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Home , Bianca (Othello), Bonaventura Bottone, Charles Craig (tenor), Desdemona, Emilia (Othello), Iago

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CHAN 3068(2) CHANDOS O PERA IN ENGLISH

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Giuseppe Verdi (1813–1901) Dramma lirico in four acts Lebrecht Collection Lebrecht by after Shakespeare, English translation by Andrew Porter

Otello, a Moor, general of the Venetian army ...... , Otello’s wife ...... , an ensign ...... , Iago’s wife...... Shelagh Squires mezzo-soprano Cassio, a platoon leader...... tenor , a Venetian gentleman ...... Stuart Kale tenor Lodovico, an ambassador of the Venetian Republic ...... Sean Rea Montano, Otello’s predecessor as Governor of ...... Malcolm Rivers baritone Herald ...... Gordon Traynor baritone English National and Chorus

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COMPACT DISC ONE Time Page Time Page Act I Act II Scene 1 Scene 1 1 ‘See, the sail there!’ 4:22 [p. 84] 11 ‘Don’t give up hope, but trust in me’ 2:42 [p. 93] Chorus, Montano, Cassio, Iago, Roderigo Iago, Cassio 2 ‘Oh rejoice now!’ 2:17 [p. 85] Otello, Chorus Scene 2 3 ‘Roderigo, speak up’ 2:45 [p. 86] 12 ‘Take it; take the path to your ruin’ 0:32 [p. 94] Iago, Roderigo 13 ‘Yes, I believe in a God who has created me’ 4:25 [p. 94] 4 ‘Flame of rejoicing!’ 2:23 [p. 87] 14 ‘There she is… Cassio… your chance…’ 1:23 [p. 94] Chorus Iago 5 ‘Roderigo, drink up!’ 1:36 [p. 87] Iago, Cassio, Chorus Scene 3 6 Brindisi: ‘Good comrades, brave and true’ 3:47 [p. 88] 15 ‘How distressing…’ 2:52 [p. 95] Iago, Cassio, Chorus, Roderigo 16 ‘Beware, O my lord, beware of jealousy’ 2:17 [p. 96] 7 ‘Captain Cassio, the guard awaits your orders’ 1:15 [p. 89] Iago, Otello Montano, Cassio, Iago, Chorus 17 ‘At your glances, flame in our hearts’ 4:01 [p. 96] Chorus, Desdemona, Otello, Iago Scene 2 Scene 4 8 ‘Your swords cast before me!’ 3:07 [p. 91] 18 Otello, Iago, Cassio, Montano ‘I come from someone who has felt your anger’ 2:22 [p. 98] Desdemona, Otello 19 ‘Grant me, oh grant me sweet words of pardon’ 2:55 [p. 98] Scene 3 Desdemona, Otello, Iago, Emilia 9 ‘Now in the silent darkness’ 2:30 [p. 91] Otello, Desdemona 10 ‘Once when you told me of your life in exile’ 7:33 [p. 92] Desdemona, Otello

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Time Page Time Page Scene 5 Scene 4 20 ‘Desdemona guilty!’ 1:41 [p. 100] ‘Ah! Damned for ever!’ 21 ‘Now and forever farewell’ 2:11 [p. 100] Otello, Iago 22 ‘By all creation! Can I believe in Desdemona?’ 1:24 [p. 101] Otello, Iago Scene 5 23 ‘Darkness had fallen, Cassio was sleeping…’ 4:37 [p. 101] 5 ‘Come now; the hall’s deserted’ 3:52 [p. 107] Iago, Otello Iago, Cassio, Otello 24 ‘See me swear, you heavens above me!’ 3:01 [p. 102] 6 ‘This is a cobweb, men are flies’ 1:56 [p. 109] Otello, Iago Iago, Cassio TT 68:12 [p. 00] Scene 6 COMPACT DISC TWO 7 ‘How shall I take her life?’ 1:14 [p. 110] Act III Otello, Iago, Chorus Scene 1 1 ‘I bring word that the watchman at the harbour’ 2:54 [p. 103] Scene 7 Herald, Otello, Iago 8 ‘Hail him! All hail him!’ 3:43 [p. 111] Chorus, Lodovico, Otello, Desdemona, Emilia, Iago Scene 2 2 ‘God give you joy, Otello’ 3:12 [p. 103] Scene 8 3 ‘You are trying to tease me’ 6:59 [p. 104] 9 ‘All hear me! The Doge…’ 1:49 [p. 112] Desdemona, Otello Otello, Roderigo, Iago, Cassio, Lodovico 10 ‘I lie here! Yes: I lie in the dust here…’ 3:40 [p. 113] Scene 3 Desdemona, Emilia, Roderigo, Cassio, Lodovico, Chorus, Iago, Otello 4 ‘God! Had it pleased you to try me with affliction’ 4:22 [p. 106] 11 ‘All in this day of glory rejoice’ 1:56 [p. 115] Otello Iago, Chorus, Otello, Lodovico, Desdemona

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Time Page Scene 9 12 ‘But who can flee himself !’ 1:53 [p. 116] Otello, Iago, Chorus

Act IV Scene 1 13 ‘Did he seem calmer?’ 4:56 [p. 116] 14 ‘“The poor soul sat sighing beneath a willow…”’ 7:05 [p. 117] Desdemona, Emilia

Scene 2 15 ‘Ave Maria, mother of mercy’ 5:01 [p. 117] Desdemona

Scene 3 16 ‘Who’s there?… Otello?’ 6:23 [p. 118] Desdemona, Otello 17 ‘Calm and cold as the tomb’ 2:00 [p. 120] Otello, Emilia, Desdemona

Scene 4 18 ‘Who’s shouting! Oh God! Ah no!’ 1:30 [p. 121] Emilia, Iago, Otello, Cassio, Montano, Lodovico 19 ‘Do not fear me’ 5:17 [p. 122] Otello, Cassio, Chorus Charles Craig TT 69:54 [p. 00] as Otello

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An horrific crash raises the curtain and mar sia la sua tomba! ’) (lit.) ‘The mainsail’s Giuseppe Verdi: Otello explodes a raging storm upon the stage. The split in two!… Let angry breakers smash the effect is chaotic: figures heard dashing to and ship and drown her general!’. No sooner Note: For convenience, in this article order to make Desdemona’s pleas for Cassio fro in the dark and rain are thrown into visible uttered than his evil wish is thwarted: ‘She’s refers to Shakespeare’s play, Otello to Verdi’s seem more credible) is forced to spread his relief by flashes of lightning, whilst thunder is safe now!’ cry the Cypriots and a few moments opera. By analogy, references to the title will play, the opera, by using a contrast of musical punctuated by cannon-shots signalling out to later Otello enters. There is no more striking be made thus: Othello (Shakespeare), Otello styles, achieves a similar effect with more force sea (all these scenic elements are precisely an entry for tenor in opera – nor a more (Verdi). and compression than its model. orchestrated by Verdi and meticulously difficult one, for Otello must run onto the The first act of Shakespeare’s Othello is set positioned in the score). Otello’s ship is briefly stage and launch a ringing, heroic line Otello: Drama and Music in and deals with the love of sighted. For a moment it seems that it will (reaching high A) without even one word of After some thirty years of hard work (he called Desdemona for the Moorish general Othello. sink and the excited spectators counterpoint to help him. In only three lines of it slavery) serving the conventions and Their secret marriage infuriates her father; a the fractured turmoil with a great hymn to verse Otello unequivocally establishes his audiences of , Verdi retired. He court action follows and reveals that their love heaven: ‘With gestures of fright and stature as a commander and leader – the was financially secure and preferred farming is true. The irate father is somewhat placated supplication, facing towards the bastion’, Cypriots respond instantly with a joyous and philanthropy to the heart-breaking and Othello is ordered as Governor to Cyprus command the stage instructions. Nowhere in chorus ‘Evviva Otello’. Although Otello’s struggle of operatic production. How Verdi to defend the Venetian colony against the Italian opera had such a powerful and exactly opening words elicit such happiness in his was cajoled by friends and his crafty publisher attacking Turks. Boito and Verdi abandon this orchestrated storm been heard. Storms there subjects, his command that they should rejoice into overcoming his distrust of act (thus shortening a very long play and were in plenty. They were designed to suspend because the Turkish enemy is defeated will Arrigo Boito; how they collaborated on Otello allowing time for music), but keep its the action, to increase tension and give the ring with deep irony as the work grows. The and (as well as the revision of Simon function: the establishment of the personality orchestra a brief moment of glory (a splendid happy chorus ends and the storm subsides. As Boccanegra; and how Boito became a close and relationship of the chief characters. The example can be found towards the end of the chorus comment on this (‘Si calma la friend, then one of the few people whom operatic First Act is constructed of a string of Rossini’s ), but none broke bufera’ ‘A calm succeeds the storm now’ – this Verdi trusted and finally a surrogate son who traditional operatic numbers (storm, victory so viciously nor were any driven so furiously – too will echo ironically), we sense a wonderful was at the ’s bedside when Verdi hymn, fireside chorus, drinking-song, love and none injected character and action so relaxation of tension – Verdi achieves this by died; has been delicately chronicled by Frank duet) but, less conventionally, these are closely potently as this. releasing a disturbingly discordant low pedal- Walker in The Man Verdi. Their operatic linked both by action which continues during Just after the crowd’s appeal for help we point on three adjacent semitones (C– achievement has been richly praised and, in and between the numbers, and by an meet the first of the three protagonists – C sharp–D) which an organ had held from the truth, Otello rivals Shakespeare in passion and unbroken musical fabric. and Iago instantly shows his malevolence: very opening of the work. tenderness. Moreover, where Shakespeare (in There is no overture – not even a prelude. ‘E infranto l’artimon!… L’alvo frenetico del In this easier atmosphere Iago turns to

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Roderigo, a young Venetian hopelessly in love Desdemona – words which Iago uses to wind) calms the chaos. When Otello demands orchestral introduction is based on a motif with Desdemona, and encourages his passion, convince Roderigo that he has a rival – and to know how the quarrel arose, Iago associated with Iago – at first fierce, later suave assuring him that Desdemona will soon tire of then (prefaced by a sparkling orchestral disingenuously implies that Cassio is to blame. and charming, it is varied to suit his mood her husband. Iago also confesses that he hates introduction) Iago launches the ‘Brindisi’. First Disturbed by the noise, Desdemona enters. during this scene. Having suggested that the Cassio for being promoted above him and that he addresses Cassio, who replies in lines which Otello angrily dismisses Cassio from his post. disconsolate Cassio ask Desdemona to he hates Otello for making that promotion – complement Iago’s both poetically and He then gives brief orders which restore the intercede with Otello for his reinstatement, and ends one of his unctuous phrases with the musically. The pattern is completed when Iago peace and he and Desdemona are left alone on Iago bids his dupe depart (‘vanne’), he then rolling trill which will mark many of his most sings the refrain (complete with his trill and a stage. repeats this ‘vanne’ in a much less friendly characteristic utterances. The two move off snaking chromatic scale) to be echoed by the Introduced by a muted solo with the tone and to a vicious unison outburst in the upstage (and out of earshot) whilst the chorus. A brief aside to Roderigo and the other divided, the superb love duet orchestra he begins his satanic Creed. For this Cypriots light a bonfire and start to sing pattern is repeated: the same music but with begins. To words deftly woven from Boito expanded the merest hint in Shakespeare (‘Fuoco di gioia’ ‘Flame of rejoicing’) in praise the orchestra enriched by trills. The same aside Shakespeare’s Acts I and II this gentle, tender, (where Iago, having advised Cassio to put his of fire. This is another cliché of Italian opera, (‘Un altro sorso e brillo egli è.’ ‘One more yearning and passionate duet captivates us by case to Desdemona, calls on the ‘Divinity of and Verdi himself described it (in a letter to glass and he’ll be drunk’) is followed by the the sheer beauty of its sound – it also fully Hell’ while planning his next stratagem) into a Giulio Ricordi) as ‘that wretched bonfire third verse. The accompaniment is further establishes the quality and depth of the full-blooded, nihilistic declaration of evil. God scene’. Despite this off-hand dismissal of the enhanced – and so is the drama, for instead of relationship between Otello and Desdemona. is cruel; Man, created in God’s image is evil – chorus, its swift, light scoring is a delight and the conventional completion of the pattern, The culmination is the sensually lovely passage a puppet of Fate. After the mockery of life its function in the act is essential since it forms Cassio, now very drunk, misses his cue and in which Otello thrice begs a kiss – we shall be comes death – and then? (pp legato). Nothing. an integral part of a carefully graded transition enters too soon. Instead of the expected brought back to this moment twice during the Heaven is an ancient, idle tale – complete with from the explosive opening to the serene final refrain, the chorus laughs at the drunkard final act: it is on these kisses that the tragedy the full brass section braying derisive laughter. duet. As both fire and chorus die down, whilst Iago urges Roderigo to force a quarrel will hinge. Their recollection unifies the work In Verdi’s setting (riddled with trills, using a Roderigo and Iago join Cassio, the Captain of with Cassio, who staggers about and soon is and will achieve a special significance at the very wide dynamic range from ppp to ff and the Guard. Iago invites his companions to brawling. Whilst Roderigo (at Iago’s close of the opera. For the moment, with mostly declamatory vocal delivery) this drink and although Cassio at first refuses command) sounds the alarm Montano shimmering strings, harp and wind, and a electrifying piece displays an Iago far more (having drunk already) he finally capitulates in (Otello’s predecessor as Governor) intervenes final echo of the duet’s opening phrases, the positively evil than he is in Shakespeare, where order to toast Otello and Desdemona. What and is wounded. The music becomes frantic; duet completes the gigantic decrescendo which his motivation rests on rumour and self- ensues is a wonderful example of Verdi’s genius Otello enters (‘Abasso le spade! ’ ‘Your swords Verdi has constructed to occupy the whole act. indoctrination, not on belief. The charm with for transforming the old into the new. Cassio cast before me!’), and his recitative (strings A dialogue between Cassio and Iago begins which he continues his plot is chilling. While praises the beauty and goodness of with occasional, violent punctuation by the the Second Act. The richly developed Cassio approaches Desdemona, Iago drops

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casual words of suspicion which are overhead have dismissed this scene as overlong and accompaniment continues as Otello, D (‘Cauti vegliamo’ ‘We must be careful’) and by Otello. He warms Otello to beware of dramatically superfluous. On the contrary, emotionally exhausted, drops into a chair. then (chromatically!) slithers down an octave. jealousy – poison is planted in four smooth with its magically simple addition of Savouring the equivalent of Shakespeare’s His further ‘quotation’ (now darkened by phrases. , and small bag-pipes to the …I will in Cassio’s lodging lose this napkin. , and horns) is delivered in a In its early stages Verdi had favoured calling orchestral accompaniment, it shows the simple And let him find it. Trifles light as air hollow, gloomy voice – despite the dolcissimo the opera Iago. In a letter to his friend, the beauty of Desdemona through the eyes of Are to the jealous confirmations strong marking the 6/8 metre is shaken by gentle Neapolitan painter Domenico Morelli, he others, and its length is essential if the As proofs of holy writ… stresses on its weakest beats and the dream disagreed with the latter’s view of Iago as a subsequent action is to prove credible. Iago tucks the kerchief into his doublet. When dissolves. The wondrous beauty of this small, malicious figure and went on to reveal Desdemona’s gracious qualities radiate as she he approaches Otello, the latter explodes in narration, combined with the dark falsity of its his own view of how Iago should be portrayed: echoes the greetings in soaring phrases fury. So violent is his recitative (‘Tu? Indietro! content breaks Otello completely: his response …if I were an actor and had to play Iago, (‘Splendide il cielo’ ‘Heaven is smiling’): fuggi! ’ ‘You? Be careful! leave me!’) that it (‘Oh! mostruosa colpa’ ‘Now I am sure she’s I would rather have a long, thin figure, thin lips, Otello is quite overcome and even Iago overflows (rather than leads) into the aria in guilty!’) is softly spoken – stunned, he small eyes set close to the nose, like a monkey’s, acknowledges her beauty, as he promises to which his spirit breaks. Despite its marching contemplates rather than condemns. When with broad, receding brow and the head destroy it. His opportunity comes all too soon. pulse and martial tone, snaking triplets slither Iago offers him the proof of the handkerchief developed behind; and an absent nonchalant Desdemona approaches Otello and gently its squareness away and invade Otello’s vocal (which was Otello’s first love-offering to manner, indifferent to everything, witty, pleads Cassio’s case. Angrily he rejects this and line. When Otello comes to a climax on a high Desdemona) ‘seen’ in Cassio’s hand, violence speaking good and evil almost lightheartedly and casts away the handkerchief she proffers to his B flat and Iago bids him peace, the strings surges back into Otello’s voice ( ff: ‘Ah! mille having an air of indifference to what he says so feigned headache. Their exchange grows into a (ppp molto staccato e tremolo) are whipping vite gli donasse Iddio!’ ‘Ah! Would that God that, if someone were to reproach him: ‘What masterly quartetas Iago and his wife Emilia, continuous triplets as he demands proof, visual had given him twenty thousand lives!’) and you say is vile!’ he could answer: ‘Really? I didn’t Desdemona’s maid, join the estranged couple. proof. He is so overwrought that he seizes Iago triplet groups once more seize the think so… we’ll say no more about it!’… Iago snatches the handkerchief from Emilia by the throat. accompaniment until Otello cuts it with his A figure like this can deceive everyone, even – and orders her silence – from it he will With much show of reluctance, Iago makes three insane cries (‘Ah! sangue! sangue! sangue!’ up to a point – his wife. A small, malicious fabricate his evidence for the tragedy. The sure that his poison runs fatally deep: once ‘Ah! vengeance, vengeance, vengeance!’). figure arouses everyone’s suspicion and deceives refinement of this quartet is extraordinary: the again his most sensual voice he reports a Falling to his knees he swears vengeance to nobody! Amen. voices blend and exchange grouping subtly dream in which Cassio described his love for Heaven. His part begins on a monotone richly In the distance Cassio has left Desdemona whilst the accompaniment both supports the Desdemona and cursed the fate that gave her embroidered by wind. Iago prevents him from surrounded by Cypriots bringing gifts of voices and disturbs their languid lines with to the Moor. and very quietly join rising, and also kneels and swears. Only when flowers and fruit. The musical idiom now varied, quietly brittle figuration. Although the strings as Iago ‘quotes’ Cassio’s words on a they sing together (bringing the act to an changes and at first seems strange. Some critics Desdemona and Emilia leave, this high repeated C which rises chromatically to heroic close) do we realise that it is Iago who

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has the melody – he quite literally ‘calls the escorts her to the door where he brutally During the ensuing scene Iago talks to Whilst dramatically superfluous, it parallels tune’ whilst Otello accompanies the vocal line insults her as that ‘vile, filthy harlot who’s the Cassio of (the latter’s mistress). Their the treatment in and has some contrapuntally. wife of Otello’, and ejects her from the room. talk is somewhat ribald and rather jovial. scintillating music – and the six bars of The most intricate counterpoint of the score Now utterly broken, he starts the opera’s most Otello – now in, now out of earshot – Invocation to Allah have great dramatic opens Act III mysteriously and Verdi painful aria on a brooding monotone. (Note naturally thinks they refer to Desdemona and strength.) Otello receives orders which recall specifically recalls both Iago and jealousy. The how often the arias of this opera start on a when the puzzled Cassio shows Iago the him to Venice – Cassio is to succeed him as music achieves a climax and subsides. After the monotone – and how much more powerfully mysterious handkerchief he found in his Governor of Cyprus! Goaded beyond herald’s announcement of the Venetian expressive they are than the traditional rooms Iago waves it purposefully about: Otello endurance when he hears Desdemona tell Iago ambassadors, Otello’s single word, ‘Continue’, bel canto lines.) Meanwhile the orchestra sees it and his ‘proof’ is complete. The music that she hopes to see Cassio and Otello is thus directed at both Iago and the jealousy doggedly pursues a small melodic figure Verdi writes here is widely varied and reconciled, Otello publicly insults and to the within his brooding mind. This act will see through one harmonic and contrapuntal twist unprecedented in its delicacy. This is the kind horror of the onlookers strikes her (‘A terra!… Otello’s tortured doubt become (seeming) fact, after another. With each change it gives new of texture which pervades his last opera Falstaff e piangi!…’ ‘So lie there! And weep there!’) . for Iago undertakes to bring Cassio and psychological power to the portrayal of (written five years after Otello). Now a more Desdemona’s exquisite lament blossoms into a provoke him into revealing his guilt. Just Otello’s saturated misery and hopeless efforts formal tone intrudes as a solo rings vast concerted number. This is static in its before Iago leaves he infuriates his victim with to escape his torment. This number is perhaps out – others answer and the cannon shot effect, but its size and brightness of scoring an insinuating ‘the handkerchief’. Verdi’s greatest tragic achievement – nowhere announces the arrival of the embassy. Iago form a vivid foil against the dark-scored Desdemona’s entry pours lyrical beauty on is he so Wagnerian in the speaking power of hustles Cassio away and whilst Cypriots call colouring of the final act. Also, within the the scene and throughout their exchange her the orchestra – and nowhere is he so welcome to the Venetian ambassadors, Otello, number Iago eggs Otello on to vengeance and affection contrasts with Otello’s tense courtesy. profoundly Verdi, for, just at the right at Iago’s suggestion, decides to strangle convinces Roderigo that he must kill Cassio or She again pleads for Cassio and he demands moment, the voice begins to rise and gradually Desdemona. Iago undertakes to despatch lose all hope of Desdemona. At a pause in the the handkerchief repeatedly in ever-rising launches on a slow, lyrical line as Otello sings Cassio, and Otello promotes him to the rank ensemble Otello turns on the crowd and phrases. With dangerous insensitivity, she tries of the eclipse of his sun, of the smile that had of Captain. commands them away. When Desdemona tries to return the conversation to Cassio. Abruptly been his life’s greatest joy. Just when he curses The grand ceremonial scene which follows to comfort him, he curses her and collapses in Otello loses his self-control and challenges her his fate and declares that after proof there will has all the brilliance of the auto-da-fé in a fit. Whilst Iago gloats over his triumph, the to swear her innocence. Her protest of loyalty be death, Iago returns: Cassio is here. The or the Triumph Scene in Aida. receding crowd praise Otello and the Lion of (expressed with the deepest feeling) infuriates speed of action is so great that Otello’s line (It is interesting that when Verdi prepared Venice. Iago (Verdi directs: ‘with a gesture of him. Suddenly (as Verdi’s directions instruct) continues almost untouched and leads to a Otello for the Paris production of 1894 it was gloating triumph’) points at the prostrate body he changes from rage to an icy irony which is brief exchange of words after which Otello here that he added the ballet music, as of Otello and sneers ‘Ecco il Leone! ’ (‘There far more terrifying. Citing her own music he hides to listen and observe. required by French operatic convention. lies your Lion!’). With a last, ironic shout from

