Otello
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| Operas by Giuseppe Verdi |
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Oberto (1839) |
:For the Rossini opera, see Otello (Rossini).
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was first performed at the Teatro alla Scala, Milan, on February 5, 1887.
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[edit] Critical evaluation of the opera
Most music critics consider Otello to be Verdi's greatest and most mature tragic opera. In it, he tried to do away with the traditional recitative-aria structure of opera, much as Richard Wagner had done, except that in some cases, the distinction between recitative and aria is more clearcut in Otello than in any of Wagner's operas. Verdi's librettist, Arrigo Boito, was extremely faithful to Shakespeare's original play, except for the omission of Act I of the drama (everything having to do with Brabantio, Desdemona's father). The roles of Otello (Othello) and Jago (Iago) are among the most fully developed in all of opera, almost as much so as in Shakespeare's original drama - especially the character of Otello himself (Jago is more of an out-and-out villain in the opera). Verdi raises his orchestral writing to new heights in this opera, using the orchestra almost as a participant in the story, instead of merely as accompaniment. For example, the orchestral writing helps reveal the depth of evil in Jago, an evil possibly rivaled by only one other character in Italian opera: Scarpia in Puccini's Tosca.
[edit] Performance history
The three leading roles in the opera are among Verdi's most demanding, both as singing and as acting roles. Some of the world's greatest tenors have sung the role of Otello, among them the role's incomparable creator, Francesco Tamagno, as well as Francisco Viñas, Aureliano Pertile, Antonio Paoli, Giovanni Zenatello, Renato Zanelli, Giovanni Martinelli, Leo Slezak, Ramón Vinay, Mario del Monaco, James McCracken, and Jon Vickers. (Enrico Caruso was studying the role, but sadly, his premature death in 1921, at the age of 48, prevented him from performing it on stage.) In our time, Plácido Domingo has appeared in more video productions of the opera than any other tenor. Many consider Domingo the definitive modern-day Otello, though his voice lacks the truly iconic power of such great predecessors as Tamagno or Zenatello (who sang the Moor more than 300 times).
A long succession of outstanding baritones have sung Jago. They include, among many others, Victor Maurel, the first Jago in 1887, as well as Mattia Battistini, Antonio Scotti, Titta Ruffo, Lawrence Tibbett,Giuseppe Valdengo, Robert Merrill, Tito Gobbi, Sherrill Milnes and James Morris. Numerous top lyric sopranos have undertaken the role of Desdemona - far too many to name here. The celebrated conductor Arturo Toscanini's 1947 radio broadcast of the opera, starring Herva Nelli, Ramón Vinay, and Giuseppe Valdengo, is considered to be one of the Maestro's greatest performances and has been released on LP and CD.
[edit] Roles
| Role | Voice type | Premiere Cast, February 5, 1887[1] (Conductor: Franco Faccio[2]) |
|---|---|---|
| Otello, a Moorish general | tenor | Francesco Tamagno |
| Desdemona, his wife | soprano | Romilda Pantaleoni |
| Jago, Otello's ensign | baritone | Victor Maurel |
| Emilia, wife of Iago and maid of Desdemona | mezzo-soprano | Ginevra Petrovich |
| Cassio, Otello's captain | tenor | Giovanni Paroli |
| Roderigo, a gentleman of Venice | tenor | Vincenzo Fornari |
| Lodovico, ambassador of the Venetian republic | bass | Francesco Navarrini |
| Montano, former Governor of Cyprus | bass | Napoleone Limonta |
| A herald | bass | Angelo Lagomarsino |
| Chorus: Venetian soldiers and sailors; and Cypriot townsfolk and children | ||
[edit] Synopsis
[edit] Act 1
In front of the castle, next to the harbor
It is night and storm is raging. The people of the town are anxiously waiting for the arrival of the new governor, Otello from the battle with the Turks (Chorus, Montana, Cassio, Jago, Roderigo: Una vela! Una vela! - "A sail! Jubilation!"). Otello arrives safely and announces that the Turkish fleet has been destroyed, and the Cypriots cheer (Otello, chorus: Esultate! L’orgoglio musulmano).
Otello’s ensign, Iago tells the young Venetian gentlemen, Roderigo that he knows Roderigo loves Desdemona and wants to help, for he hates Otello (Jago, Roderigo: Roderigo, ebben che pensi?). He is upset because Otello has appointed Cassio to be the captain of the navy, a position that he has hoped to have.
The people of Cyprus celebrate the navy's safe return by lighting a bonfire (Chorus: Fuoco di gioia!).
