As March begins, the Tbilisi Opera and Ballet Theater is once again at the center of Georgia’s cultural calendar with a grand tribute to the legendary Vakhtang Chabukiani. Marking his 115th birth anniversary, the State Ballet of Georgia has staged a spectacular revival of Othello, with performances on March 1, 2, 8, and 9. This new choreographic edition, created by Artistic Director Nina Ananiashvili in 2022, revisits Chabukiani’s groundbreaking 1957 production, preserving his dramatic intensity while embracing contemporary artistic sensibilities.
The Spectacle Unfolds: A Cast of Unrelenting Force
From the opening tableau, this Othello declares itself as a force of nature. The principal dancers wield their movements like weapons—sharp, precise, and devastatingly expressive.
Cuban virtuoso Amilcar Moret Gonzalez, in the role of Othello, is a revelation. His portrayal of the doomed general does not merely rely on brute strength; rather, his physicality pulsates with psychological complexity. Each grand jeté is an exclamation of anguish, every tour en l’air a moment of inner torment. Moret Gonzalez’s partnering with Tomone Kagawa’s Desdemona is breathtakingly lyrical, a study in contrasts—the weight of his possessive love set against her ethereal fragility. Kagawa’s movements offer an otherworldly grace, her adagios imbued with a heartbreaking sense of foreboding.
Efe Burak’s Iago slithers across the stage, his movements infused with sinister precision. Unlike the sweeping grandeur of Othello’s choreography, Iago’s role is marked by a serpentine economy of motion—his steps clipped and cutting, his gestures as venomous as the lies he spins. Elene Bujiashvili as Emilia offers a striking counterpart, her performance brimming with quiet defiance, culminating in a searing final act that lingers long after the curtain falls.
Chabukiani’s Fire: A Choreographic Legacy Unfolds
To understand the essence of this production is to understand Chabukiani himself. His approach to movement was revolutionary—he redefined male ballet, elevating it beyond its traditional supporting role into a dazzling spectacle of strength and artistry. His Othello was a masterpiece of kinetic drama, where every step carried the weight of Shakespearean tragedy.
Ananiashvili’s version remains deeply faithful to Chabukiani’s ethos. She has retained the sheer athleticism that defined his choreography, while refining its narrative structure, ensuring that each variation serves not only as a technical showcase, but as a vehicle for emotional storytelling. The famed duets between Othello and Desdemona are more intimate than ever, infused with both tenderness and tension. Iago’s solo passages emphasize not just his scheming intellect but his manipulative prowess, his movements coiling and uncoiling like a spring-loaded trap.
A Score that Breathes with the Dancers
No ballet exists in isolation from its music, and Alexi Matchavariani’s powerful score pulses through the production like a second heartbeat. Under the expert baton of Levan Jagaev, the Tbilisi Opera and Ballet Theater’s Orchestra delivers a performance that is both lush and unsettling, its crescendos mirroring Othello’s unraveling psyche.
Matchavariani’s composition is singular in its ability to blend symphonic grandeur with balletic precision. Its motifs are not merely atmospheric, but deeply integrated into the choreography. The strings weep with Desdemona’s sorrow, the brass erupts in Othello’s rage, and the percussive undertones lend an air of looming catastrophe. The score, like the ballet itself, is a work of controlled intensity—never indulgent, always purposeful.
Beyond the Stage: The Documentary as a Window into Process
In parallel with these live performances, the State Ballet of Georgia has also unveiled a documentary chronicling the journey of this production. Released on the company’s YouTube channel, the film offers an illuminating look at the creative process, featuring interviews with Ananiashvili, the staging team, and the dancers themselves. Archival footage of Chabukiani’s original work juxtaposed with present-day rehearsals reveals the meticulous care taken to honor his legacy, while forging a contemporary path forward.
More than a behind-the-scenes glimpse, this documentary serves as an essential companion piece to the performances, allowing audiences to appreciate the depth of thought and artistry involved in resurrecting a ballet of this magnitude. It situates Othello within the broader context of Chabukiani’s influence, cementing his role as a titan of 20th-century ballet.
A Balletic Storm of Passion and Power
In an era where ballet continually wrestles with the tension between tradition and innovation, this Othello stands as a testament to the enduring power of legacy. It is a work that does not merely revisit the past but reignites it, allowing Chabukiani’s artistic fire to burn brightly for a new generation.
The standing ovations that greet the close of the performance are more than just accolades—they are affirmations. Affirmations that Chabukiani’s vision remains as vital as ever. Affirmations that the language of movement, when wielded with this level of mastery, can pierce through time, culture, and history. Affirmations that, even 115 years after his birth, Vakhtang Chabukiani is still shaping the future of ballet.
For those fortunate enough to witness these performances, one truth is undeniable—Othello is not simply being revived. It is being reborn.
By Ivan Nechaev