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the crowd of ‘Long live Otello!’, the curtain oppressive but not monotonous because Verdi ‘And tell my Lord I never wronged him… in (his love for Desdemona) and his destruction. falls. Verdi substantially revised this finale for is careful to vary it with such touches as the death I love him… Farewell…’ Furiously Its overwhelming force cannot simply by the first Paris performances (1894 – as heard portrayal of the gentle flight of birds Otello accuses her of lying and himself admits explained by Verdi’s use of a recollection on this recording) in order to highlight Iago’s (‘Scendean l’augelli a vol dai rami cupi’ ‘From the blame: ‘Oh, she’s a liar! I have killed her’. theme (a common-place effect of Italian opera words, which, despite his and the performers’ branches high above sweet birds came flying’) Emilia’s cries bring others on the scene – and of Verdi’s own work, for instance in efforts had not been sufficiently audible for or the sudden, frightening slap of a window in only to reveal Iago’s treachery and Otello’s The Force of or Aida). Nor does it stem him in the original score. the wind. To heavy, sullen chords Desdemona gullibility. Lodovico disarms the Moor. Otello from the simple intensity Verdi injects into it After the twisting cross-currents; swift bids her maid goodnight then, momentarily quietly bids those present not to fear him: (it is less simple that it seems and is further action and public spectacle of the preceding panic-stricken, she embraces Emilia and says ‘Life’s weary journey has reached its end. complicated by his other use of the same acts, the Fourth Act simple in content: its goodbye. The earlier figure snakes back Oh! Glory! Otello’s done’. This replaces the device at the start of Act III). By returning to whole action rests on the symmetry of the two disturbingly. Its chromatic undulation shifts to miraculous nineteen lines in Shakespeare (‘Soft Act I at this moment of tragic completion deaths. The tone is dark and private. Wistfully a more restful A flat major as Desdemona you, a word or two before you go’) in which Verdi imposes a cyclic power onto the whole and softly (in a dark G sharp minor) a cor kneels before an icon of the Virgin Mary and Othello reviews his position as his own and forces us to re-examine the beginning in anglais tries to lift a melodic phrase – it sinks says her prayer. The text of this Ave Maria is accuser, his own defending counsel, judge and the light of the end. Why should he do this? away. Later the phrase will acquire words as the final facet in the operatic portrayal of her executioner. In heart-rending lines (which The answer is both subtle and Shakespearean. Desdemona sings the , but now it personality. Her supplication grows to fervour, return to an earlier passage in the play) he Shakespeare frequently equates particular is punctuated by flutes and is answered by and then subsides before she goes to bed and parts from his innocent, dead wife and stabs images with critical dramatic motifs. In hollow sounding clarinets. Treated to thirty sleep. himself with a secreted dagger. On the third Othello Iago is equated with the Turk, and bars of chromatic and contrapuntal stretching, The dark orchestral colouring now darkens kiss Otello dies (Verdi sets the last syllable warfare (Othello’s occupation) with the it seems an age before the curtain rises to further as Otello enters the room. Only the beneath a rest: no pitched note, merely the internal battle which will destroy him. reveal Emilia helping Desdemona in her double-bass section of the orchestra is used – expiring sound of speech) and this time the Shakespeare first plays upon these motifs in preparation for bed. Desdemona’s thoughts and all except the leader of the section are cadence (and the opera) is complete. Act II, Scene 1: A sea port in Cyprus. An open turn obsessively to death and a song which her muted. Otello kisses her three times. Almost The full tragic affect of this ending devolves place near the quay. It took a good critic nearly mother’s maid used to sing will not leave her before the shock of recollection grasps this from much more than its immediate musical forty pages to explore the implications of this mind (‘Mia madre aveva una povera ancella’ huge sweeping reference backwards to the and dramatic substance. Much has been scene (Harold G. Goddard: The Meaning of ‘My mother once had a poor little servant’). Act I duet it dissolves (deprived of its cadence) written of Verdi’s re-use of the music of the Shakespeare, The University of Chicago Press, Plangently accompanied by the , she as Desdemona awakes. Otello suffocates his love duet and its effect here is precisely tragic 1951). Sagaciously Professor Goddard called it sings this song of the willow over and over wife. Emilia gains entrance only to hear her since its locates Otello’s hubris (his fatal pride) the ‘Sixth Act of Othello’ and described its again. The sense of circular repetition is dying mistress claim suicide to protect Otello: both at the moment of his greatest fulfilment ‘silent music’: that surface of activity which

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reveals its metaphysical core only after the he joined the Covent Garden Opera chorus. Opera centre, winning both Peter Moores , Milan and . His successful tragedy is done. Verdi goes straight to this He made his debut in concerts with Foundation and Peter Stuyvesant scholarships. international career includes performances for violent heart of darkness (the storm (not Sir in 1952, and the Her 1984 recording of Leonora () the English Opera Group (with Benjamin passing but to come) brings Otello who following year joined the Carl Rosa Opera as a with Placido Domingo, conducted by Carlo Britten), , Welsh National commands: ‘Rejoice! The Turk’s pride is buried principal tenor, making his debut as Rodolfo Maria Giulini, was nominated for a Grammy Opera, Scottish Opera, and English National in the sea; ours and heaven’s is the glory! After (La bohème); he also sang the roles of Des Award. That same year she made her debut Opera, where he was leading baritone for our arms the storm destroyed him.’ Not so, Grieux (Puccini’s ) and the title with The Royal Opera as Maddalena (Andrea fifteen years. He has performed well over said Shakespeare; and even more directly Verdi role in the British premiere of Berlioz’s Chénier) with Jose Carreras, and Aida with eighty roles, covering a wide range of says the same: the storm is only beginning and Benvenuto Cellini. He went to Sadler’s Wells . repertoire; notable examples include Scarpia, that ‘Turk’ is neither buried nor destroyed. Opera in 1956 and there sang roles including Rosalind Plowright has performed at most Iago, , Boccanegra, Renato, Amfortas, This is the structural dynamo which drives the Samson, Andrea Chénier and in the of the world’s great opera houses, in roles such Golaud, Almaviva and Jokanaan. International tragedy – hence the reason Verdi writes so first British production of Dvorˇák’s Rusalka. as (, Milan), Leonora in appearances cover Italy, France, Germany, huge an opening storm. This has nothing in He first sang at Covent Garden as a principal Il trovatore (Verona), (, Scandinavia, South America and the United common with those pretty orchestral in 1959 as Pinkerton (), and Venice), Ariadne and Medea (Opéra Bastille, States, and in his concert repertoire he has parentheses which litter the operatic repertory. other roles included Pollione () and Des Paris), Desdemona and Amelia (Vienna State sung with all the major British . By the time it seems to have died down (that Grieux. He was a guest at many of the major Opera), Madama Butterfly (Houston Grand He was a professor at the Guildhall School huge act-lasting ‘decrescendo’) we know the opera houses in Europe and North and South Opera), and Santuzza (Berlin Staatsoper). For of Music and Drama from 1974 to 1992, people of a tragedy which only then (in those America, and was in particular demand as an she has performed in when he was appointed Head of Vocal Studies three kisses) begins. A later poet was to say interpreter of Otello, which he performed in Otello, Mary Stuart, The Turn of the Screw and later Director of Repertoire Studies at the (himself quoting the motto of a tragic Queen) Berlin, at La Scala, Milan, and at the Doge’s (for which she won an Olivier Award) and Royal Northern College of Music. Since 1998 – ‘In my beginning is my end’; it is time for the Palace, before appearing in the role at Covent Puccini’s The Cloak. Recordings include he has received critical acclaim for his curtain to go up on Verdi’s greatest drama. Garden and at English National Opera (in the Mendelssohn’s Elijah (on Chandos), performances as Wotan/Wanderer and production by which is Offenbach’s Les Contes d’Hoffmann, Verdi’s continues to teach privately in London and Benedict Sarnaker recorded here). Charles Craig died in January Il trovatore, and (for Chandos/Peter Moores Lincolnshire. 1997. Foundation) Mary Stuart. Born in 1919, Charles Craig’s ambition was Born in of Italian descent, always to sing, but family needs meant that he Rosalind Plowright has enjoyed an immensely Neil Howlett won the Kathleen Ferrier Bonaventura Bottone studied at the Royal took other work before joining the army at the distinguished career. She studied at the Royal Memorial Scholarship while at Cambridge Academy of Music. With The Royal Opera he outbreak of the Second World War. In 1947 Northern College of Music and the London University, and subsequently studied in has appeared as the Italian Singer (Der

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Rosenkavalier), Raoul (), Cassio and Japan. Her wide repertoire includes Strasbourg, Bordeaux and Montpellier, Peter Gunther (Götterdämmerung) for Marseille (Otello) and Count Libenskof (Il viaggio a Ottavia (L’incoronazione di Poppea), Marcellina Quint (The Turn of the Screw) for ENO’s 1990 Opera; Alberich (Das Rhinegold) for Arizona Reims), whilst at English National Opera he (Le nozze di Figaro), Ulrica (Un ballo in Russian Tour, Truffaldino (The Love for Three Opera; and Sacristan () for Bordeaux has created twenty major roles including maschera), Magdalene (Die Meistersinger von Oranges) for ENO, Zinoviev (Lady Macbeth) Opera. Rodolfo (La bohème), Faust (The Damnation of Nürnberg), Herodias (), Annina in Toulouse and Marseille, the three tenor Recordings include Paficic Overtures, Faust), Duke () and Lensky (Eugene (), Adelaide (Arabella), roles in Lulu at the Châtelet. Recordings , The Pirates of Penzance Onegin). He has also appeared with Martha (Faust), the Witch (Rusalka) and include Shuisky in (highlights) and . Festival Opera, , Filipyevna (). Recordings and Goro (Madam Butterfly) for Scottish Opera and in include , The Rhinegold and Chandos/Peter Moores Foundation. Critically and publicly acclaimed, the roles such as Loge (), Turiddu Twilight of the Gods (all for Chandos/Peter English National Opera Orchestra (Leader (), Alfredo (La traviata) Moores Foundation). Malcolm Rivers studied at the Royal College Barry Griffiths) has in recent years received and Fernando (La favorita). of Music, London and was coached in the several prestigious awards, including the Appearances abroad have taken him to the Stuart Kale is internationally recognised as United States by George London and in Royal Philharmonic Society Music Award and , Houston , one of the most outstanding singing actors in London by Josephine Veasey. He made his an Olivier Award for Outstanding Achievement , , the operatic world and his roles cover a huge debut in Gay’s The Beggar’s Opera with the in Opera. The Orchestra is at the heart of the the Opéra Bastille, Paris, and New Israeli range of repertoire, from Monteverdi to Royal Shakespeare Company. Company’s artistic life and as well as opera Opera, and he has appeared in concert in Messiaen. He began his career at Welsh He has appeared at numerous international performances in the has Germany, Norway, Poland and Spain. National Opera before joining English opera houses including The Royal Opera, also been seen on the concert platform. In Recordings include The Mikado, ’s National Opera, where he remained for Teatro San Carlo, Naples, La Monnaie, addition many of the players participate in the and Vaughan Williams’s Hugh the eight years, singing roles such as Don Ottavio Brussels, the Aldeburgh and Edinburgh work of the Baylis Programme of the Drover. (), Michael (Martinuº’s Jiulietta), Festivals, the Los Angeles Music Theatre, the Company’s education and outreach Alfred () and Nanki-Poo Teatro Comunale, Florence, La Fenice, Venice, department and with the English National Shelagh Squires studied at the Guildhall in Jonathan Miller’s production of the Staatsoper, Vienna, the Studio in the development of new School of Music and Drama. She has appeared The Mikado. Opera and Drottningholm. Among his many , in particular Mark-Anthony Turnage’s with English National Opera, at the Notable engagements include the High roles are Scarpia (Tosca), Commandant The Silver Tassie which had its world Glyndebourne Festival and Touring Operas, Priest (Idomeneo) at Covent Garden, (From the House of the Dead) and Eisenhardt premiere in February 2000. The Orchestra and The Metropolitan Opera, New York Hauptmann () in Nancy, San (Die Soldaten) for English National Opera; the appears in many recordings, including for among others; she has also performed at the Francisco and at the Opera du Rhin in Judge (Sweeney Todd ) for Opera North; Chandos/Peter Moores Foundation, Mary Bergen International Festival and in Vienna Strasbourg, Shuisky (Boris Godunov) in Geistergebot (Die Frau ohne Schatten) and Stuart, Julius Caesar, The Barber of Seville,

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Rigoletto (Jonathan Miller’s production), Philharmonic Orchestra in the USA With English National Opera he made Mariinsky Theatre in St Petersburg). La traviata and . (1989–94) and Principal Guest Conductor of acclaimed tours of the USA (including Most recently his operatic engagements the City of Birmingham Symphony Orchestra performances at The Metropolitan Opera) have included productions of The Chorus of English National Opera (1992–5), a position he has also held with the and Russia (including performances at the (Boito) and Otello for The Metropolitan is one of the Company’s finest assets. BBC Symphony Orchestra and the London Bolshoi Theatre in Moscow and the Opera. In countless English National Opera Mozart Players. In September 2000 he will productions they have thrilled audiences become Music Director of the Hallé with the power of their singing and the Orchestra. Rosalind Plowright as intensity of their acting. There are sixty-eight He works regularly with leading orchestras Desdemona choristers and the wide range of skills and throughout Europe and North America, experience they bring to performances including the Chicago Symphony Orchestra, distinguish any production in which they the Royal Concertgebouw Orchestra, the Los appear. Particular triumphs for the Chorus Angeles Philharmonic, the Orchestre de Paris have been Prokofiev’s , and the Symphony Orchestra of North Shostakovich’s Lady Macbeth of Mtsensk, German Radio. Britten’s and , In the UK he enjoys close associations with Mussorgsky’s Boris Godunov, Bizet’s both the London Philharmonic Orchestra and and Verdi’s Otello. Their Chandos/Peter the Orchestra of the Age of Enlightenment Moores Foundation recordings are the ‘Ring and has appeared annually at the BBC Cycle’ conducted by , Promenade Concerts. , Mary Stuart, Julius Caesar, Rigoletto He conducts regularly in such prominent (Jonathan Miller’s production) and international opera houses as the Royal Opera, La traviata. Covent Garden, The Metropolitan Opera, the Opéra national de Paris-Bastille, Lyric Opera Mark Elder, who was awarded the CBE in of Chicago, Glyndebourne Festival Opera and 1989, has held distinguished posts both in the Bavarian State Opera. Other guest United Kingdom and abroad. These include engagements have taken him to the Bayreuth Music Director of English National Opera Festival and to Amsterdam, Geneva, Berlin (1979–93), Music Director of the Rochester and Sydney.

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PETER MOORES, CBE, DL giving financial support to various young artists, several of whom – , and the late amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a charity Littlewoods mail order, chain store and football pools group. He was educated at Eton and designed to support those causes dear to his heart: to make music and the arts more accessible Christ Church, Oxford, where he read modern languages – he was already fluent in German to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the , combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic promising young opera singers; new operatic work. career. At this point he received a letter from his father asking The Foundation awards scholarships annually to students and post-graduates for furthering him to come home as he was needed in the firm. Family loyalty their vocal studies at the Royal Northern College of Music. In addition, project awards may be being paramount, he returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Christina Burton/PMF Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the Opera in English series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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Bonaventura Bottone as Cassio and Neil Howlett as Iago Neil Howlett as Iago and Shelagh Squires as Emilia

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Liebesduett); weniger herkömmlich ist der Barbiere di Siviglia). Aber keines wütete so Giuseppe Verdi: Otello Umstand, daß sie durch die Handlung, die furchtbar und tobte so wild – und keines sich während und zwischen den Nummern konnte das Milieu und die Handlung so Zu beachten: Der Name Othello bezieht sich mußte Shakespeare seine Tragödie sehr abspielt, sowie das durchkomponierte großartig bestimmen. auf die Shakespearesche Tragödie, Otello auf ausführlich gestalten, um Desdemonas musikalische Geschehen eng verzahnt sind. Unmittelbar nach dem Gebet der Menge die Oper von Verdi. Fürbitte für Cassio Glaubwürdigkeit zu Es gibt keine Ouvertüre, nicht einmal ein tritt die erste der drei Hauptpersonen auf, und verleihen; indem er den Kontrast ihrer Vorspiel. Mit furchtbarem Getöse geht der Jago beweist sogleich seine Niedertracht: “Das Otello: Drama und Musik musikalischen Stile auswertete, konnte Verdi Vorhang hoch; auf der Bühne tobt ein Orkan. Besansegel ist zerrissen!… Der Meeresstrudel Nach dreißig “Galeerenjahren”, in denen sich eine ähnliche Wirkung erzielen, die gedrängter Wildes Chaos herrscht: Leute eilen im soll sein Grab sein!” (The mainsail’s split in Verdi den Konventionen der italienischen und intensiver war als die seiner Vorlage. strömenden Regen hin und her, nur two!… Let angry breakers smash the ship and Oper und dem Geschmack seines Publikums Bei Shakespeare spielt der erste Akt in manchmal von grellen Blitzen beleuchtet, drown her general!) Kaum gesagt, ist sein fügen mußte, ging er in den Ruhestand. Seine Venedig und handelt von Desdemonas Liebe während der Donner von Kanonenschüssen verruchter Wunsch schon abgeschlagen: Finanzen waren gesichert und er zog das zum Mohren Othello, dem Befehlshaber der unterbrochen wird, die aufs Meer signalisieren. “Gerettet!” (She’s safe now!) ruft das Volk und Leben als Landwirt und Philanthrop der Flotte. Ihr Vater ist außer sich über ihre (Diese Vorgänge sind alle genau orchestriert Otello steigt an Land. In keiner anderen Oper mühsamen Existenz im Opernhaus vor. Daß heimliche Ehe; Othello muß sich rechtfertigen und in der Partitur angegeben.) Otellos Schiff hat der Tenor einen frappanteren – oder ihn seine Freunde und sein gewitzter Verleger und es stellt sich heraus, daß die beiden wird auf einen Augenblick gesichtet. Es schwierigeren – Auftritt, denn er muß auf die Giulio Ricordi von seinem Mißtrauen gegen einander aufrichtig lieben. Der Vater beruhigt scheint dem Untergang geweiht, und das Bühne laufen und sofort eine schallende, Arrigo Boito abbringen konnten; daß die sich; Othello wird zum Statthalter von Zypern erregte Volk begleitet den Aufruhr mit einer heroische Phrase anstimmen (bis zum hohen beiden gemeinsam an Otello und Falstaff ernannt, um die venzianische Kolonie gegen mächtigen Hymne, die laut den A), ohne jedes Rezitativ, mit dem er sich arbeiteten (sowie an der Revision von Simon die Türken zu verteidigen. Diesen Akt ließen Bühnenanweisungen “mit sichtbarer Angst, einsingen könnte. Mit drei Sätzen erweist sich Boccanegra); daß er enge Freundschaft mit Verdi und Boito völlig weg, wodurch das lange dem Bollwerk zugewendet” gesungen wird. Otello als Befehlshaber und Führer, und das Boito schloß, der sogar sein Ersatz-Sohn Schauspiel erheblich gekürzt und der Musik Keine andere italienische Oper hatte bislang Volk jubelt ihm sogleich zu: “Evviva Otello!” wurde und an seinem Totenbett saß, steht alles mehr Zeit zur Entfaltung gewährt wurde; eine so gewaltige, genau orchestrierte Obwohl seine ersten Worte seine in den Biographien von Frank Walker und indes blieb der Zweck des Aktes, nämlich die Sturmszene enthalten. Gewitter gab es in Untergebenen so beglücken, soll der Befehl, zu anderen Autoren. Verdis und Boitos Beitrag Definition der Hauptpersonen und ihre Hülle und Fülle, deren Zweck es war, die frohlocken, weil der stolze Muselman zur Opernliteratur wird zu Recht gepriesen, Beziehungen zueinander, erhalten. Der Handlung zu verzögern, die Spannung zu vernichtet ist, im Verlauf der Oper eine und in der Tat kann sich Otello an Erste Akt der Oper besteht aus steigern und das Orchester vorübergehend ins furchtbare Ironie annehmen. Der frohe Chor Leidenschaft und Zärtlichkeit ohne weiteres herkömmlichen “Nummern” (Sturm, Rampenlicht zu rücken (ein Musterbeispiel des geht zu Ende und das Unwetter legt. Das Volk mit Shakespeares Held messen. Überdies Siegeshymne, Feuerchor, Trinklied, Genres befindet sich am Ende von Rossinis singt “Der Sturm legt sich” (A calm succeeds