In the tavern, Jago proposes a toast to Otello and his wife, while Cassio give fulsome praises to Desdemona (Jago, Cassio, Chorus, Roderigo: Roderigo, beviam!).
Jago offers Cassio wine, but Cassio says he has had enough. Jago pressures him, and when Jago offers a toast to Otello and Desdemona, Cassio gives in. Jago sings a drinking song and continues to pour Cassio wine (Jago, Cassio, Roderigo, chorus: Inaffia l'ugola! - "Wet your throat").
Montano enters and calls for Cassio to begin his watch, but he is surprised to find Cassio drunk and barely able to stand upright. To Montano's surprise, Jago explains that this is how Cassio spends every evening. Roderigo laughs at Cassio. Cassio asks who laughs; Roderigo says, "I laugh at drunkards!" and Cassio attacks him. Montano tells Cassio to refrain, but Cassio draws his sword and threatens to crack open Montano's head (Montano, Cassio, Jago, Roderigo, chorus: Capitano, v’attende la fazione ai baluardi). Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Cassio wounds Montano as Otello enters and orders them to lower their swords.
Otello asks "honest Jago" to explain how the duel began, but Jago says he doesn't know. Otello then turns to Cassio, who feels embarrassed and cannot excuse his actions. When Otello discovers that Montano is wounded, he becomes enraged. Desdemona enters, and, upon seeing that his bride's rest has been disturbed, Otello declares that Cassio is no longer be his captain (Otello, Jago, Cassio, Montano : Abbasso le spade ).
Montano is helped away and the Cypriots leave Otello alone with Desdemona. Together Otello and Desdemona recall why they fell in love. They kiss and then walk back to the castle (Otello, Desdemona: Gia nella note densa - "Already in the dense night").
[edit] Act 2
Inside the castle, a chamber next to the garden
Jago suggests Cassio to ask Desdemona to talk to Otello about his demotion. He added, she controls Otello and she can make Otello to reinstated Cassio as a captain (Jago, Cassio: Non ti crucciar). Cassio goes to the garden waiting for Desdemona.
Desdemona and Emilia enter, and Cassio begins to plead with Desdemona. Jago watches Cassio and Desdemona and proclaims his evil Credo (Credo in un Dio crudel - "I believe in a cruel God").
Otello enters the chamber. Pretending not to notice Otello who is walking by, Jago says that he is deeply wounded. Otello asks what's wrong. Jago, by giving half-answers and asking vague questions, makes Otello demand to know what it is that Jago is thinking of. Iago intimates that Cassio and Desdemona are having an affair. Otello feels himself becoming jealous, but he wants proof of Desdemona's betrayal first (Jago, Otello: Cio m’accora.. che parli? ).
A crowd of children, sailors, and Cypriots encircles Desdemona, praising her beauty and purity (Chorus, Jago, children, Desdemona, Otello: Dove guardi splendono raggi). They leave her gifts and wish her happiness before leaving.
Desdemona carries Cassio's request for reinstatement to Otello. She says that it makes her very sad, and she prays that he will pardon Cassio. Otello sourly tells her to ask him another time, but she insists. Otello says that he has a headache. Desdemona wraps his head in a handkerchief Otello once gave her, linen and embroidered with strawberries. Otello throws it to the ground and says he doesn't need it (Desdemona, Otello: D'un uom che geme sotto il tuo disdegno).
Emilia picks up the handkerchief. Desdemona asks for Otello's forgiveness. Aside, Jago demands that Emilia give him the handkerchief. When she refuses, Jago takes it from her.
Otello asks to be alone. Desdemona and Emilia leave. Otello now begin to believe that Desdemona may be deceiving him (Otello : Ora è per sempre addio ).
Jago pretends to leave, but comes back. Otello, fills with jealousy, demands Iago to prove Desdemona's infidelity, or else he will be killed. Jago says that once, when he and Cassio were sleeping in the same room, he heard Cassio talking to Desdemona in a dream. In the dream, says Jago, Cassio told Desdemona that they must be careful to conceal their love (Iago: Era la note, Cassio dormia ). Jago continues that it was only a dream and does not prove anything, but then asks if Otello remembers the handkerchief that Desdemona was embroidering? Otello says yes, it was the first gift he gave to her. Jago says that he saw it just yesterday with Cassio.
Otello calls for blood, and kneeling down, prays for vengeance. Jago kneels with him, and together they swear vengeance on Desdemona (Otello, Iago: Sì, pel ciel marmoreo giuro - "Yes, by the marble heavens I swear").
