Like the Shakespeare play upon which it is based, Giuseppe Verdi’s penultimate opera Otello of 1887, with a libretto by Arrigo Boito, is the story of a general in the Venetian military whose skills in managing political and personal affairs do not match those he has demonstrated in fighting. When his ensign Iago feels Otello has sidelined him for promotion, he lays a trap to make Otello believe his wife Desdemona has been unfaithful, and the general falls whole-heartedly...

In Peter Sellars’ new production of La clemenza di Tito, whenever Sesto says “traditor” (“traitor”) in his end-of-act-one recitativo accompagnato, the supertitles read “terrorist”. This may seem like a small detail, but it’s emblematic of Sellars’ and Currentzis’s audacious reworking of Mozart’s opera. Sesto’s treason is personal, a crime against his friend and father figure Tito. Terrorism is general—the...