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the storm now – auch diese Phrase wird abgestuften Übergang von der explosiven den Ablauf des musikalischen Schemas auf den zweimal wiederholt. Diese Küsse sind der ironisch widerhallen) und man empfindet Eröffnung bis zum besinnlichen Duett, das Kopf stellt. Anstelle des Refrains wird er vom Angelpunkt der Tragödie, mit ihrem Motiv, eine herrliche Entspannung, die Verdi erzielt, ihn beschließt. Das Feuer und der Gesang Chor ausgelacht; Jago hetzt Rodrigo gegen das am Ende der Oper ganz besondere indem er eine störende Dissonanz auf drei vergehen; Rodrigo und Jago treten zu Cassio, Cassio auf, der bald aggrressiv wird; auf Jagos Bedeutung annimmt, schließt sich der Kreis. benachbarten Halbtönen (C–Cis–D) auflöst, dem neuen Hauptmann der Wache. Jago Anraten schlägt Rodrigo Alarm, Montano, Doch im ersten Akt rundet das Duett mit die seit dem ersten Takt der Oper auf einer fordert seine Freunde auf, zu trinken; Cassio Otellos Vorgänger als Statthalter von Zypern, schimmernden Streichen, Harfe und Bläsern Orgel erklungen ist. weigert sich zunächst, denn er hat bereits greift ein und wird verwundet. Die Musik sowie einem letzten Nachhall seiner In der entspannteren Stimmung wendet seinen Durst gestillt, aber einen Toast auf wird hektisch; Otello tritt auf (“Nieder mit Eröffnungsphrasen das gewaltige Decrescendo sich Jago zum jungen Venezianer Rodrigo, der Otello und Desdemona kann er nicht den Degen” – Your swords cast before me!) ab, das Verdi für den ganzen Akt gestaltet hat. in Desdemona verliebt ist und heitert ihn auf, abschlagen. Es folgt ein Paradebeispiel von und bei seinem Rezitativ (Streicher mit kurzen Am Anfang des Zweiten Aktes besprechen indem er ihm versichert, Desdemona werde Verdis genialer Umwandlung des Alten in das Einwürfen der Bläser) legt sich der Aufruhr. sich Jago und Cassio über dessen Mißgeschick. ihres Gatten bald überdrüssig sein. Jago Neue. Cassio besingt Desdemonas Schönheit Otello will wissen, wie der Streit entstanden ist Die aufwendig verarbeitete Einleitung des gesteht auch, daß er Cassio, der befördert und Güte. Jago kann Rodrigo überzeugen, daß und der scheinheilige Jago bezichtigt Cassio. Orchesters beruht auf dem “Jago”-Motiv – wurde, haßt – und Otello nicht minder, weil er einen Rivalen hat; dann stimmt er sein Der Lärm hat auch Desdemona gestört und zunächst heftig, später schmeichlerisch, je er selbst von ihm übergangen wurde. Er Brindisi an. Zunächst wendet er sich an sie kommt herbei. Der wütende Otello nach der vorherrschenden Stimmung. Erst rät schließt mit einer seiner öligen Phrasen mit Cassio, dessen Replik Jagos Strophe in Text degradiert Cassio, dann befiehlt er Ruhe und er dem niedergeschlagenen Cassio, dem Triller, der für viele seiner und Musik ergänzt. Jagos Refrain mitsamt bleibt endlich mit seiner Gattin allein. Desdemona um ihre Fürbitte bei Otello zu bezeichnendsten Aussagen typisch ist. Die seinem Triller und einer chromatischen Ein Solocello begleitet von geteilten Celli, ersuchen, dann schickt er den Düpierten fort. beiden gehen nach hinten (außer Hörweite), Abwärtsskala wird vom Chor wiederholt. alle con sordino, eröffnet das herrliche Die Anweisung wird wiederholt, aber in einem während das Volk ein Freudenfeuer anfacht Nach einer kurzen Nebenbemerkung zu Liebesduett, dessen Inhalt sehr geschickt aus ganz anderen Tonfall; nach einem gehässigen und zu singen beginnt: “Feuer der Freude” Rodrigo wiederholt sich das Schema: die Texten von Shakespeares erstem und zweitem Ausbruch des Orchesters stimmt er sein (Flame of rejoicing) – wieder ein Gemeinplatz gleiche Melodie, aber im Orchester wird Akt zusammengestellt ist. Dieses zärtliche, teuflisches Credo an. Hier erweiterte Boito der italienischen Oper, den Verdi in einem getrillert. Dieselbe Nebenbemerkung (“Noch sehnsüchtige, zugleich auch leidenschaftliche Shakespeares “Divinity of Hell” (bei Schlegel- Brief an Ricordi als “diese elende ein Schluck, und er ist berauscht” – One more Duett enthält nicht nur eine Welt zauberhafter Tieck mit “Theologie der Hölle” übersetzt) Freudenfeuer-Szene” beschrieb. Obwohl er von glass and he’ll be drunk), dann kommt die Klänge, sondern es offenbart auch die nach seiner Unterweisung an Cassio, während dieser Chorszene wenig hielt, ist der hurtige, dritte Strophe. Die Begleitung ist noch liebevollen Bande, die Otello und Desdemona er seinen Schlatplan ausarbeitet, zu einem leichte Satz hinreißend; außerdem ist sie aus ausführlicher – auch vom dramaturgischen verknüpfen. Der Höhepunkt ist die herrliche unverblümten, nihilistischen Glaubens- der Entfaltung des Aktes nicht wegzudenken, Standpunkt, denn Cassio ist schon so Passage, an der Otello dreimal um einen Kuss bekenntnis des Bösen.Gott ist grausam; der denn sie ist ein Element im sorgfältig betrunken, daß er vorzeitig einsetzt und damit bittet und die sich im letzten Akt noch Mensch, in Gottes Ebenbild geschaffen, ist

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böse – ein Spielzeug des Schicksals. Und wenn nonchalant, teilnahmslos, witzig, spricht Gutes ihn um Nachsicht für Cassio. Er weist sie Marschrhythmus und kriegerischer Ton wird diese Farce, das Leben, zu Ende ist, kommt und Böses fast gleichgültig, ohne sich darüber schroff ab, klagt über Kopfschmerz und wirft durch Triolen getrübt, die auch in Otellos der Tod. Und dann? (pp legato) – der Tod und Gedanken zu machen. Und wenn man ihm das Taschentuch, das sie ihm zur Linderung Gesangslinie eindringen. Als er sein hohes B das Nichts. Der Himmel ist ein vorwirft, daß er Übles spricht, antwortet er: bietet, wütend zu Boden. Emilia, Jagos Gattin erreicht und Jago vorgibt, ihn beruhigen zu Ammenmärchen. Wieherndes Gelächter der “Wirklich? Das dachte ich nicht: lassen wir’s gut und Desdemonas Vertraute, tritt auf und es wollen, spielen die Streicher (ppp molto Blechbläser. Dank der vielen Triller, der sein!”… entspinnt sich ein Quartett des uneinigen staccato e tremolo) unaufhaltsame, spitze weitgespannten Dynamik von ppp bis ff, des So ein Mensch kann jeden hintergehen, sogar Ehepaars, des Intriganten und seiner Frau; Triolen. Otello verlangt unzweideutige, überwiegend deklamatorischen Vortrags dieser – bis zu einem gewissen Grad – die eigene Frau. Emilia hat das Taschentuch aufgehoben und er konkrete Beweise und ist so erregt, daß er Jago aufwühlenden Arie ist Verdis Jago ein viel Ein kleiner, bösartiger Mensch ist sofort entreißt es ihr. Das Quartett ist unglaubliche an der Gurgel packt. positiverer Schurke als Shakespeares, wo ihn verdächtig und kann niemandem etwas subtil: die Stimmen vermengen sich und Scheinbar unwillig streut Jago noch mehr nicht der Glaube, sondern Gerüchte und vormachen! Amen. wandern von einer Gruppe zur anderen, Salz in die Wunde: Mit seiner Selbstbelehrung motivieren. Mit eiskalter Cassio hat sich von Desdemona getragen von einer Begleitung, die zugleich die einschmeichelndsten Stimme berichtet er, daß Freundlichkeit spinnt er sein Netz. Cassio tritt verabschiedet; Zypriotische Frauen und Kinder schmachtenden Linien mit spitzen Figuren Cassio im Traum seine Liebe zu Desdemona zu Desdemona; Jago drückt, scheinbar nur für bringen ihr Blumen und Obst. Diese Szene untermalt. Desdemona und Emilia gehen fort, besungen und dem Schicksal geflucht hat, das sich, seine Besorgnis aus, aber Otello hat ihn wird manchmal als zu lang und dramaturgisch aber die Begleitung bleibt unverändert, sie dem Mohren auslieferte. Die Flöten und gehört. Er warnt ihn vor der Eifersucht – vier überflüssig abgelehnt. Indes erzielt sie mit der während der erschöpfte Otello in einen Stuhl eine Oboe spielen leise mit den Streichern, glatte Phrasen genügen, um das Gift zu zauberhaft schlichten Hinzufügung einer sinkt. während Jago Cassio auf dem wiederholten träufeln. Mandoline, Gitarre und Sackpfeife genau die Iago verbirgt das Taschentuch; er plant, so hohen C, das chromatisch zum D ansteigt, Anfänglich wollte Verdi die Oper Jago zu richtige Wirkung, denn sie zeigt Desdemonas Shakespeare (Schlegel-Tieck) “zitiert” (“Wir müssen vorsichtig sein” – We nennen. In einem Brief an seinen Freund, den Anmut, wie sie anderen erscheint, und ohne …Ich will bei Cassio das Tuch verlieren, must be careful) und dann eine ganz Oktave neapolitanischen Maler Domenico Morelli, die Dimensionen wäre die anschließende Da soll ers finden; Dinge, leicht wie Luft chromatisch herabgleitet. Das nächste “Zitat”, widersprach er dessen Konzept des Jago als Handlung unglaubwürdig. Desdemonas Sind für die Eifersucht Beweis, so stark begleitet von trüben Klarinetten, Fagotten und eines kleinen, boshaften Mannes und erklärte, ganzer Liebreiz gibt sich in ihren Wie Bibelsprüche. Hörnern, singt er mit hohler, düsterer Stimme; wie er ihn sich vorstellte: Dankesworten zu erkennen (“Der Himmel Jago nähert sich dem verstörten Otello, der in das Vortragszeichen ist dolcissimo, aber das …Wäre ich ein Schauspieler, der den Jago strahlt” – Heaven is smiling). Otello ist einen Wutanfall ausbricht. Sein Rezitativ Zeitmaß (6/8) wird von der Betonung auf spielen soll, wäre mir ein großer, hagerer Mensch hingerissen; sogar Jago kann ihre Schönheit (“Du? Zurück! Flieh!” – You? Be careful! Leave dem schwachen Takteil verunsichert, bis der lieber, mit schmalen Lippen, die Augen eng an nicht leugnen, aber er ist entschlossen, sie zu me!) ist so ungestüm, daß es die Arie, in der er Traum zu Ende geht. Diese herrliche der Nase wie bei einem Affen, einer breiten, zerstören. Alsbald ergibt sich die Gelegenheit sich der Verzweiflung hingibt, nicht einleitet, Erzählung, verbunden mit ihrem erlogenen fliehenden Stirn und starkem Hinterkopf; dazu. Desdemona tritt zu Otello und bittet sondern geradezu in sie überfließt. Ihr Inhalt, ist zu viel für Otello. Seine Reaktion

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(“Ungeheure Schuld!” – Now I’m sure she’s lakonisches “Nur weiter” – Continue) richtet Zunächst nur auf einer einzigen Note – Taschentuch, das ihm von unbekannter Hand guilty!) ist ganz leise – wie betäubt; er sich nicht nur an Jago, sondern auch an die erheblich aussdrucksstärker als der übliche zugesteckt wurde; Jago hält es hoch und verurteilt nicht, er urteilt nur. Jago will den Eifersucht, die in ihm wühlt. In diesem Akt Belcanto, während das Orchester unablässig Otello vermeint, den “Beweis” zu sehen. Beweis anhand des Taschentuchs, Otellos wird seine qualvolle Unsicherheit zur eine kleine Figur durch harmonische und Verdis unendlich subtile Musik ist erstaunlich erster Liebsgabe an Desdemona, liefern, das er (scheinbaren) Gewißheit, denn Jago plant, kontrapunktische Wendungen treibt. Jede abwechslungsreich – derselbe Satz, der auch angeblich in Cassios Händen gesehen hat. Cassio zu holen und zu provozieren, bis er neue Gestalt verleiht der Darstellung von den Falstaff, seine letzte, fünf Jahre später Otello verfällt wieder in wilden Ingrimm seine Schuld offenbart. Er verläßt Otello mit Otellos ganzem Elend und vergeblichen enstandene Oper, beseelt. Ein Trompeten- (ff: “Oh, gäbe ihm Gott doch tausend Leben!” der Warnung, das Taschentuch nicht zu Bemühungen, seiner Qual ein Ende zu signal, Fanfaren und ein Kanonenschuß – Ah! Would that God had given him twenty vergessen. machen, stärkere psychologische melden die Ankunft der venezianischen thousand lives!). Triolen dominieren von Desdemonas Auftritt ist in herrlich Ausdruckskraft. Diese Arie ist wohl Verdis Gesandtschaft und Jago schickt Cassio eilends neuem die Begleitung, bis Otello sie mit drei lyrischen Tönen gehalten; ihre aufrichtige größte tragische Errungenschaft: in keinem fort. Während die Zyprioten die Wahnsinnsausbrüchen beendet (“Ah! Blut! Liebe zu Otello steht in deutlichem Kontrast anderen Werk spricht das Orchester in so Gesandtschaft begrüßen, beschließt Otello auf Blut! Blut!” – Vengeance! Vengeance! zu seiner kühlen Höflichkeit. Sie setzt sich deutlich wagnerschen Klängen, und dabei ist Jagos Anraten, Desdemona zu erwürgen. Jago Vengeance!). Auf den Knien schwört er Rache, wieder für Cassio ein und er fragt sie, es unverfälschter Verdi, denn im richtigen verspricht, Cassio selbst zu versorgen und wird zunächst auf derselben Note, umspielt von zunehmend erregter, in aufsteigenden Phrasen Moment steigt die Stimme allmählich an und von Otello zum Hauptmann befördert. Bläserfiguren. Jago verhindert ihn, sich zu nach dem Taschentuch. In ihrer Unwissenheit nimmt mit der Schilderung der erloschenen Das sich anschließende zeremonielle Bild ist erheben, kniet selbst hin und stimmt in den bringt sie die Rede neuerlich auf Cassio. Sonne, des lebenspendenden Lächelns, lyrische so grandios wie das Autodafé in Don Carlos Schwur ein. Erst wenn beide zugleich singen, Otello verliert vollends die Fassung: sie soll Gestalt an. In dem Augenblick, da er sein oder die Triumphszene in Aida. (Als Verdi an wird klar, daß die Melodielinie bei Jago liegt: ihre Unschuld beschwören. Ihre aufrichtigen, Schicksal verflucht und schwört, daß auf den der Pariser Erstaufführung – 1894 – arbeitete, er gibt im wahrsten Sinn des Wortes den Ton in emotionellen Tönen ausgedrückten Beweis der Schuld der Tod steht, kehrt Jago schrieb er an dieser Stelle das in Frankreich an, während Otello nur die Gegenmelodie Beteuerungen treiben ihn zur Raserei. zurück: Cassio kommt. Es geschieht so unerläßliche Ballett. Es war in dramaturgischer singt – ein heroischer Aktschluß. Verdis ausdrücklichen Bühnenanweisungen schnell, daß Otello zunächst ungestört Hinsicht unnötig, entspricht aber der Faktur Den Dritten Akt eröffnet der kunstvollste entsprechend, weicht Otellos Wut plötzlich weitersingt. Sie wechseln ein paar Worte, dann in Aida und die Musik ist brillant; die sechs Kontrapunkt der ganzen Oper mit eisigen Ironie, die noch viel schrecklicher ist. verbirgt er sich, um sie zu belauschen. Takte lange Anrufung Allahs ist dramatisch geheimnisvollen Klängen das zugleich Jago Indem er ihre eigene Musik zitiert, führt er sie In der nächsten Szene unterhält sich Jago sehr wirksam.) Otello wird nach Venedig und die Eifersucht darstellt. Die Musik steigert an die Tür, wo er sie als “die abscheuliche recht freizügig mit Cassio über dessen Geliebte zurückberufen und Cassio an seiner Stelle als sich zum Höhepunkt und verebbt, dann Hure, Otellos Gattin” beschimpft und Bianca. Otello, der nicht immer in Hörweite Statthalter eingesetzt. Als Otello hört, daß meldet ein Herold, daß eine venezianische davonjagt. Nun stimmt der völlig gebrochene ist, nimmt natürlich an, daß sie von Desdemona Jago erklärt, sie hoffe, daß ihr Gesandtschaft gesichtet wurde. Otellos Otello die erschütterndste Arie der Oper an. Desdemona sprechen. Cassio zeigt Jago das Gatte und Cassio sich aussöhnen können,

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gerät er restlos außer sich, beschimpft sie vor Verglichen mit den Gegenströmungen, der plötzliche Windstoß, der ans Fenster schlägt. ermordet.” – Oh, she’s a liar! I have killed her. allen und schleudert sie zu Boden (“Nieder raschen Handlungsabfolge und den Schwere, trübe Akkorde begleiten Desdemona, Emilias Geschrei bringt andere Leute auf mit dir und weine!” – So lie there! And weep Massenszenen der vorangegangenen Akte ist die Emilia gute Nacht sagt; panische Angst die Bühne und Jagos Schandtat sowie Otellos there!). Desdemonas erschütternde Klage der Vierte Akt ganz einfach: er handelt überkommt sie: sie umarmt die Gefährtin und Leichtgläubigkeit werden aufgedeckt. wächst zu einem großen Ensemble heran, das lediglich vom symmetrisch angelegten Tod der nimmt Abschied von ihr. Das Motiv schleicht Lodovico entwaffnet ihn. Otello erklärt den zwar statisch wirkt, doch infolge seiner beiden Hauptpersonen. The Atmosphäre ist sich wieder ein, dann gehen die chromatischen Anwesenden mit ruhiger Stimme, ihn nicht Dimensionen und Instrumentierung einen dunkel, intim. Ein leises, melancholisches Wendungen in tröstlicheres As-dur über: länger zu fürchten: “Meine Straße ist zu Ende. lebhaften Kontrast zum düsteren Kolorit des Englishhorn in düsterem cis-moll will sich zu Desdemona kniet vor dem Bild der Oh, Ruhm! Mit Otello ist es vorüber.” (Life’s Schlußaktes bietet. Überdies stachelt Jago im einer Phrase aufschwingen, sinkt aber matt Gottesmutter und betet. Mit dem Text des weary journey has reached its end. Oh! Glory! Verlauf des Ensembles Rodrigo auf, Cassio zu zurück. Später dient diese Phrase der Ave Maria ist die Darstellung ihres Charakters Otello’s done.) Diese kurze Passage ersetzt töten, wenn er nicht Desdemona auf ewig Desdemona als Melodie für ihr Lied von der abgerundet. Ihr Flehen wird impulsiver, dann neunzehn zauberhafte Zeilen bei Shakespeare verlieren will. Es entsteht eine Zäsur, dann Weide, aber hier wird es von Flöten beruhigt sie sich und geht zu Bett. (“Gemach! – Nur noch zwei Worte, eh ihr befiehlt Otello den Anwesenden, sich zu unterbrochen und dumpfe Klarinetten geben Das Orchesterkolorit verdunkelt sich noch geht.”), in denen Othello als sein eigener entfernen. Desdemona will ihn beruhigen, Antwort. Nach dreißig langen, chromatisch mehr: Otello tritt ein. Nur die Kontrabässe, Ankläger, Verteidiger, Richter und Henker aber er verflucht sie und bricht ohnmächtig und kontrapunktisch verarbeiteten Takten geht und alle, den Stimmführer ausgenommen, fungiert. Mit ergreifenden Tönen, der Reprise zusammen. Jago weidet sich an dem Anblick, der Vorhang hoch. Emilia umsorgt spielen con sordino. Er küßt sie dreimal. Kaum einer früheren Stelle, nimmt er von seiner die abziehende Menge bejubelt den “Löwen Desdemona, die sich zur Nachtruhe bereitet. hat man begriffen, daß es sich um einen unschuldig ums Leben gekommenen Gattin von Venedig”. Jago, dem Verdi ausdrücklich Sie ist in Todesstimmung und ein Lied, das die gewaltigen Rückgriff zum Liebsduett im ersten Abschied und ersticht sich mit einem eine triumphierende Geste vorschreibt, deutet Magd ihrer Mutter sang, geht ihr nicht aus Akt handelt, ist er schon vergangen, ohne zu verborgenen Dolch. Er küßt sie dreimal, und of den bewußtlosen Otello und höhnt “Da dem Kopf (“Meine Mutter hatte eine arme kadenzieren, und Desdemona erwacht. Otello bei dem dritten Kuß stirbt er (die letzte Silbe liegt der Löwe”! – There lies your Lion! Mit Magd” – My mother once had a poor little erwürgt sie. Emilia verschafft sich Eintritt und vertonte Verdi nicht mehr, sie ist nur ein einem letzten, ironischen Ausruf der Menge servant). Begleitet von den schwermütigen hört, wie ihre sterbende Herrin sich des ersterbender Hauch) und so vollendet sich die (“Evviva Otello”) fällt der Vorhang. Für die Tönen des Englischhorns singt sie das Lied – Selbstmords anklagt, um Otello zu schützen: Kadenz (und die Oper). hier eingespielte Pariser Erstaufführung drei lange Strophen, deren Wiederholung “Und sage meinem Herrn, daß ich schuldlos Die tragische Auswirkung dieses Abschlusses revidierte Verdi dieses Finale von Grund auf, bedrückend wirkt, aber nicht eintönig, denn bin… noch im Tode liebe ich ihn… leb wohl”. beruht nicht nur auf der unmittelbaren um Jagos Worte besser zur Geltung zu Verdi brachte vorsorglich kleine Varianten an, – And tell my Lord that I never wronged him... musikalischen und dramatischen Substanz. bringen, denn in der ursprünglichen Fassung so der Flug der Vögel (“Die Vögel flogen von in death I love him… Farewell. Der rasende Über Verdis Reprise des Liebesduetts ist viel konnten sie trotz seiner und der Mitwirkenden den dunklen Zweigen herab” – From branches Otello bezichtigt sie der Lüge – hat er sie doch Tinte vergossen worden; hier beruht das Bemühungen nicht richtig gehört werden. high above sweet birds came flying) und der selbst getötet: “Oh, sie lügt! Ich habe sie tragische Element auf dem Umstand, daß es