[edit] Act 3
The great hall of the castle. A small hall next to the great hall.
Otello and Jago are in the great hall when a herald announces the arrival of the Venetian ambassador . Otello dismisses the herald . Iago explains his plan: He will draw Cassio here while Otello watches, hidden. Before he goes, he reminds Otello of the handkerchief (Otello, Jago: Continua, Qui trarro Cassio ).
Desdemona enters and reminds Otello of Cassio's request. Otello says that he still has a headache, and asks her to wrap her handkerchief around his head. When Desdemona produces a different handkerchief, Otello demands the one he gave her. When she says she does not have it, Otello says that it was a talisman, and troubles will befall her if she loses it. Desdemona says that he is trying to distract her from Cassio. "The handkerchief!" he demands. Desdemona reminds him how close a friend Cassio was to him. "The handkerchief!" he demands again. Desdemona asks that he pardon Cassio. "The handkerchief!" he demands a third time (Desdemona, Otello: Dio ti giocondi, o sposo ).
Desdemona cries out in fear. Otello says that the handkerchief is damning her to Hell. Desdemona protests that she is faithful. Otello, angry, motions for her to leave (Desdemona, Otello: Esterrefatta fisso ).
Otello laments his fate (Dio! mi potevi scagliar tutti I mali - "God, you could have lashed at me" ) when suddenly Iago calls out, "Cassio is here!" Jago enters and quickly motions for Otello to hide.
Cassio follows and says he had hoped to see Desdemona here, for he wanted to know whether she had been successful with Otello (Jago, Cassio, Otello: Vieni; l’aula e deserta ). Jago, leading Cassio towards Otello's hiding place, asks him to tell of his adventures with that woman. Cassio asks which woman, and, softly, Jago says, "Bianca." Jago and Cassio laugh, and Iago leads Cassio away from Otello's hiding place. Soon Iago motions Otello to come closer, and as he does, Jago holds up the handkerchief so that Otello can see it clearly (Jago, Cassio, Otello: …e intanto, giacche non si stanca mai ).
Bugles sound, announcing the arrival of the Venetian ambassador. Jago warns Cassio that he should leave unless he wants to meet Otello. Cassio exits, and Otello determined to kill his wife by suffocating her in her bed, while Jago will take care of Cassio.
Lodovico, Desdemona, Emilia, Roderigo, and other dignitaries enter. Lodovico comments that he does not see Cassio. Jago tells him that Cassio is out of favor, and Desdemona says that he will soon be restored. Otello, as he reads the letter from the Doge, asks, "Are you sure?" Jago explains to the puzzled Lodovico that perhaps Cassio's restoration is her wish. Desdemona says that it is, for she has quite an affection for him. Otello overheard this and begin to argue with his wife. Infuriated, Otello calls her a demon and almost strikes her violently but held by Lodovico. Otello then calls for Cassio (Lodovico, Otello, Desdemona, Emilia, Jago, chorus: Il Doge ed il Senato salutano ) .
When Cassio enters, Otello reads the decree of the Doge and tells Desdemona to be quiet. Otello announces that the Doge has recalled him to Venice and has installed Cassio as the new Duke of Cyprus. Enraged, Otello throws Desdemona to the ground (Otello, Roderigo, Jago, Cassio, Lodovico: Messeri! … Il Doge.. )
Desdemona on the ground, laments ( A terra! … si … nel livido fango ). Emilia and Lodovico comfort Desdemona.
Aside, Jago tells Otello that tonight is the night to take revenge. Iago says that he will deal with Cassio. Jago then secretly tells Roderigo that the only way to prevent Desdemona from leaving is for the new Duke to die, and arranges for Roderigo to kill Cassio tonight. Otello orders everyone to leave. Desdemona goes to comfort him, but Lodovico drags her away as Otello curses her (Emilia, Cassio, Desdemona, Roderigo, Lodovico, Jago, Otello, chorus: Quell’innocente un fremito ).
All except Otello and Iago leave. Otello, raving about the handkerchief and collapses. Jago presses Otello's forehead with his heel, then walks away. Outside the crowd of Cypriots calls out victory and glory for Otello (Otello, Desdemona, Emilia, Cassio, Roderigo, Lodovico, Iago, chorus: Fuggite! ).
[edit] Act 4
Desdemona's chamber. A lit lamp in front of an image of mother Mary.
