges in Otello. While he effectively portrays the jealousy and violence of the Moor, his vocal tone is described as unappealing and strained, with high notes more stable in strong passages but less so in softer sections. His lower register lacks convincing projection. Daniel Scofield delivers a committed and strong performance as Iago, demonstrating a wide vocal range with an intense "Credo" and strong control, though he lacks the vocal depth and sinister edge the role demands. Yaritza Véliz, who previously performed in Giuletta in I Capuleti e i Montecchi by Bellini in 2024, gives a standout performance as Desdemona. Her vocal richness, clarity, and projection allow her to dominate ensembles, with her high notes adding emotional depth to her portrayal. Joel Prieto portrays Cassio with charm and sensitivity, while Sulkhan Jaiani impresses with the strength and power of his voice. Marie-Juliette Ghazarian brings warmth, sisterly connection, and presence to the role of Emilia, which Éry aimed to highlight more. Grégoire Mour offers a more subdued portrayal of Roderigo. The Chorus of the Opéra national de Nancy-Lorraine, supported by that of the Opéra national du Rhin and well-prepared by Virginie Déjos, is flawless. Giulio Cilona, leading the musical direction, ensures precision and support on stage. The setup for the opening night is excellent, with dynamic and tempo contrasts handled perfectly, though the direction may be seen as overly cautious or restrained, lacking the fervor needed to fully engage the audience. The Orchestra of the Opéra national de Nancy-Lorraine performs its part well but lacks the freedom and abandon that could elevate the performance. Despite these elements, the evening is considered beautiful and provides a fresh opportunity to reassess this staging of Otello.