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Otellos Hybris im Augenblick seiner Erfüllung Shakespeare” (University of Chicago Press, Personen der Tragödie vorgestellt, die in diesen Auftritt als Solist in Covent Garden war der (seiner Liebe zu Desdemona) und seiner 1951) benötigte der Author fast vierzig Seiten, drei Küssen ihren Anfang nimmt. Wie der als Pinkerton (Madama Butterfly); außerdem Vernichtung aufleben läßt. Die erschütternde um die Implikationen zu erforschen. Er Dichter T.S. Eliot später die Worte einer war er dort als Pollione (Norma) und Des Wirkung erklärt sich nicht durch Verdis nannte sie “den sechsten Akt von Othello” und tragischen Königin paraphrasierte – “In Grieux zu sehen. Er hat an vielen bedeutenden Reminiszenz an ein schon gehörtes Thema, beschrieb seine “unhörbare Musik”: die meinem Anfang ist mein Ende”, geht der Opernhäusern in Europa, Nord- und denn das war in der italienischen Oper und Oberfläche der Handlung, die ihren Vorhang über Verdis größtem Drama hoch. Südamerika gastiert und war besonders gefragt auch bei Verdi nichts Neues, z.B. in der Macht metaphysischen Kern offenbart, nachdem sich als Otello, den er in Berlin, an der Mailänder des Schicksals oder Aida. Es handelt sich auch die Tragödie abgespielt hat. Verdi dringt Benedict Sarnaker Scala und im Dogenpalast von Venedig nicht um die schlichte Intensität, mit der unmittelbar in das wilde Herz der Finsternis Übersetzung: Gery Bramall darstellte, ehe er in dieser Rolle in Covent Verdi den Stoff verarbeitet (und die auch gar ein; der Sturm, der nicht vergangen ist Garden und an der English National Opera nicht so schlicht ist, denn das gleiche sondern erst droht, bringt Otello an Land. Charles Craig (1919 geboren) hatte immer auftrat (in der hier eingespielten Inszenierung Verfahren wird auch zu Beginn des dritten Er befiehlt: “Frohlockt! Des Türken Stolz ist den Wunsch, Sänger zu werden, mußte von Jonathan Miller). Aktes verwendet). Indem Verdi in dem ins Meer versenkt; der Ruhm gebührt uns und jedoch, da seine Familie bedürftig war, andere Augenblick, da sich die Tragödie erfüllt, zum dem Himmel. Nach unseren Waffen Arbeit annehmen, ehe er bei Ausbruch des Rosalind Plowright hat eine außerordentlich ersten Akt zurückgreift, gestaltet er das Ganze vernichtete ihn der Sturm” (Rejoice! The Zweiten Weltkriegs zum Militär ging. Im Jahr glänzende Laufbahn hinter sich. Sie studierte zu einer Art Zyklus, die einen nötigt, den Turk’s pride is buried in the sea; and heaven’s 1947 trat er dem Chor der Covent Garden am Royal Northern College of Music und am Anfang aufs neue mit Hinblick auf das Ende is the glory! After our arms the storm Opera bei. Sein Debüt in den Konzertsälen London Opera Centre und erhielt dafür zu überprüfen. Und warum? Die Antwort ist destroyed him.) Mit nichten, sagt Shakespeare; gab er 1952 unter der Leitung von Stipendien von der Peter Moores Foundation subtil und geht direkt auf Shakespeare zurück. und Verdi stimmt deutlich zu: der Sturm Sir Thomas Beecham, und im Jahr darauf und der Stiftung Peter Stuyvesant. Die 1984 Bei Shakespeare decken sich gewisse beginnt erst, und der “Türke” ist weder wurde er als Erster Tenor an die Carl Rosa erschienene Aufnahme von Il trovatore unter Vorstellungen häufig mit kritischen versenkt noch vernichtet. Hier liegt die Opera verpflichtet, wo er als Rodolfo der Leitung von , an der dramaturgischen Motiven. In Othello wird treibende Kraft, von der die Tragödie lebt, und (La bohème) debütierte; außerdem sang er dort sie neben Placido Domingo in der Rolle der Jago den Türken gleichgesetzt, und die deshalb schrieb Verdi diesen gigantischen Des Grieux (in Puccinis Manon Lescaut) und Leonora mitgewirkt hat, wurde für einen Kriegsführung (Othellos Beschäftigung) ist der Sturm, der sie eröffnet. Mit den hübschen die Titelrolle der britischen Erstaufführung Grammy nominiert. Im selben Jahr gab sie ihr innere Kampf, dem er schließlich erliegt. Diese Orchesterzwischenspielen, die im von Berlioz’ Benvenuto Cellini. Er wechselte Debüt am als Maddalena Motive erscheinen bei Shakespeare erstmals in Opernrepertoire grassieren, hat er nichts 1956 zur Sadler’s Wells Opera und gab dort (Andrea Cheniér) neben José Carreras sowie als der ersten Szene des zweiten Aktes: Eine gemein. Erst nachdem er sich scheinbar gelegt unter anderem Samson, Andrea Chénier und Aida neben Luciano Pavarotti. Hafenstadt auf Zypern. Platz am Hafen. hat (nach diesem riesigen Decrescendo, das den den Prinzen in der ersten britischen Rosalind Plowright hat an den meisten In Harold H.Goddards “The Meaning of ganzen Akt beansprucht), haben sich die Inszenierung von Dvorˇáks Rusalka. Sein erster bedeutenden Opernhäusern der Welt gastiert,

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mit Partien wie Suor Angelica (an der insbesondere Scarpia, Iago, Macbeth, Rodolfo (La bohème), Faust (La damnation de (L’incoronazione di Poppea), Marcellina Mailänder Scala), Leonora in Il trovatore Boccanegra, Renato, Amfortas, Golaud, Faust), der Herzog (Rigoletto) und Lenski (Le nozze di Figaro), Ulrica (Un ballo in (Verona), Stiffelio (am Teatro La Fenice, Almaviva und Jochanaan. Zu seinen (Eugen Onegin). Außerdem ist er an der maschera), Magdalene (Die Meistersinger von Venedig), Ariadne und Medea (Opéra-Bastille, internationalen Gastspielen zählen solche in Glyndebourne Festival Opera, der Opera Nürnberg), Herodias (Salome), Annina Paris), Desdemona und Amelia (Wiener Italien, Frankreich, Deutschland und North, der Scottish Opera und der Welsh (Der Rosenkavalier), Adelaide (Arabella), Staatsoper), Madama Butterfly (Houston Skandinavien, in Südamerika und in den National Opera in Rollen wie Loge Martha (Faust), die Hexe (Rusalka) und Grand Opera) und Santuzza (Berliner USA; außerdem ist er mit allen bedeutenden (Das Rheingold), Turiddu (Cavalleria Filipjewna (Eugen Onegin). Zu ihren Staatsoper). An der English National Opera ist britischen Orchestern im Konzertsaal rusticana), Alfredo (La traviata) und Fernando Aufnahmen auf Tonträger zählen La traviata, sie in Otello aufgetreten, in , in aufgetreten. (La favorita) aufgetreten. Das Rheingold und Götterdämmerung (alle drei The Turn of the Screw (wofür sie einen Olivier Er war von 1974 bis 1992 Professor an der Seine Auslandsgastspiele haben ihn an die für Chandos und die Peter Moores Award erhielt) und in Puccinis . Zu Guildhall School of Music and Drama; dann Bayerische Staatsoper, das Houston Opera Foundation). ihren Aufnahmen auf Tonträger zählen wurde er zum Leiter der Gesangsabteilung und House, die Metropolitan Opera, die Lyric Mendelssohns Elias (bei Chandos erschienen), später Direktor des Fachbereichs Opera of Chicago, die Opéra-Bastille in Paris Stuart Kale ist international anerkannt als Offenbachs Les contes d’Hoffmann, Verdis Repertoirestudium am Royal Northern und die New Isreali Opera geführt; darüber einer der herausragenden singenden Il trovatore und (für Chandos und die Peter College of Music ernannt. Seit 1998 ist er für hinaus ist er in Deutschland, Norwegen, Polen Schauspieler der Opernwelt, und seine Rollen Moores Foundation) Maria Stuarda. seine Darbietungen in der Rolle des und Spanien im Konzertsaal aufgetreten. Zu decken ein riesengroßes Repertoire von Wotan/Wanderer von der Kritik immer wieder seinen Aufnahmen auf Tonträger zählen Monteverdi bis Messiaen ab. Er begann seine Neil Howlett hat als Student an der mit Beifall belohnt worden. Daneben gibt er The Mikado, Kurt Weills Street Scene und Karriere an der Welsh National Opera und Universität Cambridge ein Stipendium Privatunterricht in London und Lincolnshire. Vaughan Williams’ Hugh the Drover. wechselte dann zur English National Opera erhalten, das Kathleen Ferrier Memorial (ENO) über, wo er acht Jahre blieb und Scholarship, und danach in Wien, Mailand Bonaventura Bottone, ein gebürtiger Shelagh Squires hat an der Guildhall School Rollen wie Don Ottavio (Don Giovanni), und Stuttgart studiert. Seine erfolgreiche Engländer italienischer Abstammung, hat an of Music and Drama studiert. Sie ist mit dem Michael (in Martinuº s Julietta), Alfred internationale Karriere umfaßt Auftritte für der studiert. An der Ensemble der English National Opera (Die Fledermaus) und Nanki-Poo in Jonathan die English Opera Group (mit Benjamin Royal Opera war er als der italienische Sänger aufgetreten, beim Glyndebourne Festival und Millers Inszenierung von The Mikado sang. Britten), die Royal Opera, Welsh National (im Rosenkavalier) zu sehen, als Raoul mit der Glyndebourne Touring Opera sowie Zu seinen denkwürdigen Engagements Opera, Scottish Opera und English National (Les Huguenots), Cassio (Otello) und Conte di unter anderem an der Metropolitan Opera in zählen der Oberpriester (Idomeneo) in Covent Opera, der er fünfzehn Jahre als Baritonsolist Libenskof (), und an der New York; außerdem hat sie beim Bergen Garden, der Hauptmann (Wozzeck) in Nancy, angehört hat. Er hat weit über achtzig Partien English National Opera hat er zwanzig Festival, in Wien und in Japan gastiert. Ihr San Francisco und an der Opéra du Rhin in gegeben und besitzt ein breites Repertoire, bedeutende Rollen interpretiert, darunter breit gefächertes Repertoire umfaßt Ottavia Straßburg, Schuiski (Boris Godunow) in

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Straßburg, Bordeaux und Montpellier, Peter zählen Scarpia (Tosca), der Platzkommandant Schul- und Gemeindearbeit zuständigen Schostakowitschs Lady Macbeth von Mzensk, Quint (The Turn of the Screw) anläßlich der (Aus einem Totenhaus) und Eisenhardt Abteilung des Orchesters beteiligt und Brittens Billy Budd und Peter Grimes, Russlandtournee der ENO im Jahr 1990, (Die Soldaten), die er an der English National arbeiten mit dem English National Opera Mussorgskis Boris Godunow, Bizets Carmen Truffaldino (Die Liebe zu den drei Orangen) an Opera gesungen hat, der Richter (Sweeney Studio an der Entwicklung neuer Opern, und Verdis Otello. Aufnahmen des Chors für der ENO, Sinowi (Lady Macbeth von Mzensk) Todd) an der Opera North, der Geisterbote speziell an Mark-Anthony Turnages The Silver Chandos und die Peter Moores Foundation in Toulouse und Marseille und die drei (Die Frau ohne Schatten) und Gunther Tassie, das im Februar 2000 uraufgeführt sind der Ring-Zyklys unter der Leitung von Tenorrollen in Lulu am Théâtre du Châtelet. (Götterdämmerung) an der Opéra de Marseille, wurde. Das Orchester hat an vielen Sir Reginald Goodall, Ernani, Maria Stuarda, Auf Tonträger hat er unter anderem Schuiski Alberich (Das Rheingold) an der Arizona Einspielungen mitgewirkt, zum Beispiel an Giulio Cesare, Rigoletto (Regie: Jonathan in Boris Godunow (Auszüge) und Goro Opera und der Sakristan (Tosca) am Grand deren von Verdis Ernani unter David Parry Miller) und (Madama Butterfly) für Chandos und die Peter Théâtre de Bordeaux. die bei Chandos herauskommen ist. Dies La traviata. Moores Foundation aufgenommen. Auf Tonträger hat er unter anderem geschieht unter der Schirmherrschaft der Peter Pacific Overtures, La fanciulla del West, Moores Foundation. Andere Aufnahmen des Mark Elder, der 1989 zum Commander of the Malcolm Rivers hat am Royal College of The Pirates of Penzance und The Mikado Orchesters für Chandos und die Peter Moores Order of the British Empire ernannt wurde, Music in London studiert und mit den aufgenommen. Foundation sind Maria Stuarda, Giulio Cesare, hat sowohl in Großbritannien als auch Korrepetitoren George London (USA) und Il barbiere di Siviglia, Rigoletto (in der anderswo bedeutende Posten innegehabt. Er Josephine Veasey (Großbritannien) Das von der Kritik ebenso wie vom Publikum Inszenierung von Jonathan Miller), war u.a. Musikdirektor der English National zusammengearbeitet. Sein Debüt gab er in gefeierte Orchester der English National La traviata und Werther. Opera (1979–1993), Musikdirektor des Gays The Beggar’s Opera in einer Inszenierung Opera unter Konzertmeister Barry Griffiths Rochester Philharmonic Orchestra in den der Royal Shakespeare Company. hat in den letzten Jahren mehrere angesehene Der Chor der English National Opera ist eine USA (1989–1994) und Erster Gastdirigent des Er ist international an zahlreichen Preise gewonnen, beispielsweise den Stütze der gesamten Truppe. In zahllosen City of Birmingham Symphony Orchestra Opernhäusern aufgetreten, so auch an der Musikpreis der Royal Philharmonic Society und Produktionen der English National Opera hat (1992–1995), eine Position, die er auch beim Royal Opera Covent Garden, am Teatro San einen Olivier Award für herausragende er das Publikum mit der Kraft seines Gesangs BBC Symphony Orchestra und den London Carlo in Neapel, am Théâtre La Monnaie in Leistungen im Bereich der Oper. Das und der Intensität seiner Darstellung entzückt. Mozart Players bekleidet hat. Im September Brüssel, bei den Festivals von Aldeburgh und Orchester ist von zentraler Bedeutung für das Der Chor besteht aus achtundsechzig Sängern, 2000 wird er die Stelle des Musikdirektors Edinburgh, am Los Angeles Music Theatre, künstlerische Leben der Truppe und war nicht und die weit gefächerten Talente und beim Hallé Orchestra antreten. Teatro Comunale in Florence und Teatro La nur bei Opernvorstellungen im Londoner Erfahrungen, die sie in ihre Darbietungen Er arbeitet regelmäßig mit führenden Fenice in Venedig, an der Wiener Staatsoper Coliseum, sondern auch auf dem einbringen, kennzeichnen jede Inszenierung, Orchestern in ganz Europa und Nordamerika und der Houston Grand Opera sowie in Konzertpodium zu sehen. Zusätzlich sind viele an der sie mitwirken. Besondere Triumphe für zusammen, darunter das Chicago Symphony Drottningholm. Zu seinen zahlreichen Partien der Musiker am Baylis-Programm der für den Chor waren Prokofjews Krieg und Frieden, Orchestra, das Royal Concertgebouw Orkest,

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das Los Angeles Philharmonic Orchestra, das Opera und der Bayerischen Staatsoper Orchestre de Paris und das Sinfonieorchester regelmäßig als Dirigent tätig. Weitere des Norddeutschen Rundfunks. Gastengagements haben ihn zu den In Großbritannien pflegt er enge Bayreuther Festspielen sowie nach Amsterdam, Beziehungen mit dem London Philharmonic Genf, Berlin und Sydney geführt. Orchestra ebenso wie mit dem Orchestra Mit der English National Opera hat er of the Age of Enlightenment und ist gefeierte Tourneen durch die USA (samt alljährlich bei den BBC Promenade Concerts Aufführungen an der Metropolitan Opera) aufgetreten. und Rußland (mit Gastspielen am Moskauer Er ist an berühmten internationalen Bolschoi-Theater und am Petersburger Opernhäusern wie dem Royal Opera House, Marientheater) unternommen. Zu seinen Covent Garden, der Metropolitan Opera, der jüngsten Opernverpflichtungen gehörten Opéra national de Paris-Bastille, der Lyric Produktionen von Mefistofele (Boito) und Opera of Chicago, der Glyndebourne Festival Otello an der Metropolitan Opera.

Rosalind Plowright as Desdemona and Charles Craig as Otello

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d’opéra traditionnels (tempête, chant de la tension et d’accorder un bref instant de Giuseppe Verdi: Otello victoire, chœur auprès du feu, chanson à boire, gloire à l’orchestre (on en trouve un splendide duo d’amour); ce qui est moins traditionnel en exemple à la fin du Barbier de Séville de Remarque: par commodité, dans cet article, l’opéra a suscité maints éloges et, de fait, Otello revanche, c’est qu’ils sont étroitement liés entre Rossini), mais aucune n’avait éclaté avec une “Othello” renvoie à la pièce de Shakespeare, rivalise de passion et de tendresse avec la eux à la fois par l’action, qui se poursuit telle violence, ni été menée avec une telle “Otello” à l’opéra de Verdi; de même pour les création shakespearienne. De plus, là où pendant et entre les numéros, et par la furie… et aucune n’avait donné autant de titres: Othello (Shakespeare), Otello (Verdi). Shakespeare doit multiplier les vers (pour continuité du tissu musical. caractère et d’action à la scène. rendre plus crédibles les interventions de L’opéra ne comporte pas d’ouverture, pas Dès que la fin de l’appel au secours de la Otello: drame et musique Desdemona en faveur de Cassio), l’opéra, en même un prélude. Le rideau se lève sur un foule, nous faisons la connaissance du premier Au bout d’une trentaine d’années de dur opposant les styles musicaux, parvient à un fracas épouvantable et la tempête se déchaîne des trois principaux personnages, Iago, qui labeur (d’esclavage, disait le compositeur) au résultat similaire avec plus de force et plus de sur scène. L’effet est celui d’un chaos: les aussitôt révèle sa malveillance: “È infranto service des conventions et du public de l’opéra concision que son modèle. éclairs révèlent les silhouettes de la foule que l’artimon!… L’alvo frenetico del mar sia la sua italien, Verdi prit sa retraite. N’ayant plus de Le Premier Acte de l’Othello de Shakespeare l’on entend courir en tous sens sous la pluie et tomba!” (littéralement: “L’artimon est brisé!… soucis financiers à se faire, il préférait la vie de se passe à Venise et décrit l’amour de dans l’obscurité, tandis que des coups de Que le lit mouvant de la mer soit son fermier et de philanthrope au combat Desdemona pour le général maure Othello. canon, tirés pour aider les marins, ponctuent tombeau !”) À peine formulé, ce vœu hostile désespérant de la production lyrique. Frank Le père de la jeune femme est furieux lorsqu’il le grondement du tonnerre (tous ces éléments est cependant déçu: “Il est sauf !” s’écrient les Walker a finement décrit dans son livre, apprend leur mariage secret; un recours scéniques sont précisément orchestrés par Chypriotes avant qu’Otello lui-même The Man Verdi, comment ses amis et son s’ensuit devant la cour qui prouve Verdi et méticuleusement positionnés dans apparaisse quelques instants plus tard. Il éditeur, le rusé Giulio Ricordi, avaient vaincu l’authenticité de leur amour. Le père se la partition). On aperçoit brièvement le navire n’existe pas d’entrée de ténor plus marquante la défiance de Verdi à l’égard d’Arrigo Boito à radoucit quelque peu, et Othello est nommé d’Otello. Un instant, on peut croire qu’il va dans tout l’opéra… ni de plus difficile, car force de cajoleries; comment les deux hommes gouverneur de Chypre afin de défendre la sombrer, et les spectateurs excités Otello doit se précipiter sur scène et lancer avaient collaboré pour Otello et pour Falstaff colonie vénitienne contre l’attaque des Turcs. contrepointent le tumulte intermittent d’un une réplique éclatante, héroïque (montant (ainsi que pour la révision de Simon Boito et Verdi abandonnent cet acte grand hymne au Ciel (“Avec des gestes jusqu’au contre-la) sans pouvoir s’aider d’un Boccanegra); et comment Boito était devenu (racourcissant ainsi la pièce, très longue, et d’épouvante et de supplication, tournés vers seul mot de récitatif. Trois vers lui suffisent un ami intime, puis l’une des rares personnes à trouvant le temps nécessaire à la musique) le rempart”, précise la didascalie). Jamais pour affirmer sans équivoque son statut de jouir de la confiance de Verdi, et finalement mais conservent sa fonction: établir la l’opéra italien n’avait donné à entendre général et de chef – les Chypriotes réagissent une sorte de fils de substitution pour le personnalité et les relations mutuelles des tempête si puissante et si exactement aussitôt par un chœur joyeux, “Evviva Otello”. compositeur, présent à son chevet à l’heure de principaux personnages. Le premier acte de orchestrée. Les tempêtes abondaient; leur Si les premiers mots d’Otello suscitent le sa mort. Leur réussite dans le domaine de l’opéra est constitué d’une suite de numéros fonction était de suspendre l’action, d’accroître bonheur chez ses sujets, l’ordre qu’il leur