Desdemona and Emilia are preparing for bed. Desdemona asks Emilia to put out the bridal gown she used on her wedding day, and says that if she dies, she wants to be buried with it. Emilia tells not to talk about such things. Desdemona recalls how her mother had a servant named Barbara, who fell in love with a man but went mad when he left her (Desdemona: Mia madre aveva una povera ancella - "Willow Song") ; (Desdemona, Emilia: Piangea cantando nell’erma landa ).
As Emilia goes to leave, Desdemona bids her a farewell.
After Emilia left, Desdemonia prays (Ave Maria ) and then falls asleep on her bed.
Silently, Otello enters. He is holding a sword and stands watching Desdemona asleep. He leans forward and kisses Desdemona three times, Desdemona awakes.
Otello asks her if she has prayed tonight. She asks why, he replies, he does not want to kill her soul. She asks God for mercy, both for her and for Otello. Otello accuses her of sin, saying that he must kill her because she loves Cassio. Desdemona denies it and asks that he summon Cassio on her behalf. Otello says that Cassio is already dead. Desdemona pleads for mercy, but Otello tells her it's too late for that and strangles her (Otello, Desdemona: Diceste questa sera le vostre preci ).
Emilia knocks at the door. Otello delays for a moment before he lets her in. She announces that Cassio has killed Roderigo. "And Cassio?" asks Otello. "Lives," says Emilia. Desdemona softly calls out that she has been unjustly accused. Emilia sees her lying on the bed and cries out in horror. As Desdemona says again that she is innocent, she dies. Otello calls her a whore. Emilia calls Otello a murderer. Otello says that Jago has proved that she loves Cassio. Emilia calls Otello a fool, and as he begins to menace her, she calls for help. Jago, Cassio, and Lodovico enter. Emilia demands that Iago deny Otello's accusation. Jago says it is the truth. Otello says that the handkerchief she gave to Cassio proved it to him. Emilia, horrified, explains that Jago stole the handkerchief from her, as Cassio reveals that he found the handkerchief in his dwelling. Montano enters and says that Roderigo, with his dying breath, has revealed Jago's plan. Iago, brandishing his sword, runs away (Emilia, Otello, Desdemona, Cassio, Jago, Lodovico, Montano: Aprite! Aprite! ).
After realizes what has happened, Otello grieves over Desdemona's death. He then draws a dagger from his robe and stabs himself. Others tried to stop him but it was too late.
Before he dies, he drags himself next to his wife and kisses her. He lies dead next to Desdemona (Otello, Cassio, Lodovico, Montano: Niun mi tema - "That none fear me" ).
[edit] Musical Analysis
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[edit] Act 1
The storm which dominates the opening chorus is portrayed vividly by the orchestra. Rapidly changing sixteenth notes played by the lower strings and woodwinds create an image of a turbulent sea while rising and descending scales in the upper woodwinds represent the unpredictable patterns of the wind in the tempest. Frequent interjections from the brass and percussion portray the bolts of lightning and thunder which accompany the storm. Upon the ship's safe docking, brass instruments accompany Otello and the victory chorus which follows his entrance a sense of grandeur. The calming of the storm is then portrayed once again by the runs in the woodwinds that had marked it at its height, but significantly softer without the massive sound provided by the brass in the previous episode.
Jago's recitativo is marked, at one portion, accompanied by the strings, giving his conversation with Roderigo a more playful feeling.
The music of the chorus which follows once again makes use of runs in the high woodwinds, but this time, they serve to portray the sparklings of the flames and give the brief chorus a cheerful tone. In the drinking song that follows this chorus, after a brief recitativo, Verdi makes use of the bassoons and other low instruments in order to represent the internal effects of alcohol upon Cassio. However, this is gradually eclipsed by the merry themes which follow in the orchestra and chorus ("Chi all'esca ha morso"). However, the merriment of the celebrations suddenly become frantic, as Cassio challenges Montano to a duel. The full orchestra builds up to a climax as they fight whilst Otello orders Roderigo to go and alert the entire town until the ordeal is interrupted by a loud statement made by the entering Otello.
Accented notes in the orchestra, particularly in the strings, reflect the annoyance of Otello at having his sleep disturbed. Notes played piano and pizzacato by the strings accompany Iago's account of the events, giving his account a feeling of false remorse and unhappiness. Upon Otello's orders, the disturbed islanders return to their homes, accompanied by legato notes in the upper strings and woodwinds depicting the calm that has once more been reestablished.
