An operatic performance, as in the case of Otello, largely makes use of design to magnify and communicate appropriate emotion to the audience. Whether such manipulations manifest themselves in set or costume design, they serve to direct the audience’s attention towards relevant, occasionally subtle elements of emotion present in any given scene.

Since costume design in Otello tended to be relatively minimalistic in both form and color choice, what differences were instituted were thereby immediately recognizable as intentional artistic selections intended to draw the eye and invite critical analysis. In Desdemona’s characterization, for instance, costume change played a major role – shifting from a pure white wedding dress to shocking bolts of red and finally moving towards pale, muted tones of the pure and innocent. Against a backdrop of dark, haunting hues, Desdemona sticks out like a sore thumb. She is the focus of all lust, accusation, and pity, each respectively attributed to the aforementioned dress changes. It is interesting to note how Emilia and Desdemona are often in complementary dress, in similar muted tones. Even in the closing scenes, Emilia’s dress directly coordinates with Desdemona’s pillows, while Desdemona blends with her bed. The two are tightly intertwined, easily recognizable by their chosen shades.

Costume design works further to influence the audience’s perception of that which is good and evil. Although many characters are clothed in darkened tones, many have complementary splashes of color accompanying their drab dress. In contrast, Iago is dressed entirely in black, the color most often and easily associated with evil itself. Indeed, Iago goes on in a later soliloquy to characterize himself as a devilish being interested only in the execution of sin. It appears to me that the children’s choir appearing on stage with white flowers stands in direct contrast to Iago’s character and upholds the intrinsic goodness of Desdemona’s. The flowers they hold seem to be a part of their costume design, intended to portray the innocence of youth and offer an element of serenity among chaotic scenes largely populating the performance.

Set design also serves to reinforce emotions displayed on stage, largely through the use of lighting and overpowering, portable glass walls. The two aspects work together, with the walls manipulating light in such a way to cast shadow and throw filtered light over the stage wherever appropriate. For instance, when Otello collapses while fighting with Desdemona over her faithfulness, the scene is bathed in a red light immediately saturating the stage via these glass walls. Intensity of emotion is thereby magnified to a strength greater than that which focused spotlights could offer. The walls also serve to contain each scene, allowing each audience member to focus their attention towards relevant sections of the stage and keep their mind from wandering past uncontained edges of the stage. Aside from the walls, directed light manipulation offers an illusion of waves passing over a scene – the opera opens with such a view, waves storming over the performers, accessing restlessness in the audience and offering a relentless barrage of pandemonium. This technique is utilized in conjunction with red light as Otello falls to his knees, indicating his restlessness as well as the overpowering agitation characterizing subsequent scenes. Interestingly, these waves are present in the concluding scene as well, from the very beginning as Desdemona prepares for sleep. In this instance, however, the waves are calm, they suggest the coming of a storm – of Otello himself. As Otello moves to sit near Desdemona, the stage darkens, save for Desdemona and her bed. She appears to be the eye of the storm surrounding her, caught unaware and entirely innocent.