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donne de se réjouir de la défaite des Turcs même décrivit (dans une lettre à Giulio même musique, si ce n’est que la partie ce superbe duo d’amour commence. Sur un résonnera avec une profonde ironie au fur et à Ricordi) comme “cette maudite scène du feu d’orchestre s’enrichit de trilles. Même aparté texte habilement tissé à partir d’extraits des mesure du déroulement de l’œuvre. Le chœur de joie”. Nonobstant le dédain affiché à l’égard (“Un altro sorso e brillo egli è” “Encore une premier et deuxième actes shakespeariens, ce de réjouissance s’achève et la tempête se calme. de ce chœur, son orchestration vive et légère gorgée et il est ivre”), suivi de la troisième duo empli de douceur, de tendresse, de désir et Tandis que le chœur en fait la remarque est une merveille, et sa fonction dans l’acte strophe. L’accompagnement est encore de passion nous captive par la seule beauté de (“Si calma la bufera” “La tempête se calme”: essentielle puisqu’il fait partie intégrante d’une renforcé – de même que l’action, car le schéma sa sonorité; il établit aussi pleinement la voilà qui aura aussi un écho ironique), un transition soigneusement graduée entre le est privé de sa conclusion habituelle par qualité et la profondeur de la relation entre merveilleux sentiment de détente nous début mouvementé de l’acte et la sérénité du Cassio, qui, complètement ivre à présent, Otello et Desdemona. Le point culminant en envahit, auquel Verdi parvient en mettant fin à duo final. Tandis que feu et chœur s’éteignent, manque sa réplique et entre trop tôt. Au lieu est l’épisode d’une beauté sensuelle qui voit une pédale grave, troublante dans sa Roderigo et Iago rejoignent Cassio, capitaine de reprendre le refrain attendu, le chœur se Otello à trois reprises demander un baiser – ce discordance, de trois demi-tons conjoints de la garde. Iago invite ses compagnons à boire gausse de l’ivrogne tandis que Iago presse triple baiser reviendra par deux fois dans le (do, do dièse, ré), maintenue à l’orgue depuis et Cassio, qui avait commencé par refuser (il a Roderigo de provoquer Cassio, qui titube et ne dernier acte: ce sera l’élément charnière de la le tout début de l’œuvre. déjà bu), finit par capituler afin de porter un tarde pas à déclencher une rixe. Tandis que tragédie. Le souvenir de ces baisers assure Dans cette ambiance plus sereine, Iago se toast à Otello et à Desdemona. Ce qui s’ensuit Roderigo (à l’instigation de Iago) sonne l’unité de l’œuvre et prendra une signification tourne vers Roderigo, jeune Vénitien est un magnifique exemple du génie avec l’alarme, Montano (prédécesseur d’Otello au particulière à la fin de l’opéra. Pour l’heure, ce éperdument épris de Desdemona, et flatte sa lequel Verdi sait faire du neuf avec du vieux. poste de gouverneur) intervient et est blessé. duo, avec un chatoiement des cordes, de la passion, lui affirmant que la jeune femme se Cassio loue la beauté et la bonté de La musique atteint un paroxysme; Otello entre harpe et des vents, et une ultime reprise en lassera vite de son mari. Iago confesse aussi Desdemona – ce dont Iago se sert pour (“Abasso le spade !” “Baissez l’épée !”), et son écho de ses phrases initiales, achève le qu’il hait Cassio, promu à un rang supérieur convaincre Roderigo que Cassio est son récitatif (cordes violemment ponctuées ici et là gigantesque decrescendo sur lequel Verdi a bâti au sien, et qu’il hait Otello, responsable de rival –, et Iago (précédé d’une pétillante par les vents) calme le chaos. Lorsqu’Otello tout ce premier acte. cette promotion, terminant l’une de ses introduction orchestrale) se lance dans le demande comment la querelle a commencé, Le Deuxième Acte débute par un dialogue phrases mielleuses par ce trille sonore qui “Brindisi”. Il s’adresse tout d’abord à Cassio, Iago insinue perfidement que le blâme en entre Cassio et Iago. L’introduction marquera nombre de ses interventions les plus qui répond par des vers poétiquement et revient à Cassio. Alertée par le bruit, orchestrale, richement développée, est basée caractéristiques. Les deux hommes s’éloignent musicalement complémentaires des siens. Desdemona paraît. Courroucé, Otello destitue sur un motif associé à Iago: féroce au premier vers le fond de la scène (et hors de portée de La dernière partie du schéma est le refrain Cassio de son commandement. En quelques abord, puis suave et charmant, il varie au gré voix) alors que les Chypriotes allument un feu entonné par Iago (caractérisé par son trille et injonctions, il rétablit le calme avant de rester de son humeur durant la scène. Ayant suggéré de joie et entament un chant à sa louange une gamme chromatique sinueuse), aussitôt seul en scène avec Desdemona. à Cassio, abattu, de demander à Desdemona (“Fuoco di gioa” “Feu de joie”). C’est là aussi repris par le chœur. Un bref dialogue en aparté Introduit par un violoncelle solo avec d’implorer pour lui son pardon auprès un cliché de l’opéra italien, que Verdi lui- avec Roderigo, puis ce schéma est repris: sourdine, les autres violoncelles étant divisés, d’Otello, Iago éloigne sa dupe (“vanne”), puis

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répète ce “vanne” sur un ton beaucoup moins en quatre phrases anodines, le poison est musical change à présent et semble étrange au que l’accompagnement tout à la fois les amical et, sur une violente explosion de instillé. premier abord. Certains critiques ont reproché soutient et trouble leurs lignes alanguies par l’orchestre à l’unisson, entame son Credo Au tout début, Verdi avait songé à intituler à cette scène de présenter des longueurs et une figuration variée et discrètement satanique. Boito a tiré parti d’une simple son opéra Iago. Dans une lettre à un ami, le d’être dramatiquement superflue. Au contraire, mordante. Malgré le départ de Desdemona et allusion chez Shakespeare (Iago, ayant conseillé peintre napolitain Domenico Morelli, il avait grâce à un renfort d’une magique simplicité de d’Emilia, cet accompagnement persiste à Cassio de soumettre son cas à Desdemona, réfuté sa conception de Iago comme un être mandoline, guitare et petite cornemuse à lorsqu’Otello, vidé par l’émotion, se laisse invoque la “Divinité de l’Enfer” en petit et méchant et donné sa propre opinion l’accompagnement orchestral, elle révèle la tomber sur une chaise. échafaudant la suite de son stratagème) pour sur la manière dont Iago devrait être dépeint: simple beauté de Desdemona au travers du Savourant son projet, comme chez en faire une véritable profession nihiliste de foi …si j’étais acteur et que je devais jouer Iago, regard des autres, et sa longueur est essentielle Shakespeare: dans le Mal. Dieu est cruel; l’Homme, créé à j’aimerais être grand et mince, avec des lèvres à la crédibilité de la suite de l’action. La grâce …I will in Cassio’s lodging lose this napkin. son image, est malfaisant, pantin du Destin. minces, de petits yeux rapprochés comme ceux de Desdemona rayonne tandis que sa voix And let him find it. Trifles light as air Après la moquerie de la vie vient la mort… d’un singe, un large front dégarni et le crâne s’envole, reprenant en écho les vœux de la Are to the jealous confirmations strong et ensuite? (pp legato). Rien. Le Ciel est une saillant par derrière; et une manière foule (“Splendide il cielo” “Le ciel resplendit”): As proofs of holy writ… vieille fable – tout le groupe des cuivres nonchalamment absente, indifférente à tout, Otello est bouleversé et Iago lui-même s’esclaffe de dérision. Mis en musique par spirituelle, disant le Bien et le Mal de manière reconnaît sa beauté, tout en promettant de la […Je veux perdre ce linge dans les appartements Verdi (truffé de trilles, utilisant une palette quasi insouciante, avec un air d’indifférence à détruire. L’occasion ne se présente que trop de Cassio dynamique très large, du ppp au ff, et un mode tout ce que dit le personnage si bien que si tôt. Desdemona s’approche d’Otello et plaide Et lui laisser trouver. Vétilles légères comme l’air d’expression principalement déclamatoire), ce quelqu’un lui reprochait: “Ce que vous dites là avec douceur la cause de Cassio. Irrité, Otello Sont au jaloux confirmation aussi forte Credo électrisant révèle un Iago beaucoup plus est vil!”, il pourrait répondre: “Vraiment? Ce repousse sa demande et jette au loin le Que preuves tirées des Saintes Écritures…] positivement maléfique qu’il ne l’est chez n’était pas mon intention… n’en parlons mouchoir auquel elle attribue le pouvoir Iago dissimule le mouchoir dans son Shakespeare, où la rumeur et l’auto- plus!”… d’apaiser sa feinte migraine. L’échange se mue justaucorps. Lorsqu’il s’approche d’Otello, ce endoctrinement, plus que des convictions, Un tel personnage peut tromper tout le en un quatuor magistral lorsque Iago et sa dernier laisse exploser sa fureur. Son récitatif sont à la base de sa motivation. Le charme monde, même – jusqu’à un certain point – sa femme Emilia, suivante de Desdemona, se est si violent (“Tu? Indietro! fuggi!” “Toi? avec lequel il met en œuvre la suite de son femme. Un être petit et méchant éveille les joignent au couple déchiré. Iago arrache le Arrière! fuis!”) qu’il déborde (plus qu’il ne intrigue fait froid dans le dos. Tandis que suspicions de tout le monde et ne trompe mouchoir à Emilia et lui ordonne de garder le débouche) dans l’aria où son courage Cassio aborde Desdemona, Iago laisse personne ! Amen. silence – il lui servira à fabriquer la preuve l’abandonne. En dépit de son rythme de négligemment tomber une expression À quelque distance de là, Cassio a laissé nécessaire à la tragédie. Le raffinement de ce marche et de son ton martial, des triolets suspicieuse qu’Otello surprend. Iago met Desdemona entourée de Chypriotes venus lui quatuor est extraordinaire: les voix subtilement sinueux sapent son allure carrée et envahissent ce dernier en garde contre la jalousie… offrir des fleurs et des fruits. Le langage se fondent et changent de partenaire, tandis la ligne vocale. Lorsqu’Otello atteint un

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paroxysme sur un contre-si bémol et que Iago Lorsque Iago lui offre la preuve du mouchoir prononcé par Otello, “Continue”, s’adresse Complètement brisé à présent, il commence l’invite à se calmer, les cordes (ppp molto (premier gage d’amour offert par Otello à ainsi à la fois à Iago et à la jalousie dans son l’air le plus douloureux de tout l’opéra sur une staccato e tremolo) fouettent des triolets sans fin Desdemona), qu’il a “vu” dans la main de esprit obnubilé. Cet acte verra les soupçons même note sombrement répétée. (Remarquez tandis que le Maure exige des preuves, des Cassio, la voix d’Otello retrouve toute sa torturés d’Otello se transformer en (apparence avec quelle fréquence les airs de cet opéra preuves visuelles. Il est tellement à bout qu’il violence ( ff: “Ah ! mille vite gli donasse Iddio!” de) faits, car Iago se promet d’attirer Cassio et débutent sur une même note répétée… et saisit Iago à la gorge. “Ah ! que Dieu lui donne mille vies!”) et des de l’amener à révéler sa culpabilité. Juste avant comme leur puissance expressive est Avec maintes démonstrations de réticence, groupes de triolets s’emparent une fois de plus de partir, Iago exaspère sa victime par une infiniment supérieure à celle des mélodies Iago s’assure que le poison accomplisse une de l’accompagnement jusqu’à ce qu’Otello y allusion au “mouchoir”. belcantistes traditionnelles.) De son côté, œuvre irréparable: prenant une fois encore sa mette fin par son cri insensé trois fois répété L’entrée de Desdemona confère une beauté l’orchestre poursuit obstinément un même voix la plus sensuelle, il rapporte un rêve dans (“Ah! sangue! sangue! sangue!” “Ah! vengeance! lyrique à cette scène, et tout au long de leur petit motif mélodique au travers de ses diverses lequel Cassio aurait décrit son amour pour vengeance! vengeance!”). Tombant à genoux, il échange l’affection de la jeune femme tournures harmoniques et contrapuntiques. Desdemona et maudit le sort qui l’a donnée au jure devant Dieu de se venger. Sa partie contraste avec la courtoisie tendue d’Otello. Chaque nouvelle mutation donne une Maure. Flûtes et hautbois se joignent tout commence par une même note répétée, De nouveau, elle plaide la cause de Cassio puissance psychologique nouvelle à la doucement aux cordes lorsque Iago “cite” les richement brodée par les vents. Iago l’empêche tandis qu’Otello réclame encore et encore le description de la détresse sans fond d’Otello et paroles de Cassio sur un contre-ut répété de se relever, se met à genoux et jure à son mouchoir, montant chaque fois le ton. Avec de ses efforts sans espoir pour échapper à son montant chromatiquement à ré (“Cauti tour. C’est seulement lorsqu’ils chantent une dangereuse insensibilité, elle essaie de tourment. Ce numéro est peut-être la plus vegliamo” “Soyons prudents”) avant de ensemble (procurant une conclusion héroïque ramener la conversation à Cassio. grande réussite tragique de Verdi: nulle part redégringoler (chromatiquement !) une octave. à cet acte) que l’on s’aperçoit que c’est Iago Brusquement, Otello perd tout contrôle de est-il aussi wagnérien de par l’éloquence de son La suite de sa “citation” (désormais assombrie qui a la mélodie – c’est réellement lui qui lui-même et la met au défi de jurer de son orchestre, nulle part est-il aussi profondément par clarinettes, basson et cors) est prononcée “mène la danse” tandis qu’Otello assure à la innocence. Ses protestations de fidélité verdien, car, juste au bon moment, la voix d’une voix caverneuse et sombre – en dépit de ligne mélodique un accompagnement (exprimées avec le plus profond sentiment) le commence à s’élever et peu à peu impose une l’indication dolcissimo, la mesure à 6/8 est contrapuntique. mettent en fureur. Soudain (comme le lente mélodie lyrique pour l’évocation par ébranlée par de discrets accents sur les temps Le contrepoint le plus complexe de la précisent les indications de Verdi), Otello passe Otello de l’éclipse de son soleil, du sourire qui faibles, et le rêve s’estompe. Otello est partition ouvre l’Acte III de manière de la rage à une ironie glaciale bien plus a été la plus grande joie de son existence. Au totalement brisé par la merveilleuse beauté de mystérieuse, et Verdi évoque spécifiquement à terrifiante encore. Citant la musique de moment même où il maudit son sort et ce récit, combinée à la noirceur mensongère de la fois Iago et la jalousie. La musique atteint Desdemona, il la raccompagne à la porte, déclare qu’à la preuve succédera la mort, Iago son contenu: il répond à mi-voix (“Oh! un point culminant puis se calme. Après l’insulte brutalement en lui disant qu’il la revient: Cassio est là. La rapidité de l’action est mostruosa colpa” “Oh! monstrueuse faute”); l’annonce par le héraut de l’arrivée des prenait pour “cette vile courtisane qu’est telle que la ligne vocale d’Otello se maintient sonné, il contemple plus qu’il ne condamne. ambassadeurs vénitiens, l’unique mot l’épouse d’Otello”, et la jette dehors. presque sans changement et mène à un bref

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échange de paroles, avant qu’Otello se cache intéressant de noter que lorsque Verdi prépara que Iago exulte, la foule s’éloigne en acclamant indéfiniment le lever du rideau, qui nous pour écouter et observer. Otello pour la production parisienne de 1894, Otello et le Lion de Venise. Iago (“avec un révèle Emilia aidant Desdemona à se préparer Pendant la scène qui suit, Iago parle à c’est ici qu’il inséra le ballet exigé par les geste d’horrible triomphe”, précise Verdi) pour la nuit. Les pensées de Desdemona sont Cassio de sa maîtresse Bianca. Leur conventions de l’opéra français. Quoique désigne la figure prostrée d’Otello et répond obsessivement tournées vers la mort, et une conversation est égrillarde et plutôt gaie, et superflu sur le plan dramatique, il établit un avec un rire méprisant: “Ecco il Leone !” (“Le chanson que chantait une servante de sa mère Otello – qui ne l’entend que par bribes – parallèle avec l’organisation d’Aida, contient voilà, votre Lion!”). Un dernier cri ironique de lui revient sans cesse à l’esprit (“Mia madre pense naturellement qu’il est question de des pages scintillantes, et les six mesures la foule: “Vive Otello!”, et le rideau tombe. aveva una povera ancella” “Ma mère avait une Desdemona. Lorsque Cassio, perplexe, montre d’invocation à Allah sont d’une grande force Verdi apporta des modifications substantielles pauvre servante”). Plaintivement accompagnée à Iago le mouchoir mystérieux qu’il a trouvé dramatique.) Les instructions reçues par Otello à ce finale lors de la création à Paris (en 1894: par le cor anglais, elle chante couplet après dans ses appartements, Iago l’agite le rappellent à Venise: Cassio doit lui succéder version entendue ici) afin de mieux mettre en couplet de cette chanson du Saule. Il s’en ostensiblement en tous sens: Otello le voit et comme gouverneur de Chypre! Poussé à bout relief les paroles de Iago qui, en dépit de ses dégage un sentiment de répétition circulaire croit tenir la “preuve” qu’il réclamait. La lorsqu’il entend Desdemona dire à Iago qu’elle efforts et de ceux des interprètes, n’étaient pas oppressant mais sans monotonie, car Verdi musique que compose ici Verdi est d’une espère voir Cassio et Otello se réconcilier, suffisamment audibles à son goût dans la prend soin de varier les répétitions par grande variété et d’une délicatesse sans Otello insulte publiquement son épouse et la partition originale. quelques touches comme la description des précédent. C’est le genre d’écriture que l’on frappe, sous les regards horrifiés de l’assistance Après les remous des courants contraires, la volettements des oiseaux (“Scendean l’angelli a trouve en abondance dans son dernier opéra, (“A terra!… e piangi!…” “A terre!… et rapidité d’action et le spectacle public des vol dai rami cupi” “Les oiseaux descendaient Falstaff (écrit cinq ans après Otello). Puis une pleure!…”). L’exquise lamentation de précédents actes, le Quatrième Acte est d’un en voletant depuis les plus hautes branches”), tonalité plus formelle s’impose avec les Desdemona s’épanouit en un vaste ensemble contenu simple: toute l’action repose sur la ou d’une fenêtre claquant soudain au vent de sonneries d’une trompette solo; d’autres lui concertant, statique, mais dont les dimensions symétrie des deux morts. La tonalité est noire, manière alarmante. Sur de lourds accords répondent, et un coup de canon annonce et l’instrumentation éclatante font vivement intime. Doux et mélancolique, un cor anglais menaçants, Desdemona souhaite bonne nuit à l’arrivée de l’ambassade. Iago éloigne ressortir la sombre coloration orchestrale du essaie (en un sombre sol dièse mineur) d’élever sa suivante puis, momentanément prise de rapidement Cassio. Tandis que les Chypriotes dernier acte. Pendant cet ensemble, Iago une phrase mélodique, mais elle s’évanouit panique, l’embrasse et lui dit adieu. Le motif acclament les ambassadeurs vénitiens, Otello, à pousse Otello à la vengeance et convainc dans l’abîme. Plus tard, cette phrase précédent se glisse à nouveau, troublant. Son la suggestion de Iago, décide d’étrangler Roderigo qu’il doit tuer Cassio ou s’accompagnera de paroles lorsque Desdemona ondulation chromatique se transforme en un Desdemona. Iago se chargera de tuer Cassio, définitivement renoncer à Desdemona. Une chantera la chanson du Saule, mais ici elle est la bémol majeur plus serein lorsque et Otello le promeut au rang de capitaine. pause survient, et Otello s’en prend à la foule ponctuée par les flûtes et suivie de la sonorité à Desdemona s’agenouille devant une image de La grande scène d’apparat qui suit a toute la en lui commandant de s’éloigner. Quand vide des clarinettes. Développée en trente la Vierge et dit sa prière. Le texte de cet Ave brillance de celle de l’autodafé dans Don Carlos Desdemona essaie de le réconforter, il la mesures d’une écriture chromatique et Maria est la dernière facette du portrait tracé ou de la scène du Triomphe dans Aida. (Il est maudit avant de s’effondrer, évanoui. Tandis contrapuntique, elle paraît retarder par l’opéra de sa personnalité. Sa supplique se