The great love duet which ends the act commences with a statement from Otello accompanied by cellos playing pianissimo. Desdemona's reply to him is accompanied by the violins and violas, providing a contrast to the statements made by Otello previously. When the duet proper starts ("Quando narravi"), sixteenth notes played by the harp and quarter notes played by the horns and bassoons give the music a sense of motion as Desdemona describes the narrations that Otello had given her about his life. As Otello commences to speak about how he narrated the battles in which he fought, thirty-second notes in the strings in addition to the inclusion of the lower brass instruments reflect the violent topics of Otello's previous narration. However, upon Desdemona's next vocal entrance several bars later, this immense energy is translated to a overall sense of the passion of the two lover's love for each other through the use of some of the more expressive wind instruments such as the English Horn. The duet continues to build up in passion until its climax, the appearance of the "kiss" theme which reappears twice more in the Opera near the end. After this, the music begins to tone down until the act ends with a trill in two of the first violins and a plucked chord on the harp.
[edit] Act 2
The act commences with a series of dark threatening statements from the bassoons and cellos followed by repeats of these in the clarinets and violas. Quickly, a theme forms that appears to reflect the calm that has remained in the castle after the brawl the night before. However, this tone is only superficial; repeated descending chromatic scales in the strings during the brief orchestral prelude create a darker atmosphere associated with the plotting of Jago.
Jago's brief conversation with Cassio is marked by the theme from the acts introduction, making Iago appear strangely affable when he suggests that Cassio consult Desdemona; however, as before, an underlying dark tone remains.
Upon Cassio's exit, this dark tone rapidly becomes predominant as the gestures which opened the act repeat, but this time, will a full string and woodwind section. The famous aria that follows ("Credo in un Dio crudel") is marked by trills in the lowest clarinet register and quick yet powerfully accented notes played by the full orchestra at several intervals that portray the evil of Iago to its fullest extent.
Nevertheless, Jago's evil reverie is interrupted by the appearance of Desdemona and Cassio. The urgency felt by Jago in the situation is reflected in the staccato eight notes in the strings which accompany his witnessing of the situation. However, upon Otello's entry the music suddenly becomes much calmer. Otello's response to Jago's question about the preexisting relationship between Cassio and Desdemona is a typical love melody which would have been standard in an earlier Verdi opera, yet it lacks the passion that would typically accompany it and is cut short by Iago's interjection. Otello's annoyance with Iago for not directly stating his "suspicions" is suddenly reflected by an outburst in the orchestra. This is the second instance in the opera in which Otello's potential anger has been made apparent. As Jago gives the equivalent of the famous Shakespearean line from the play ("E un'idra fosca), the low strings and woodwinds create a dark tone during this scene.
This darkness, however is interrupted by the appearance of a chorus. The chorus is accompanied by folk instruments such as the mandolin and guitar in order to give the music a more authentic feel. However, the music is slow and intentionally sweet in quality, reflecting the kind innocence of Desdemona.
The quartet that follows the episode begins with a similarly sweet statement by Desdemona, asking for Otello to forgive her is she has done anything. This is overshadowed by the aside brooding of Otello about his perception of her guilt, which is marked by shorter, more separated phrases in the strings. Meanwhile, as Jago and Emilia join into the music with their quarrel, the music darkens until it is strangely sad towards the end, even when the orchestral accompaniment ends. After the end of the quartet proper, the music once again regains its sweet nature, as Desdemona's farewell statements are accompanied by the violins and oboe, however soon after her departure, it rapidly darkens, Otello broods to the incessant notes of the bassoons and lower violin statements. However, this is immediately transfered into an anger towards Jago which is reflected in the accented statements made by the full orchestra. Otello's distressed is reflected by his farewell to fame and glory ("Ora e per sempre addio"). Repeated lower chords on the harp along with triplet movement in the lower strings give the portion a dark tone, despite the majestic interludes of the brass and the melody (which would, on its own, be cheerful).
During Jago's untruthful account of Cassio's dream, strings and high woodwind instruments are used in order to create a dream-like atmosphere in the music. Descending chromatic scales both add to this atmosphere and maintain the dark overall tone which has pervaded.
The act ends with an energetic finale in which Jago and Otello swear to have vengeance. The energy of this final duet is provided by the full orchestra, which accompanies it.
[edit] Act 3
The brief prelude to the third act uses the theme which had accompanied Jago's warning to Otello about jealousy in the second act. It begin with the lower strings, immediately creating the dark theme that will be present throughout the act, even if in a hidden subsurface manner. The prelude gradually builds up until its climax with the entire orchestra.