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charge de ferveur puis cesse avant qu’elle ne you go” “Paix, messieurs, un mot ou deux découle pas non plus de la simple intensité Otello qui ordonne: “Réjouissez-vous! gagne son lit et s’endorme. avant que vous ne partiez”), au cours desquels injectée par Verdi (ce thème est moins simple L’orgueil turc est enseveli en mer; la gloire La sombre couleur orchestrale s’assombrit Othello se considère tour à tour du point de qu’il n’y paraît et rendu un peu plus complexe nous en revient ainsi qu’au Ciel! Après nos encore lorsqu’Otello entre dans la pièce. Verdi vue de son propre accusateur, de son propre encore par le recours au même procédé au armes, l’ouragan l’a annihilé.” Rien de tel, utilise les seules contrebasses – toutes, sauf la avocat, de son juge et de son bourreau. En des début de l’acte III). En revenant à l’acte I au disait Shakespeare; et Verdi dit de même première, munies de sourdines. Otello vers bouleversants (renvoyant à un passage moment où la tragédie s’achève, Verdi impose encore plus directement: la tempête ne fait que l’embrasse à trois reprises. À peine le choc du antérieur de la pièce), il prend congé de son une puissance cyclique à l’ensemble de l’œuvre commencer, et ce “Turc” n’est ni enseveli, ni souvenir s’est-il emparé de cette grand envolée épouse innocente et morte, et se poignarde et nous force à réexaminer le début à la annihilé. C’est la dynamo structurelle qui qui nous ramène au duo de l’acte I, qu’elle avec l’arme qu’il tenait cachée. Au troisième lumière de la fin. Pourquoi procéder ainsi ? La meut la tragédie – ce qui explique que Verdi s’évanouit (privée de sa cadence) à l’instant où baiser, Otello meurt (Verdi place la dernière réponse est à la fois subtile et shakespearienne. ait accordé une telle place à la tempête initiale. Desdemona s’éveille. Otello étouffe sa femme. syllabe sous un silence: pas de note Shakespeare assimile souvent une image Rien de commun avec ces jolies parenthèses Emilia n’entre dans la chambre que pour déterminée, simplement le son de la parole qui particulière à un motif dramatique essentiel. orchestrales qui sont pléthore dans le entendre sa maîtresse, mourante, prétendre au expire) et cette fois la cadence (et l’opéra) est Dans Othello, Iago est assimilé au Turc, et l’art répertoire opératique. Lorsqu’elle semble enfin suicide afin de protéger Otello: “Et dis à mon menée à son terme. de la guerre (occupation d’Othello) à la s’être calmée (cet immense “decrescendo” Seigneur que jamais je ne l’ai trompé… dans La pleine dimension tragique de cette bataille intérieure qui le détruira. Shakespeare occupant tout l’acte), nous connaissons les la mort je l’aime… Adieu…” Furieux, Otello conclusion dépasse largement sa substance joue pour la première fois avec ces motifs à la personnages d’une tragédie qui ne fait que l’accuse de mensonge et reconnaît sa dramatico-musicale immédiate. On a scène 1 de l’acte II (Un port maritime à commencer (avec ces trois baisers). Un poète culpabilité: “Oh, menteuse! C’est moi qui l’ai beaucoup écrit sur le réemploi par Verdi de la Chypre. Un espace dégagé près du quai). Il a plus tardif devait affirmer (citant lui-même la tuée.” musique du duo d’amour, et son effet est ici fallu près de quarante pages à un bon critique devise d’une reine tragique): “Dans mon Par ses cris, Emilia attire sur scène les autres précisément tragique parce qu’il fait coïncider pour explorer les implications de cette scène commencement est ma fin”; il est temps que le personnages… uniquement pour leur révéler la l’orgueil démesuré et fatal d’Otello à la fois (Harold G. Goddard, The Meaning of rideau se lève sur le plus grand drame verdien. traîtrise de Iago et la crédulité d’Otello. avec le moment de son plus grand Shakespeare, The University of Chicago Press, Lodovico désarme le Maure. Calmement, épanouissement (son amour pour Desdemona) 1951). Judicieusement, le professeur l’appelle Benedict Sarnaker Otello demande que nul ne le craigne: (“Life’s et avec celui de sa destruction. Sa force le “sixième acte d’Othello” et en décrit “la Traduction: Josée Bégaud weary journey has reached its end. Oh! Glory! irrésistible ne peut simplement s’expliquer par musique silencieuse”: cette activité de surface Otello’s done!” (Me voici au bout du chemin. l’emploi par Verdi d’un thème de réminiscence qui ne révèle son noyau métaphysique qu’une L’ambition de Charles Craig, né en 1919, fut Oh! Gloire! Otello n’est plus.)) Ce passage (lieu commun de l’opéra italien et des propres fois la tragédie arrivée à son terme. Verdi va toujours de chanter, mais les besoins familiaux remplace les dix-neuf vers miraculeux de œuvres de Verdi, présent par exemple dans droit à ce violent noyau d’obscurité; la tempête firent qu’il dut exercer d’autres emplois avant Shakespeare (“Soft you, a word or two before La Force du destin et dans Aida). Elle ne (non pas qui s’achève mais à venir) amène de joindre l’armée au début de la Seconde

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Guerre mondiale. En 1947, il entra dans le Rosalind Plowright a mené une carrière d’Hoffmann d’Offenbach, Il trovatore de Verdi, Repertoire Studies au Royal Northern College chœur du Royal Opera de Covent Garden. particulièrement remarquable. Elle fit ses et (pour Chandos et la Peter Moores of Music de Manchester. Depuis 1998, il a été Il fit ses débuts en concert à Londres avec études au Royal Northern College of Music de Foundation) Mary Stuart. salué par la critique pour ses interprétations de Sir Thomas Beecham en 1952, et l’année Manchester et au London Opera Centre, et Wotan/Wanderer. Il continue à donner des suivante, il entra au Carl Rosa Opera en obtint une bourse de la Peter Moores Neil Howlett remporta la Kathleen Ferrier leçons privées à Londres et dans le comté du qualité de ténor principal, faisant ses débuts Foundation et une bourse Peter Stuyvesant. Memorial Scholarship pendant ses études à Lincolnshire. dans le rôle de Rodolfo (La bohème); il chanta Son enregistrement de 1984 de Leonora l’Université de Cambridge. Il poursuivit également le rôle de Des Grieux (Manon (Il trovatore) avec Placido Domingo, sous la ensuite sa formation à Vienne, à Milan et à D’origine italienne, Bonaventura Bottone est Lescaut de Puccini) et le rôle titre lors de la direction de Carlo Maria Giulini, fut Stuttgart. Sa brillante carrière internationale né en Angleterre, et a étudié à la Royal première anglaise de Benvenuto Cellini de sélectionné pour un Grammy Award. Toujours compte des prestations avec l’English Opera Academy of Music de Londres. Au Royal Berlioz. Charles Craig entra au Sadler’s Wells en 1984, elle fit ses débuts au Royal Opera de Group (avec ), au Royal Opera de Covent Garden, il a incarné le Opera en 1956, et y chanta entre autres les Covent Garden dans le rôle de Maddalena Opera de Covent Garden, au Welsh National Chanteur italien (Der Rosenkavalier), Raoul rôles de Samson, d’Andrea Chénier et du (Andrea Chénier) avec Jose Carreras, et dans Opera, au Scottish Opera, et à l’English (Les Huguenots), Cassio (Otello) et le Comte Prince dans la première production anglaise de Aida avec Luciano Pavarotti. National Opera où il fut premier baryton Libenskof (Il viaggio a Reims). A l’English Rusalka de Dvorˇák. Il chanta pour la première Rosalind Plowright s’est produite dans la pendant quinze ans. Il a chanté plus de quatre- National Opera, il a été le créateur de vingt fois comme principal à Covent Garden en plupart des grands théâtres lyriques du monde vingts rôles, couvrant un vaste répertoire; des rôles importants, incluant Rodolfo (La 1959 dans le rôle de Pinkerton (Madama entier dans des rôles tels que Suor Angelica exemples notables sont Scarpia, Iago, bohème), Faust (), le Butterfly), et y incarna d’autres rôles tels que (La Scala, Milan), Leonora dans Il trovatore Macbeth, Boccanegra, Renato, Amfortas, Duc (Rigoletto) et Lensky (Eugène Onéguine). Pollione (Norma) et Des Grieux. Il fut invité à (Vérone), Stiffelio (La Fenice, Venise), Ariadne Golaud, Almaviva et Jokanaan. Sur le plan Il s’est également produit au Glyndebourne se produire dans de nombreux théâtres et Medea (Opéra Bastille, Paris), Desdemona international, Neil Howlett s’est produit en Festival Opera, à l’Opera North, au Scottish lyriques importants en Europe, en Amérique et Amelia (Staatsoper de Vienne), Madama Italie, en France, en Allemagne, en Opera et au Welsh Opera dans des rôles tels du Nord et du Sud. Il fut particulièrement Butterfly (Houston Grand Opera), et Santuzza Scandinavie, en Amérique du Sud et aux que Loge (Das Rheingold ), Turiddu (Cavalleria recherché comme interprète d’Otello, un rôle (Staatsoper de Berlin). A l’English National Etats-Unis. Dans son répertoire de concert, rusticana), Alfredo (La traviata) et Fernando qu’il chanta à Berlin, à La Scala de Milan et au Opera, Rosalind Plowright a chanté dans il a chanté avec tous les grands orchestres (La favorita). Palais des doges, avant de le chanter à Covent Otello, Mary Stuart, The Turn of the Screw britanniques. A l’étranger, Bonaventura Bottone s’est Garden et à l’English National Opera (dans la (pour lequel elle remporta un Olivier Award), Neil Howlett fut professeur à la Guildhall produit à l’Opéra d’Etat de Bavière, à la production de Jonathan Miller qui est et Il tabarro de Puccini. Parmi ses School of Music and Drama de Londres de Houston Opera House, au Metropolitan enregistrée ici). Charles Craig est mort en enregistrements figurent Elijah de 1974 à 1992, date à laquelle il fut nommé Opera de New York, au Lyric Opera de janvier 1997. Mendelssohn (pour Chandos), Les Contes Head of Vocal Studies, et plus tard Director of Chicago, à l’Opéra Bastille de Paris, et au

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Nouvel Opéra d’Israël. Il a chanté en concert couvrent un très vaste répertoire allant de The Beggar’s Opera de John Gay avec la Royal Philharmonic Society et un Olivier Award pour en Allemagne, en Norvège, en Pologne et en Monteverdi jusqu’à Messiaen. Il commença sa Shakespeare Company. sa contribution exceptionnelle au monde Espagne. Parmi ses enregistrements figurent carrière au Welsh National Opera avant Il s’est produit dans de nombreuses salles lyrique. L’Orchestre est au cœur de la vie The Mikado, Street Scene de Kurt Weil et d’entrer à l’English National Opera où il resta lyriques internationales, notamment au Royal artistique de la Compagnie et outre les Hugh the Drover de Vaughan Williams. pendant huit ans, chantant des rôles tels que Opera de Covent Garden, au Teatro San Carlo représentations lyriques au Coliseum à Don Ottavio (Don Giovanni), Michael de Naples, au Théâtre de La Monnaie de Londres, il se produit également en concert. Shelagh Squires fit ses études à la Guildhall (Jiulietta de Martinuº ), Alfred (Die Fledermaus) Bruxelles, dans les festivals d’Aldeburgh et De plus, de nombreux membres de l’Orchestre School of Music and Drama de Londres. Elle et Nanki-Poo dans la production de Jonathan d’Edimbourg, au Los Angeles Music Theatre, participent au Projet Baylis mis sur pied par la s’est produite à l’English National Opera, au Miller du Mikado. au Teatro Comunale de Florence, à La Fenice branche de la Compagnie chargée de Festival de Glyndebourne et avec le Parmi ses engagements importants, on citera de Venise, au Staatsoper de Vienne, au l’éducation ainsi qu’au développement de Glyndebourne Touring Opera, et au le Grand Prêtre (Idomeneo) au Royal Opera de Houston Grand Opera, et à Drottningholm. nouveaux opéra avec l’English National Opera Metropolitan Opera de New York entre autres. Covent Garden, Hauptmann (Wozzeck) à Parmi les très nombreux rôles de son répertoire Studio, comme The Silver Tassie de Mark- Elle a également chanté au Festival Nancy, à San Francisco et à l’Opéra du Rhin figurent Scarpia (Tosca), le Commandant Anthony Turnage dont la création mondiale international de Bergen, à Vienne et au Japon. à Strasbourg, Shuisky (Boris Goudonov) à (La Maison des morts), et Eisenhardt (Die eut lieu en février 2000. L’Orchestre a Son vaste répertoire inclut Ottavia Strasbourg, Bordeaux et Montpellier, Peter Soldaten) à l’English National Opera; le Juge participé à de nombreux enregistrements, (L’incoronazione di Poppea), Marcellina (Le Quint (The Turn of the Screw) pour la tournée (Sweeney Todd) à l’Opera North; Geistergebot comme, pour Chandos, en collaboration avec nozze di Figaro), Ulrica (), 1990 en Russie de l’English National Opera, (Die Frau ohne Schatten) et Gunter la Peter Moores Foundation, Ernani, Maria Magdalena (Die Meistersinger von Nürnberg), Zinoviev (Lady Macbeth de Mtsensk) à (Götterdämmerung) à l’Opéra de Marseille; Stuarda, Giulio Cesare, Il barbiere di Siviglia, Herodias (Salome), Annina (Der Toulouse et à Marseille, les rôles des trois Alberich (Das Rheingold) à l’Arizona Opera; et Rigoletto (dans la mise en scène de Jonathan Rosenkavalier), Adelaide (Arabella), Martha ténors dans Lulu au Théâtre du Châtelet à Sacristan (Tosca) à l’Opéra de Bordeaux. Miller), La traviata et Werther. (Faust), la Sorcière (Rusalka) et Filipyevna Paris. Parmi ses enregistrements figurent La discographie de Malcolm Rivers compte (Eugène Onéguine). Parmi les enregistrements Shuisky dans Boris Goudonov (extraits) et Goro Pacific Overtures, La fanciulla del West, Le Chœur de l’English National Opera est de Shelagh Squires figurent La traviata, Das (Madama Butterfly) pour Chandos et la Peter The Pirates of Penzance et The Mikado. l’un des plus beaux atouts de cette compagnie Rheingold et Götterdämmerung (tous pour Moores Foundation. lyrique. Remarquable autant pour la puissance Chandos et la Peter Moores Foundation). Salué autant par la critique que par le public, de son chant que l’intensité de son jeu, cet Malcolm Rivers fit ses études au Royal L’Orchestre de l’English National Opera, avec ensemble a enthousiasmé le public dans Stuart Kale est reconnu dans le monde entier College of Music de Londres, et prit des leçons Barry Griffiths comme premier violon, s’est vu d’innombrables productions de l’English comme l’un des acteurs chanteurs les plus aux USA avec George London, et à Londres décerner ces dernières années plusieurs prix National Opera. Ces soixante-huit choristes, exceptionnels du monde de l’opéra, et ses rôles avec Josephine Veasey. Il fit ses débuts dans prestigieux comme le Prix de la Royal riches d’une vaste expérience et d’une

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multitude de talents, marquent de leur sceau orchestres en Europe et en Amérique du Nord, toutes les représentations auxquelles ils notamment le Chicago Symphony Orchestra, participent. Le Chœur a triomphé entre autres l’Orchestre Royal du Concertgebouw, le dans Guerre et paix de Prokofiev, Lady Macbeth Los Angeles Philharmonic, l’Orchestre de Paris de Mtsensk de Chostakovitch, Billy Budd et et l’Orchestre de la Radio d’Allemagne du Peter Grimes de Britten, Boris Godounov de Nord. Moussorgsky, Carmen de Bizet et Otello de En Grande-Bretagne, il collabore étroitement Verdi. Ils ont enregistré pour Chandos, en avec le London Philharmonic Orchestra et collaboration avec la Peter Moores Foundation, l’Orchestra of the Age of Enlightenment, et il se le cycle du Ring dirigé par Sir Reginald produit tous les ans dans le cadre des Goodall, Ernani, Maria Stuarda, Giulio Cesare, Promenade Concerts de la BBC. Rigoletto (dans la mise en scène de Jonathan Mark Elder dirige régulièrement dans des Miller) et La traviata. salles lyriques internationales aussi importantes que celles du Royal Opera House, Covent Mark Elder, qui a été fait Commandeur de Garden, du Metropolitan Opera de New York, l’Empire Britannique (CBE) en 1989, a tenu de l’Opéra national de Paris-Bastille, du Lyric des postes prestigieux en Grande-Bretagne et à Opera de Chicago, du Glyndebourne Festival l’étranger. Ainsi, il fut directeur de l’English Opera et de l’Opéra d’Etat de Bavière. Il a National Opera (1979–1993), directeur également dirigé au Festival de Bayreuth, et à musical du Rochester Philharmonic Orchestra Amsterdam, Genève, Berlin et Sydney. aux Etats-Unis (1989–1994), et chef principal Avec l’English National Opera, Mark Elder invité du City of Birmingham Symphony a effectué des tournées triomphales aux USA Orchestra (1992–1995), un poste qu’il a (en passant par le Metropolitan Opera) et en également assuré à la tête du BBC Symphony Russie (notamment au Bolchoï à Moscou et au Orchestra et des London Mozart Players. En Théâtre Mariinski de Saint-Petersbourg). Très septembre 2000, il deviendra le directeur récemment, il a dirigé des productions de musical du Hallé Orchestra. Mefistofele (Boito) et d’Otello au Metropolitan Mark Elder dirige régulièrement de grands Opera de New York. Stuart Kale as Roderigo, Bonaventura Bottone as Cassio and Neil Howlett as Iago

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lirici tradizionali (tempesta, peana alla vittoria, del Barbiere di Siviglia di Rossini), ma nessuna Giuseppe Verdi: Otello coro intorno al fuoco, brindisi, duetto si scatena con altrettanta ferocia né si svolge d’amore), ma strettamente collegati, in con altrettanta violenza, e nessuna sottolinea Nota: per comodità, in quest’articolo, Othello collaborazione sono stati abbondantemente maniera meno convenzionale, dallo svolgersi l’atmosfera e l’azione in maniera altrettanto indica la tragedia di Shakespeare e Otello esaltati e, in verità, Otello uguaglia il dramma dell’azione e da un tessuto musicale poderosa. l’opera di Verdi. I riferimenti al titolo saranno omonimo di Shakespeare per passione e ininterrotto. Poco dopo l’appello al soccorso della folla, indicati come segue: Othello (Shakespeare), sentimento. Inoltre, mentre Shakespeare (per Non c’è ouverture, nemmeno un preludio. incontriamo il primo dei tre protagonisti, Iago, Otello (Verdi). rendere più credibili le suppliche di Il sipario si alza su un orribile frastuono: sulla che manifesta subito la sua malevolenza: “È Desdemona a favore di Cassio) è obbligato ad scena si scatena una violenta tempesta. infranto l’artimon!… L’alvo frenetico del mar Otello: Dramma e musica ampliare la sua tragedia, l’opera adotta stili L’effetto è caotico: nel buio, tra la pioggia, si sia la sua tomba!”. Ma non ha finito di Dopo trent’anni di duro lavoro (i cosiddetti musicali contrastanti per raggiungere un intuiscono i movimenti delle persone, rivelate pronunciare la sua invettiva che il suo “anni di galera”) nel rispetto delle convezioni e risultato simile, ma più energico e succinto a sprazzi dalla luce delle saette, mentre i tuoni desiderio viene deluso: “È salvo!” (“She’s safe al servizio del pubblico dell’opera italiana, rispetto al suo modello. sono punteggiati da colpi di cannone (tutti now!”) gridano i Ciprioti e pochi momenti Verdi si ritirò. Aveva raggiunto la sicurezza Il primo atto dell’Othello di Shakespeare è questi elementi scenici sono orchestrati con dopo entra Otello. Non esiste un ingresso più economica e preferì dedicarsi all’agricoltura e ambientato a Venezia e descrive l’amore di precisione da Verdi e inseriti meticolosamente bello né più difficile per un tenore. Otello alla beneficenza piuttosto che proseguire Desdemona per il generale moro, da lei nella partitura). Si intravvede brevemente la deve correre sulla scena, pronunciando una nell’ingrato sforzo che comportava la sposato in segreto. Questo scatena le ire del nave di Otello. Per un momento sembra sul frase sonora, eroica (che raggiunge il la alto) produzione operistica. Nel suo volume dal padre di lei, che fa ricorso al Doge e al punto di affondare e l’animazione di coloro senza potersi aiutare neanche con una parola titolo The Man Verdi, Frank Walker racconta Consiglio; in questa sede si rivela la sincerità che stanno a guardare fa da contrappunto al di recitativo. Con tre versi soltanto, Otello che i suoi amici e il suo abile editore, Giulio del loro amore. L’ira del padre si placa e disordine con un grande inno al cielo, “con rivela inequivocabilmente la propria statura di Ricordi, dovettero convincerlo a superare la Othello viene inviato come governatore a gesti di spavento e di supplicazione e rivolti comandante e condottiero. I Ciprioti sua sfiducia nei confronti di Arrigo Boito; che Cipro per difendere la colonia veneziana dalle verso lo spaldo”, come recitano le istruzioni di reagiscono immediatamente con un coro entrambi collaborarono alla realizzazione di incursioni dei Turchi. Boito e Verdi non scena. Nessun’altra opera italiana descrive una gioioso: “Evviva Otello”. Per quanto le parole Otello e Falstaff (oltre che alla revisione di utilizzano queste vicende (abbreviando in tal tempesta in maniera altrettanto potente ed di Otello siano in grado di suscitare tale ); e che Boito divenne un modo un dramma molto lungo e lasciando esattamente orchestrata. Di tempeste se ne entusiasmo nei suoi uomini, la sua esortazione caro amico, poi una delle poche persone di tempo alla musica), ma ne conservano la erano viste in abbondanza. Servivano a all’esultanza per la sconfitta del nemico turco fiducia di Verdi e infine un figlio adottivo e fu funzione: stabilire la personalità dei personaggi sospendere l’azione, innalzare la tensione e si carica di profonda ironia con lo svolgimento presente al capezzale del compositore al principali e i rapporti tra di loro. Il primo atto dare all’orchestra un breve momento di gloria dell’opera. Terminato il festoso motivo, la momento della sua morte. I frutti di questa dell’opera è composto da una serie di brani (uno splendido esempio si trova verso la fine tempesta si placa. Mentre il coro commenta

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questo particolare (“Si calma la bufera” (“A dall’esplosivo esordio al sereno duetto finale. troppo presto. Invece del ritornello previsto, il momento due volte durante l’ultimo atto: la calm succeeds the storm now”)– anche questo Mentre il fuoco e il coro si indeboliscono, coro deride l’ubriaco, mentre Iago aizza tragedia è imperniata su questi baci. Il ricordo avrà un’eco ironica), si percepisce un Roderigo e Iago si avvicinano a Cassio, il Roderigo contro Cassio, che si aggira di essi unifica l’opera e assume un particolare meraviglioso alleggerimento della tensione. Capitano della Guardia. Iago invita i suoi malfermo; presto scoppia una lite. Roderigo significato alla sua conclusione. Per il Verdi lo crea rilasciando un accordo grave compagni a bere. Cassio inizialmente si rifiuta (su ordine di Iago) suona l’allarme e Montano momento, con brillanti archi, arpa e legni, e discordante su tre semitoni adiacenti (do-do (perché ha già bevuto), ma infine si lascia (ex governatore, predecessore di Otello) si un’eco finale delle sue frasi iniziali, il duetto diesis-re) che era stato tenuto da un organo fin convincere a brindare a Otello e Desdemona. frappone tra loro e rimane ferito. La musica si conclude il gigantesco decrescendo costruito dall’inizio dell’opera. Quanto segue è un meraviglioso esempio del fa convulsa; entra Otello (“Abbasso le spade!” da Verdi per l’intero atto. In quest’atmosfera più serena, Iago si rivolge genio di Verdi, in grado di trasformare il (“Your swords cast before me”)), e con il suo Il secondo atto inizia con un dialogo tra a Roderigo, un giovane veneziano vecchio in nuovo. Cassio esalta la bellezza e la recitativo (archi, punteggiati occasionalmente Cassio e Iago. L’introduzione orchestrale disperatamente innamorato di Desdemona, e bontà di Desdemona con parole che Iago con violenza dai legni) calma il caos. Quando riccamente sviluppata si basa su un motivo incoraggia la sua passione, assicurandogli che utilizza per confermare a Roderigo di essere in Otello esige di sapere come è iniziata la lite, legato a Iago: crudele all’inizio, poi dolce e Desdemona si stancherà presto del marito. presenza di un rivale; poi (dopo una brillante Iago insinua che la colpa è di Cassio. incantevole, cambia per adeguarsi al suo stato Iago confessa anche di odiare Cassio, elevato a introduzione orchestrale) Iago si lancia nel Disturbata dal frastuono, entra Desdemona. d’animo durante questa scena. Dopo aver un rango superiore al suo, e Otello che l’ha “Brindisi”. Prima si rivolge a Cassio, che Otello irosamente degrada Cassio. Poi dà brevi consigliato allo sconsolato Cassio di rivolgersi a promosso, e termina una delle sue frasi risponde a tono dal punto di vista poetico e ordini che riportano la calma e quindi rimane Desdemona perché interceda presso Otello e gli untuose con un trillo che contrassegna molte musicale. La struttura si completa con il solo sulla scena con Desdemona. faccia restituire la carica, Iago ordina alla sua delle sue espressioni caratteristiche. I due si ritornello cantato da Iago (completo del suo Introdotto da un violoncello solo con vittima di andarsene (“vanne”); quindi ripete allontanano verso il fondo della scena (e non li trillo e di una serpentina scala cromatica) a cui sordina sugli altri violoncelli divisi, inizia il “vanne” in tono molto meno amichevole e su sentiamo più) mentre i Ciprioti accendono un fa eco il coro. Un breve inciso per Roderigo e superbo duetto d’amore. Intrecciando una violenta esplosione dell’orchestra intona il falò e iniziano a cantare (“Fuoco di gioia” il tutto viene ripetuto: stessa musica, ma abilmente parole tratte dal primo e secondo suo credo satanico. Per questo, Boito ampliò (“Flame of rejoicing”)). Questo è un altro questa volta l’orchestra è arricchita di trilli. Lo atto della tragedia di Shakespeare, questo un minimo accenno in Shakespeare (dove Iago, luogo comune dell’opera italiana; Verdi definì stesso inciso (“Un altro sorso e brillo egli è” delicato, tenero, ardente e appassionato duetto avendo consigliato a Cassio di parlare della sua questa (in una lettera a Giulio Ricordi) “la (“One more glass and he’ll be drunk”)) viene ci conquista subito con la pura bellezza della situazione a Desdemona, invoca la “Divinity of maledetta scena del fuoco”. Ciononostante, seguito dalla terza strofa. L’accompagnamento sua melodia. Stabilisce inoltre completamente Hell” mentre progetta il suo prossimo l’orchestrazione rapida e leggera del brano è viene sottolineato ulteriormente e così anche il la natura e la profondità del rapporto tra stratagemma) in una corposa, nichilistica gradevolissima e la sua funzione per quest’atto dramma, perché anziché il tradizionale Otello e Desdemona. Il culmine è il momento professione di malvagità. Dio è crudele; è indispensabile in quanto costituisce parte completamento dello schema, Cassio, ormai bellissimo e sensuale in cui Otello chiede per l’Uomo, creato a sua immagine e somiglianza, integrante di un’attenta transizione graduale molto ubriaco, sbaglia l’attacco ed intona tre volte un bacio. Ritorneremo a questo è malvagio, un burattino nelle mani della sorte.

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Dopo la beffa della vita viene la morte… e poi? appuntita; con un fare assente, noncurante, distruggerla. L’opportunità gli si presenta Iago si infila il fazzoletto nel farsetto. Quando (pp legato). Il Nulla. Il paradiso è un’antica e indifferente a tutto, spiritoso, parla bene e male anche troppo presto. Desdemona si avvicina a si avvicina ad Otello, quest’ultimo ha inutile fola – e tutta la sezione degli ottoni quasi a cuor leggero e con un’aria di indifferenza, Otello e delicatamente perora la causa di un’esplosione d’ira. Il suo recitativo è talmente emette un raglio di scherno. Nella così che, se qualcuno dovesse rimproverargli Cassio. Infuriato, il marito la respinge e violento (“Tu? Indietro! fuggi!” (“You? Be composizione di Verdi (piena di trilli, con una “Quello che dici è vile!” potrebbe rispondere: allontana il fazzoletto che lei gli porge quando careful! Leave me!”)) da straripare (anziché gamma dinamica molto vasta, da ppp a ff e una “Davvero? Non mi sembrava… lasciamo finge di avere mal di testa. Il loro dialogo condurre) nell’aria in cui il suo spirito si enunciazione vocale per lo più declamatoria) perdere!” cresce per diventare un magistrale quartetto, abbatte. Nonostante l’accelerazione del suo quest’elettrizzante brano caratterizza Iago, che Una figura come questa può ingannare mentre Iago e sua moglie Emilia, l’ancella di battito cardiaco e il tono marziale, alcune qui appare molto più malvagio di quanto non chiunque, persino sua moglie, fino a un certo Desdemona, si aggiungono alla coppia che si terzine come serpenti si insinuano, sia in Shakespeare, dove la sua motivazione si punto. Una piccola figura maliziosa suscita il allontana. Iago strappa il fazzoletto a Emilia e disturbandone la linearità e invadendo il canto basa su voci e indottrinamento personale, non sospetto di tutti e non inganna nessuno. le ordina il silenzio. Con esso creerà la prova di Otello, che raggiunge il culmine su un si su convinzioni. Il fascino con cui continua la In lontananza, Cassio ha lasciato per la tragedia. La raffinatezza di questo bemolle alto. A questo punto Iago gli dice di sua trama è agghiacciante. Mentre Cassio si Desdemona circondata da Ciprioti che quartetto è straordinaria: le voci si mischiano e calmarsi; gli archi (ppp molto staccato e tremolo) avvicina a Desdemona, Iago lascia cadere portano in dono fiori e frutta. Il linguaggio scambiano raggruppamento delicatamente, continuano con le terzine, mentre Otello esige casualmente parole di sospetto che vengono musicale adesso cambia e all’inizio appare mentre l’accompagnamento le sostiene e allo un prova, una prova concreta. È talmente fuori ascoltate da Otello. Poi ammonisce Otello a strano. Alcuni critici hanno definito questa stesso tempo disturba le loro linee languide di sé che prende Iago per la gola. guardarsi dalla gelosia; bastano quattro frasi scena eccessivamente lunga e superflua dal con figurazione variata, dolcemente fragile. Con un grande sfoggio di riluttanza, Iago si tranquille per iniettare il veleno. punto di vista drammatico. Invece, con la sua Quando Desdemona ed Emilia escono, assicura che il suo veleno giunga fino in fondo: Inizialmente Verdi avrebbe preferito aggiunta magicamente semplice di mandolino, quest’accompagnamento continua mentre ancora una volta con la sua voce più sensuale intitolare l’opera Iago. In una lettera al suo chitarre e piccole cornamuse Otello, sfibrato, si accascia su una sedia. riferisce un sogno in cui Cassio descrive il suo amico Domenico Morelli, pittore napoletano, all’accompagnamento orchestrale, comunica la Ecco la scena equivalente in Shakespeare amore per Desdemona e maledice il destino che contestava l’opinione che quest’ultimo aveva semplice bellezza di Desdemona attraverso gli …I will in Cassio’s lodging lose this napkin. l’ha concessa al Moro. Flauti e oboe molto del personaggio. Iago non è una figura occhi altrui, e la sua lunghezza è essenziale per And let him find it. Trifles light as air piano si aggiungono agli archi mentre Iago ‘cita’ meschina e malvagia. Ecco come lo vedeva il rendere credibile l’azione successiva. Le qualità Are to the jealous confirmations strong le parole di Cassio su un do alto ripetuto che compositore: di Desdemona risplendono mentre la donna As proofs of holy writ… sale cromaticamente al re (“Cauti vegliamo” …se io fossi un attore e dovessi interpretare Iago, risponde all’omaggio con frasi elevate [Lascerò cadere questo fazzoletto in casa di (“We must be careful”)) e poi (cromaticamente) lo farei alto, magro, con labbra sottili, occhi (“Splende il cielo” (“Heaven is smiling”)): Cassio,/e lui lo troverà. Inezie leggere come scende di un’ottava. La sua successiva piccoli e ravvicinati al naso, come quelli di una Otello è sopraffatto e persino Iago riconosce la l’aria/diventano per gli uomini gelosi prove “citazione” (adesso oscurata da clarinetto, scimmia, sopracciglia grandi, sfuggenti e la testa sua bellezza, mentre si ripromette di indiscutibili.] fagotto e corni) viene pronunciata con voce

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vuota, tetra, nonostante il dolcissimo assegnato Il contrappunto più complesso della ironia, ben più terrificante. Citando la musica prova seguirà la morte, ritorna Iago: è arrivato al ritmo di 6/8 sia scosso da delicati accenti sui partitura apre misteriosamente l’Atto III e della donna, l’accompagna alla porta e Cassio. La rapidità dell’azione è tale che il ritmi più deboli e il sogno si dissolve. La Verdi rievoca specificamente Iago e la gelosia. brutalmente la insulta chiamandola “quella vil motivo di Otello prosegue quasi immutato e meravigliosa bellezza di questa narrazione, La musica raggiunge un culmine e poi si cortigiana che è la sposa d’Otello” (“Vile, conduce a un breve scambio di parole, dopo di abbinata alla cupa falsità del suo contenuto, calma. Quando l’araldo annuncia gli Filthy harlot who’s the wife of Otello”). Poi la che Otello si nasconde per ascoltare e distrugge completamente Otello: la sua risposta ambasciatori veneziani, l’unica parola di spinge fuori. Ormai completamente distrutto, osservare. (“Oh! mostruosa colpa” (“Now I am sure she’s Otello, “Continua” (“Continue”), è pertanto Otello intona l’aria più dolorosa dell’opera su Durante la scena seguente, Iago parla a guilty!”)) è pronunciata piano: annientato, diretta sia a Iago sia alla gelosia nella cupa un tono cupo e uniforme. (Le arie di Cassio di Bianca (l’amante di quest’ultimo). contempla piuttosto che condannare. Quando meditazione della sua mente. Quest’atto vedrà quest’opera spesso iniziano su un tono La loro conversazione è alquanto scurrile e Iago gli offre la prova del fazzoletto (il primo la tortura del dubbio diventare uniforme, ma sono molto più espressive piuttosto gioviale. Otello, che riesce ad udire pegno d’amore di Otello a Desdemona) “visto” (apparentemente) realtà, perché Iago si rispetto a quelle tradizionali del belcanto). Nel solo a tratti, naturalmente crede che si in mano a Cassio, la violenza si riaccende nella impegna di portare Cassio e fargli rivelare la frattempo, l’orchestra ripete insistentemente riferiscano a Desdemona e quando Cassio, voce di Otello (ff: “Ah! mille vite gli donasse sua colpa. Poco prima di uscire, Iago suscita una piccola figura melodica attraverso una perplesso, mostra a Iago il misterioso fazzoletto Iddio!” (“Ah! Would that God had given him l’ira della sua vittima con la sua insinuazione: serie di avvolgimenti armonici e che ha trovato nelle sue stanze, Iago lo agita twenty thousand lives”)) e gruppi di terzine “il fazzoletto” (“the handkerchief”). contrappuntistici. Ogni cambiamento apposta. Otello lo vede: è la “prova”. La ancora una volta si impadroniscono L’ingresso di Desdemona diffonde bellezza conferisce nuova potenza psicologica alla musica composta da Verdi qui è molto variata dell’accompagnamento finché Otello lo lirica sulla scena e attraverso il loro dialogo descrizione dell’infelicità di Otello e dei suoi e senza precedenti nella sua delicatezza. interrompe con le sue tre folli esclamazioni l’affetto di lei fa contrasto con la tesa cortesia sforzi disperati per sfuggire al suo tormento. Questo tipo di tessitura pervade la sua ultima (“Ah! sangue! sangue! sangue!” (“Ah! Vengeance, di Otello. Ancora una volta la donna supplica Questo brano è forse la più grande impresa opera, Falstaff (composta cinque anni dopo vengeance, vengeance!”)). Cadendo in per conto di Cassio e il marito le chiede il tragica di Verdi. Solo qui il compositore è Otello). Adesso si inserisce un nuovo tono, ginocchio, giura vendetta al Cielo. La sua parte fazzoletto ripetutamente in frasi sempre veramente wagneriano per il potere espressivo formale, mentre squilla una tromba solista; inizia su un tono uniforme riccamente ricamato ascendenti. Incautamente, Desdemona cerca di dell’orchestra e allo stesso tempo, altre rispondono e un colpo di cannone dai fiati. Iago gli impedisce di alzarsi, si riportare la conversazione su Cassio. Otello profondamente se stesso, perché al momento annuncia l’arrivo dell’ambasciata. Iago si inginocchia anche lui e giura. Solo quando perde bruscamente il controllo di sé e sfida la giusto, la voce inizia ad innalzarsi e affretta a condurre via Cassio. Mentre i cantano insieme (in un’eroica conclusione di moglie a giurare la propria innocenza. Le sue gradualmente si lancia in un lento motivo Ciprioti porgono il benvenuto agli questo atto) ci rendiamo conto che è Iago a proteste di fedeltà (espresse con il più lirico, mentre Otello canta dell’eclissi del ambasciatori veneziani, Otello, su consiglio di cantare la melodia. È lui, letteralmente, a profondo sentimento) lo mandano su tutte le proprio sole, del sorriso che era stato la più Iago, decide di strangolare Desdemona. Iago si intonare, mentre Otello lo accompagna furie. All’improvviso (secondo le indicazioni di grande gioia della sua vita. Proprio quando incarica di pensare a Cassio e Otello lo contrappuntisticamente. Verdi) Otello passa dalla rabbia a una gelida maledice il suo destino e dichiara che alla promuove al grado di capitano.

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La grandiosa scena cerimoniale che segue ha disperda. Quando Desdemona cerca di clarinetti. Dopo trenta battute di del ritratto operistico della sua personalità. lo stesso splendore dell’autodafé nel Don Carlo confortarlo, la maledice e si accascia, svenuto. allungamento cromatico e contrappuntistico, La supplica cresce e si trasforma in fervore, o della scena del trionfo in Aida. (Cosa Mentre Iago gode del proprio trionfo, la folla sembra che il sipario si alzi dopo un’eternità. poi si spegne e la donna va a letto a interessante, la musica del balletto in Otello fu si ritira cantando le lodi di Otello e del Leone Emilia aiuta Desdemona a prepararsi per dormire. aggiunta da Verdi per l’allestimento parigino di Venezia. Iago (“con un gesto d’orrendo andare a letto. Desdemona pensa La fosca coloratura orchestrale adesso del 1894, come richiedevano le convenzioni trionfo” (“With a gesture of gloating ossessivamente alla morte e non riesce a s’incupisce ancora di più mentre Otello entra operistiche francesi. Per quanto sia superflua triumph”), secondo le istruzioni di Verdi) togliersi di mente una canzone che l’ancella di nella stanza. È utilizzata solo la sezione dal punto di vista drammatico, segue l’esempio indica il corpo prostrato di Otello ed esclama, sua madre le cantava un tempo (“Mia madre orchestrale dei contrabbassi, tutti in sordina, di Aida, contiene musica brillante e le sei beffardo: “Ecco il Leone!” (“There lies your aveva una povera ancella” (“My mother once tranne il primo contrabbasso. Otello la bacia battute dell’invocazione ad Allah hanno Lion”). Con un ultimo, ironico augurio di had a poor little servant”)). Con il lamentoso tre volte. Quasi prima che ci si renda conto di grande forza drammatica). Otello riceve ordini “Lunga vita ad Otello!” da parte della folla, accompagnamento del corno inglese, canta essere in presenza di un riferimento al duetto che lo richiamano a Venezia e Cassio deve cala la tela. Verdi modificò notevolmente ripetutamente questa canzone del salice. Il del primo atto, la melodia si dissolve (priva prendere il suo posto come Governatore di questo finale per le prime rappresentazioni senso di ripetizione circolare è opprimente, ma della sua cadenza) mentre Desdemona si Cipro! Quando sente Desdemona dire a Iago parigine (1894 – come in questa registrazione) non monotono, perché Verdi lo varia sveglia. Otello la strangola. Emilia entra in che spera di vedere Cassio e Otello riconciliati, per dare rilievo alle parole di Iago che, attentamente con particolari come la delicata tempo per sentire le ultime parole della Otello va su tutte le furie, la insulta nonostante i suoi sforzi e quelli degli descrizione degli uccelli in volo (“Scendean padrona, che dichiara di essersi suicidata per pubblicamente e, tra l’orrore degli astanti, interpreti, non erano risultate sufficientemente l’augelli a vol dai rami cupi” (“From branches proteggere Otello: “Al mio Signor mi l’aggredisce (“A terra!… e piangi!…” (“So lie udibili per lui nella partitura originale. high above sweet birds came flying”)) o raccomanda… muoio innocente… Addio” there! And weep there!”)). Dallo squisito Dopo gli scontri, la rapida azione e le scene l’improvviso, spaventoso sbattere di una (“And tell my Lord I never wronged him… in lamento di Desdemona fiorisce in un ampio davanti alla folla degli atti precedenti, il finestra nel vento. Su accordi pesanti, cupi, death I love him… farewell…”). motivo concertato. Il suo effetto è statico, ma Quarto atto ha un contenuto semplice: l’intera Desdemona augura la buona notte alla sua Furiosamente, Otello l’accusa di mentire e le sue dimensioni e la brillantezza della vicenda si basa sulla simmetria delle due ancella, poi, presa momentaneamente dal ammette la sua colpa: “O mentitrice! io partitura fanno da vivace contrasto con la morti. Il tono è cupo e intimo. Tristemente e panico, l’abbraccia e le dice addio. La l’uccisi” (“Oh, she’s a liar! I have killed her”). coloratura cupa dell’orchestrazione dell’ultimo dolcemente (in un cupo sol diesis minore) un preoccupante figura precedente riemerge. Le Alle grida di Emilia accorrono altri sulla atto. Inoltre, nel brano Iago incita Otello alla corno inglese cerca di sollevare una frase sue ondulazioni cromatiche passano a un più scena, solo per rivelare il tradimento di Iago e vendetta e convince Roderigo che deve melodica, che affonda. In seguito la frase sarà tranquillo la bemolle maggiore mentre la credulità di Otello. Lodovico disarma il uccidere Cassio o perdere ogni speranza di accompagnata dalle parole nell’aria del salice di Desdemona si inginocchia davanti a Moro. Otello, calmo, dice ai presenti di non avere Desdemona. In una pausa dell’insieme, Desdemona, ma per il momento è punteggiata un’immagine della Madonna e prega. Il testo aver paura di lui: “Ecco la fine del mio Otello si rivolge alla folla e ordina che si da flauti a cui rispondono sordamente dei di questa Ave Maria è l’ultima sfaccettatura cammin. Oh! Gloria! Otello fu” (“Life’s weary

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journey has reached its end. Oh! Glory! stesso espediente all’inizio dell’Atto III). Shakespeare; e ancor più direttamente, Verdi teatro Carl Rosa, debuttando nelle vesti di Otello’s done”). Questo sostituisce i diciannove Ritornando all’Atto I nel momento del tragico lo ribadisce: la tempesta è solo all’inizio e quel Rodolfo (La bohème); interpretava anche il miracolosi versi di Shakespeare (“Soft you, a epilogo, Verdi crea una forza ciclica e ci ‘Musulmano’ non è sepolto né distrutto. ruolo di Des Grieux (Manon Lescaut di word or two before you go”/Un momento, obbliga a riesaminare l’inizio alla luce della Questa è la dinamo strutturale che porta Puccini) e quello di protagonista alla prima signori…) in cui Othello assume i ruoli di fine. Perché? La risposta è profonda e avanti la tragedia; ecco perché Verdi compone britannica del Benvenuto Cellini di Berlioz. accusatore, difensore, giudice e giustiziere di se shakespeariana. una grande tempesta iniziale, che nulla ha in Passava alla Sadler’s Wells Opera nel 1956, stesso. Con versi strazianti (che ritornano ad Spesso Shakespeare identifica immagini comune con le belle parentesi orchestrali interpretando, tra l’altro, i ruoli di Samson, un brano precedente della tragedia) si scosta particolari con temi drammatici fondamentali. molto diffuse nel repertorio operistico. Andrea Chénier e del principe nel primo dalla moglie morta e si colpisce con un In Othello, Iago è paragonato al Turco e la Quando sembra che si sia calmata (l’enorme allestimento britannico della Rusalka di pugnale che aveva nascosto. Al terzo bacio guerra (il mestiere di Othello) alla lotta interna ‘decrescendo’ che occupa un atto intero) ci Dvorˇák. Il suo esordio come primo tenore al Otello muore (Verdi stabilisce l’ultima sillaba che distruggerà il protagonista. Shakespeare accostiamo ai protagonisti di una tragedia che Covent Garden risale al 1959 nelle vesti di sotto una pausa, senza nota) e questa volta la gioca per la prima volta su questi motivi inizia solo allora (con i tre baci). Un poeta Pinkerton (Madama Butterfly); altri ruoli cadenza (e l’opera) è terminata. nell’Atto II, Scena I (Cipro: un luogo aperto avrebbe detto (citando il motto di una comprendevano Pollione (Norma) e Des La tragicità di questa conclusione nasce da presso il porto). Un buon critico riempì quasi sfortunata regina): “Nel mio inizio è la mia Grieux. Era ospite di molti dei più importanti ben più della sostanza musicale e drammatica quaranta pagine per spiegare i sottintesi di fine”. Così si alza il sipario sul più grande teatri lirici d’Europa e dell’America del nord e immediata. Molto è stato scritto sul riutilizzo questa scena (Harold G. Goddard: The dramma di Verdi. del sud, ed era particolarmente richiesto come della musica del duetto d’amore, che qui ha un Meaning of Shakespeare, The University of interprete di Otello, che eseguiva a Berlino, effetto tragico, in quanto colloca il fatale Chicago Press, 1951). Sagacemente, il Benedict Sarnaker alla Scala di Milano e al Palazzo del Doge, orgoglio di Otello nel momento del suo professor Goddard la definì il “Sesto Atto Traduzione: Emanuela Guastella prima di interpretarlo al Covent Garden e per massimo compimento (il suo amore per dell’Othello” e descrive la sua “musica l’English National Opera (nella produzione di Desdemona) e della sua distruzione. La sua silenziosa”: quell’attività superficiale che rivela Nato nel 1919, Charles Craig aveva sempre Jonathan Miller che è registrata qui). Charles travolgente forza non si può spiegare il suo nucleo metafisico solo quando la sognato di cantare, ma alcuni motivi di Craig è morto nel gennaio del 1997. semplicemente con l’uso da parte di Verdi di tragedia si è consumata. Verdi parte famiglia l’obbligavano a impegnarsi in altri un tema ricorrente (un espediente normale direttamente da questo violento nucleo lavori prima di entrare nell’esercito allo Rosalind Plowright vanta una carriera nella lirica italiana e nelle opere di Verdi, per tenebroso: la tempesta (non presente, ma a scoppio della seconda Guerra mondiale. Nel estremamente prestigiosa. Ha studiato presso il esempio o Aida) Né deriva venire) da cui emerge Otello che ordina: 1947 entrava a far parte del coro del Covent Royal Northern College of Music e il London dalla semplice intensità che le aggiunge Verdi “Esultate! L’orgoglio musulmano sepolto è in Garden. Nel 1952 esordiva a Londra in alcuni Opera Centre, vincendo borse di studio della (è più complessa di quanto sembri ed è mar, nostra e del ciel è la gloria! Dopo l’armi concerti diretti a sir Thomas Beecham e l’anno Peter Moores Foundation e di Peter ulteriormente complicata dall’altro uso dello vinse l’uragano”. Non è vero, disse dopo entrava come primo tenore presso il Stuyvesant. Nel 1984, la sua registrazione di