Desdemona's appearance in the act is once again accompanied by a sweet melody, however, this is quickly subdued as Otello, in his frustration, calls her a "vile cortegiana" at which point the anger of Otello is once again portrayed by a full orchestra with brass. The music that accompanies Desdemona's reaction to this sudden outburst is sad, yet the woodwinds give it a oddly noble character, which again reaffirms her overall innocence.
After Desdemona's departure, Jago stages an interrogation of Cassio in front of Otello. This interrogation takes the form of a friendly conversation and is accompanied by jocular sixteenth note runs in the woodwinds, reflecting the joy of Cassio about his love interest with the woman Bianca. This happily playful tone is contrasted with the dark asides of the watching Otello. Throughout this scene, the dark tone pervades.
The full scene that follows is grand in the orchestration, with abundant use of brass throughout. However, following Otello's angry outbursts near the end, it quickly becomes dark and sad after Otello strikes Desdemona.
After the departure of all of the members of the scene, the turmoil within Otello's mind is reflected by the restlessness of the orchestra, which becomes increasingly violent as he falls into his trance. The dark singing of the triumphant Jago is contrasted with the majestic brass and external choral interjections praising Otello.
[edit] Act 4
The act begins with a brief prelude of woodwind instruments, particularly the English horn and oboe, which bring a sad and mourning atmosphere to the act, reflecting the sentiments which manifest themselves in Desdemona. All the while, clarinets playing in the lowest register on repeating chords create a sense of impending doom. The theme upon which this prelude is built is that of the later "Willow Song".
In the brief recitativo between Desdemona and Emilia which begins the act, the despairing tone begun in the introduction continues.
The "Willow Song" which follows is marked by an increasing orchestral sound, with woodwinds and strings adding to it, yet what compounds the sadness of the piece is the wail-like cries of "Salce" made by Desdemona followed by similarly despairing, yet softer "echoes" played by the English horn. Near the end of the song, Desdemona's fear, which has been hidden up to this point by a veil of sadness, is made apparent; she mistakes the noise of the wind for that of an intruder. The orchestra immediately builds to a fortissimo, reflecting the genuine worries possessed by Desdemona. The music that gradually lessens with the comforting of Emilia and returns for a final repetition of the theme of the "Willow Song".
Afterwards, Desdemona begins to bid Emilia adieu. This goodbye is initially accompanied by repeated notes on the lower woodwinds and strings such as those in the introduction of the act but in a much more noticeable and dominating manner. This reflects the increasing expectation of Desdemona of her death. Initially, she attempts to keep these feelings to herself, but the orchestra reveals her increasing inner thoughts. These feelings finally reach a point at which they can no longer be contained and Desdemona lets out a loud passionate cry of goodbye to Emilia, one that is reinforced by the full orchestral accompaniment.
Following Emilia's departure, Desdemona prays. Like many of Desdemona's earlier vocal appearances in the opera, these prayers contain a sweet nature, reflecting, for the final time, the innocence of the wrongly accused woman. The melody within the strings that appears later in the prayer scene adds significantly to the poignancy of the situation.
After she goes to bed, a sinister theme appears in the string bass, depicting Otello's entrance. This effectively replaces the sad tone which was present throughout the first portions with the dark one which marked much of the second and third acts. The low theme begins very slowly, but gradually accelerates until there is a sudden outburst with the full orchestra. However, soon afterwards, the music drops down to a soft tremolo in the strings. Above this, a theme that evokes Otello's longing for Desdemona appears in the English horn and bassoons. This theme builds up until it finally gives way to the "kiss" theme from Act 1, as Otello embraces the sleeping Desdemona. However this second appearance of the theme is even more passionate than the first one and adds to the poignancy of the tragedy.
Once Desdemona awakens, the music retreats to the theme that accompanied Otello's entrance, but with a more threatening feel this time as brass instruments are added. As Otello demands that Desdemona confess, the music accelerates, reaching a climax at the point where Desdemona is strangled. After this, though the power of the orchestra lessens, it maintains its darkness throughout the scene of Emilia's discovery of the murder and Desdemona's final death.
The scene with that follows is marked by a theme that is somewhat majestic and proud, however, as it is limited to the woodwinds, it seems weak. This reflects the loss of power and honor that have faced Otello.
As Otello laments his actions to the theme of his longing, he decides to commit suicide. Just before he dies, the orchestra plays the "kiss" motif one final time before the opera ends.
[edit] Selected recordings
Note: "Cat:" is short for catalogue number by the label company.
[edit] Notes
[edit] References
- The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