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Leonora (Il trovatore) con Plácido Domingo, carriera internazionale di successo comprende (Der Rosenkavalier), Raoul (Les Huguenots), repertorio comprende Ottavia (L’incoronazione per la direzione di Carlo Maria Giulini, veniva interpretazioni per l’English Opera Group Cassio (Otello) e Conte Libenskof (Il viaggio a di Poppea), Marcellina (Le nozze di Figaro), candidata a un premio Grammy. Nello stesso (con Benjamin Britten), la Royal Opera, la Reims), mentre per English National Opera ha Ulrica (Un ballo in maschera), Magdalene anno esordiva con la Royal Opera nel ruolo di Welsh National Opera, la Scottish Opera e creato venti ruoli importanti, tra cui Rodolfo (Die Meistersinger von Nürnberg), Herodias Maddalena (Andrea Chénier) con José l’English National Opera, dove è stato primo (La bohème), Faust (La Damnation de Faust ), il (Salome), Annina (Der Rosenkavalier), Adelaide Carreras, e in quello di Aida con Luciano baritono per quindici anni. Ha interpretato Duca (Rigoletto) e Lenski (Eugenio Onieghin). (Arabella), Martha (Faust), la strega (Rusalka) e Pavarotti. più di ottanta ruoli, in un repertorio molto Ha cantato anche con la Glyndebourne Filip’evna (Eugenio Onieghin). La discografia Rosalind Plowright si è esibita in moltissimi vasto; esempi importanti comprendono Festival Opera, Opera North, Scottish Opera e comprende La traviata, The Rhinegold e dei principali teatri lirici del mondo, in ruoli Scarpia, Iago, Macbeth, Boccanegra, Renato, Welsh National Opera in ruoli quali Loge Twilight of the Gods (tutti per Chandos/Peter quali Suor Angelica (La Scala, Milano), Amfortas, Golaud, Almaviva e Jokanaan. (Das Rheingold), Turiddu (Cavalleria Moores Foundation). Leonora nel Trovatore (Verona), nello Stiffelio All’estero è comparso in Italia, Francia, rusticana), Alfredo (La traviata) e Fernando (La Fenice, Venzia), nei ruoli di Ariadne e Germania, Scandinavia, Sud America e Stati (La favorita). Stuart Kale si è conquistato una fama a livello Medea (Opéra Bastille, Parigi), Desdemona e Uniti e nel suo repertorio concertistico si è All’estero è comparso all’Opera di Monaco, internazionale come uno dei più notevoli Amelia (Staatsoper, Vienna), Madama esibito con tutte le principali orchestre all’Opera di Houston, alla Metropolitan attori-cantanti del mondo della lirica. Vanta Butterfly (Grand Opera di Houston) e britanniche. Opera, alla Lyric Opera di Chicago, all’Opéra un repertorio enorme che riunisce ruoli di Santuzza (Staatsoper, Berlino). Per English È stato docente presso la Guildhall School Bastille di Parigi e alla New Israeli Opera, ed compositori che vanno da Monteverdi a National Opera si è esibita in Otello, Maria of Music and Drama dal 1974 al 1992, anno ha partecipato a concerti in Germania, Messiaen. Ha iniziato la sua carriera presso la Stuarda, The Turn of the Screw (per cui ha in cui è stato nominato Head of Vocal Studies Norvegia, Polonia e Spagna. Le discografia Welsh National Opera prima di entrare vinto un premio Olivier) e Il tabarro di e in seguito Director of Repertoire Studies comprende The Mikado, Street Scene di all’English National Opera, dove è rimasto per Puccini. La sua discografia comprende Elijah presso il Royal Northern College of Music. Kurt Weill e Hugh the Drover di Vaughan otto anni, interpretando ruoli quali Don di Mendelssohn (per Chandos), Les Contes Nel 1998 ha riscosso i consensi della critica Williams. Ottavio (Don Giovanni), Michael (Jiulietta di d’Hoffmann di Offenbach, Il trovatore di Verdi per le sue interpretazioni di Wotan/Viandante. Martinuº), Alfred (Die Fledermaus) e Nanki- e (per Chandos/Peter Moores Foundation) Continua a insegnare privatamente a Londra e Shelagh Squires ha frequentato la Guildhall Poo nell’allestimento di The Mikado per la Mary Stuart. nella regione del Lincolnshire. School of Music and Drama. È comparsa con regia di Jonathan Miller. l’English National Opera, la Festival Opera e Tra i suoi impegni importanti vanno Neil Howlett ha vinto la Kathleen Ferrier Nato in Inghilterra da genitori italiani, la Touring Opera di Glyndebourne e la ricordati l’Alto sacerdote (Idomeneo) al Covent Memorial Scholarship mentre frequentava Bonaventura Bottone ha studiato presso la Metropolitan Opera di New York, tra l’altro; si Garden, Hauptmann (Wozzeck) a Nancy, San l’università di Cambridge e in seguito ha Royal Academy of Music. Con la Royal Opera è inoltre esibita al Festival internazionale di Francisco e all’Opéra du Rhin di Strasburgo, studiato a Vienna, Milano e Stoccarda. La sua è comparso nei ruoli del Cantante italiano Bergen, a Vienna e in Giappone. Il suo vasto Shuisky (Boris Godunov) a Strasburgo,

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Bordeaux e Montpellier, Peter Quint Opera North; Geistergebot (Die Frau ohne (produzione di Jonathan Miller), La traviata e Philharmonic Orchestra negli Stati Uniti (The Turn of the Screw) per la tournée russa del Schatten) e Gunther (Götterdämmerung) per Werther. (1989–94) e di Direttore Principale Ospite 1990 dell’ENO, Truffaldino (L’Amour des trois l’Opera di Marsiglia; Alberich (Das Rhinegold) della City of Birmingham Symphony oranges) per l’ENO, Zinoviev (Lady Macbeth)a per l’Opera dell’Arizona e il Sagrestano (Tosca) Il Coro di English National Opera è una delle Orchestra (1992–95), carica che ha tenuto Tolosa e Marsiglia, i tre ruoli tenorili nella per l’Opera di Bordeaux. migliori risorse dell’Opera. In innumerevoli inoltre presso la BBC Symphony Orchestra e Lulu allo Châtelet. La discografia comprende La discografia include Paficic Overtures, produzioni della English National Opera ha London Mozart Players. Nel settembre 2000 Shuisky nel Boris Godunov (brani scelti) e La fanciulla del West, The Pirates of Penzance e entusiasmato le platee con il potere del canto e diventerà Direttore Musicale della Hallé Goro (Madam Butterfly) per Chandos/Peter The Mikado. l’intensità della recitazione. Si tratta di Orchestra. Moores Foundation. sessantotto coristi e l’ampia gamma di capacità Mark Elder lavora regolarmente con Acclamata dalla critica e dal pubblico, ed esperienza che portano nelle esibizioni orchestre d’alto rango in tutta l’Europa e nel Malcolm Rivers ha studiato presso il Royal l’Orchestra di English National Opera, primo costituiscono il tratto distintivo di ogni Nord America: fra queste, la Chicago College of Music di Londra e si è perfezionato violino Barry Griffiths, ha ricevuto negli produzione in cui appaiono. Particolari trionfi Symphony Orchestra, la Royal Concertgebow con George London negli Stati Uniti e con ultimi anni diversi premi prestigiosi, tra cui il per il Coro sono stati Guerra e pace di Orchestra, la Los Angeles Philharmonic, Josephine Veasey a Londra. Ha esordito in Royal Philharmonic Society Music Award e un Prokofiev, Lady Macbeth dei macelli di l’Orchestre de Paris e l’Orchestra della Radio The Beggar’s Opera di Gay con la Royal Olivier Award for Outstanding Achievement in Shostakovich, Billy Budd e Peter Grimes di Tedesca (Nord Deutscher Rundfunk). Shakespeare Company. Opera. L’Orchestra è al centro della vita Britten, Boris Godunov di Mussorgsky, la Nel Regno Unito Mark Elder è strettamente È apparso in numerosi teatri lirici artistica dell’Opera e, oltre a esibizioni liriche Carmen di Bizet e l’Otello di Verdi. Le legato sia alla London Philharmonic Orchestra internazionali, tra cui The Royal Opera al Coliseum di Londra è stata anche vista sul registrazioni Chandos/Peter Moores sia all’Orchestra of the Age of Enlightenment; Covent Garden, il San Carlo di Napoli, palco in concerto. Inoltre molti dei musicisti Foundation sono il “Ciclo del Ring” diretti da appare inoltre ogni anno nella stagione dei La Monnaie di Bruxelles, ha partecipato ai partecipano al lavoro del Baylis Programme del Sir Reginald Goodall, Ernani, Maria Stuarda, Promenade Concerts della BBC. festival di Aldeburgh e di Edimburgo, è dipartimento di educazione e “outreach” Giulio Cesare, Rigoletto (produzione di Mark Elder dirige regolarmente in distinti intervenuto al Los Angeles Music Theatre, al dell’Opera e con l’English National Opera Jonathan Miller) e La traviata. teatri lirici di rango internazionale quali la Teatro Comunale di Firenze, alla Fenice di Studio allo sviluppo di nuove opere, in Royal Opera House, Covent Garden, The Venezia, alla Staatsoper di Vienna, al Grand particolare The Silver Tassie di Mark-Anthony Mark Elder, che è stato insignito della Croce Metropolitan Opera, Opéra national de Paris- Opera di Houston, a Drottningholm. Tra i Turnage che è stata uscita in prima mondiale di Commendatore (CBE) nel 1989, ha Bastille, la Lyric Opera di Chicago, suoi numerosi ruoli vanno ricordati Scarpia nel febbraio 2000. L’Orchestra appare in ricoperto importati cariche nel Regno Unito Glyndebourne Festival Opera e Bayerische (Tosca), il Comandante (Da una casa di morti) numerose registrazioni per Chandos/Peter ed in altri paesi: fra queste, la carica di Staatsoper. Altri ingaggi l’hanno portato al e Eisenhardt (Die Soldaten) per English Moores Foundation tra cui Maria Stuarda, Direttore Musicale dell’English National festival di Bayreuth e ad Amsterdam, Ginevra, National Opera; il Giudice (Sweeney Todd) per Giulio Cesare, Il barbiere di Siviglia, Rigoletto Opera (1979–93) e della Rochester Berlino e Sydney.

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Con la compagnia dell’English National alla Teatro Bolshoi di Mosca e al Teatro Opera ha compiuto acclamate tournées negli Mariinsky di Pietroburgo). Più recentemente i Neil Howlett as Iago Stati Uniti (che hanno incluso suoi impegni operistici hanno compreso rappresentazioni al Metropolitan Opera) ed in rappresentazioni del Mefistofele di Boito e Russia (che hanno compreso rappresentazioni dell’Otello per la Metropolitan Opera.

Rosalind Plowright as Desdemona and Charles Craig as Otello

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Translator’s note: Into this version of the English Montano Both the sea and mountains quake. Iago (to Roderigo) translation I have incorporated the small verbal It’s the Lion of St Mark! (Townswomen enter up-stage.) Let angry breakers smash the ship and drown her changes that were made during the ENO Cassio Through the air some gloomy spectre seems to general! performance here recorded. Some of them I Now the lightning reveals her. rush and threaten us, as if God would shake the welcome as improvements, and demur only at heavens, shake them like a veil. Chorus the rendering of the ‘burning sands’ (arse arene) ( sound on stage.) All is darkness! She’s safe now! She’s safe now! of Othello’s homeland as ‘arenas’. Othello’s name All’s aflame now! Chorus () Off-stage Voices retains its Italian from at the conductor’s request; Boiling pitch enshrouds the sea and sky, Hear the trumpet! Prepare to man the row-boats! Verdi’s music prescribes the stressing of and blazes, then it dies and all is darkness. Hands to the halyards! Desdemona’s name on the second syllable. Chorus (basses) (joining the others) Both sea and land are shaken, the wind is Haul there! Andrew Porter Hear the trumpet! howling through the waves and lashing them. There’s a sound of demon clarions pealing in the Chorus (tenors) (A cannon shot is heard.) COMPACT DISC ONE sky. Man the long boats! Chorus (tenors and basses) (with gestures of fright and supplication, facing Act I And the gun gives reply! towards the bastion) Chorus (basses) (descending the bastion stairway) The castle exterior. A tavern with pergola. Down- God, whose anger roused this tempest! To the harbour! Cassio stage bastions and the sea. It is a stormy night, with God, whose smile can calm its fury! It’s the ship of the General. Off-stage Voices thunder and lightning. Save, oh save that gallant vessel bearing the hero Man the quay! We are landing! Montano who can save us all. Scene 1 Plunging wildly… upward heaving. Other Off-stage Voices Iago, Roderigo, Cassio, Montano, and later, Otello, God, the wind and waves obey you! Evviva! Evviva! Cypriots and Venetian soldiers Cassio God, you rule both sea and sky! Through the waves she is cleaving. Grant that sheltered in our harbour, Otello (climbing to the bastion by the stairs from Chorus (tenors) she may at anchor safely lie! the beach followed by sailors and soldiers) 1 Chorus See, the sail there! 2 Ah rejoice now! She is lost in the storm and the night Iago The glory of the Moslems has drowned at sea, Chorus (basses) but the lightning reveals her to sight. The mainsail’s split in two! we by God’s aid are victorious! See, the sail there! All Roderigo What our arms spared, the sea and storm have Lightning! First Group Toward the cliff vanquished. Stormclouds! Whirlwinds! See the banner! the vessel is hurtling! Fury of the raging thunderbolt! All Second Group Waves are heaving! Chorus Evviva! God save you! See the banner! Winds are howling! O save her! O save her! Victorious! Victorious!

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(Otello enters the fortress, followed by Cassio, while the rest of the crowd gathers round, assure you that if I were Otello, I’d fear to have Iago Montano and soldiers.) inquisitive and noisy.) around me a man like Iago. 5 Roderigo, drink up! Now listen closely… Raise your glass, Chorus Iago my gallant captain. Victorious! Destruction! Take heart, be patient, believe me, time is on (Iago leads Roderigo downstairs. The fire blazes up. All shattered and broken, they lie in the sea your side; The soldiers crowd around the tables of the tavern.) Cassio below, deep under the wave. for the lovely Desdemona, who fills your secret I’ll drink no more. dreams with tender longing, will be tired very Chorus To sing them a the ocean will Iago (moving the wine jug towards Cassio’s glass) soon of black embraces and brutal kisses from (During the song around the warming fire, the thunder, and lashed by the hurricane they lie Your glass should not be empty. in the sea far below. that thick-lipped savage. inn-keeper and his severs hang up around the Good Roderigo, pergola coloured Venetian lanterns which gaily Cassio (withdrawing his glass) Chorus I love you most sincerely, you must believe me; illuminate the scene. The soldiers gather around the No. A calm succeeds the storm now. I can see your suffering and I know how to help. tables, some sitting, others standing, chatting and Iago Iago (aside to Roderigo) Those fragile vows drinking.) Captain! We must celebrate the triumph! that a woman swore should prove an easy knot 4 3 Roderigo, speak up, what are you thinking? Flame of rejoicing! – merrily burning, chasing It’s a night of rejoicing, therefore… for me to untie with Hell to help me; you shall the shadows, turning the night to glorious day. Roderigo enjoy that woman as your own. Now listen; Shining and sparkling, crackling and blazing, Cassio I shall drown myself… though it seems that I love him, I hate Otello… filling the heart with fiery joy. Leave me. Already I’m dizzy after one single (Enter Cassio. He joins a group of soldiers. Iago, glassful. (Much activity takes place up-stage as the seamen Drawn by the firelight, fair shapes assemble, aside to Roderigo) climb the stairway from the beach and enter the moving around us, changing their form, now Iago And the reason for my hatred, there it is, look at castle carrying arms and baggage, while like fair maidens in graceful chorus, and then Well, that means you need another. him. townspeople emerge from behind the fortress like butterflies with wings aflame. To the marriage of Otello and Desdemona! (pointing at Cassio) carrying branches to make a fire by the bastion. The palmwood sparkles, the cedar gives answer, That debonair and dapper captain usurps the All Soldiers with torches illuminate the way for the like faithful lovers singing of love; on golden rank that’s mine, in many a well-fought glorious Evviva! townspeople.) flicker, in cheerful chorus, and the gentle breezes encounter richly I earned it. waft from above. Cassio (lifting the cup to his lips and sipping the Iago (The sailors continue to mill about up-stage.) Flame of rejoicing, rapidly blazing, rapidly dying wine) Fool… no one should drown himself for the Such was the will of Otello; fire is of love! Gleaming and glowing, flickering She makes lovely all this island. love of a woman. and I continue to serve his noble Moorish and fading, one final sparkle leaps up and dies. Iago (sotto voce to Roderigo) Lordship as ensign! Roderigo (You hear him.) (Ever-thickening columns of smoke rise from the (Gradually the fire dies down. The storm subsides. What should I do? fire.) Iago, Roderigo, Cassio and several other soldiers Cassio (At one side some bystanders stack a pile of wood But just as surely as your name’s Roderigo, I can stand or sit around a table drinking.) To beauty such as hers, every heart must surrender.

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Roderigo Cassio, with glass in hand: the crowd approaches, All Approach him and provoke him to quarrel; And moreover she’s modest. and looks at him with curiosity.) Let’s sing a chorus to the fruit of the vine, and he’ll lose his temper, he’ll try to fight and it will the joy that comes from drinking the wine! cause a riot! Cassio Brindisi 6 Good comrades, brave and true, This is the way to rouse our good Otello and You, Iago sing a song in her praises! Iago (to Roderigo) drink up, drink deeply! end his bliss on his first night of love!) (One more glass and he’ll be drunk.) Iago (to Roderigo) Life soon will pass away, drink while you can. Roderigo (resolutely) (You hear him.) Roderigo (to Iago) Cassio (to Iago, with glass in hand ) (For that reason I’ll do it.) (in a loud voice to Cassio) Come, let me fill my glass with golden nectar (One more glass and he’ll be drunk.) I’m nothing if not critical. Chorus that drives gloomy clouds away from heart of Iago (in a loud voice) Ha! Ha! Drinking the wine! Cassio man. He who despises good wine is a coward, And far beyond all praise is her beauty. Iago (to all ) his heart conceals deadly secrets… Montano (entering and addressing Cassio) One more glass… 7 Captain Cassio, Iago (in the same way, aside to Roderigo) And sing a chorus to the fruit of the vine, and Drinking the wine! the guard awaits your orders on the ramparts. (Be careful of that Cassio.) the joy that comes from drinking the wine! Cassio (lifting his glass, with extreme excitement) Cassio (staggering) Roderigo Chorus My soul’s an open book and all may read it! Let’s go then! Why careful? Let’s sing a chorus to the fruit of the vine, and the joy that comes from drinking the wine! (He drinks.) Montano Iago (becoming more and more insistent ) I’ve nothing at all to hide… Iago (softly to Roderigo, indicating Cassio) What’s this now? You have heard his ardent lyrical words, (staggering) (One more glass and he’ll be drunk.) passionate youth will spur him on to adventure; nothing at all to hide… so be… Iago (to Montano) he’s a smooth and clever charmer, and he’s your Roderigo (to Iago) (Every night in the same way Cassio prepares for All (laughing) rival. Watch him… (One more glass and he’ll be drunk.) duty.) Ha! Ha! Roderigo Iago (in a loud voice) Cassio Montano And then? The world goes whirling round when I am (Otello should know it.) drinking! The canakin clinking… bubbles are winking at Iago me… Cassio (as above) If he’s drunk he is ruined! Make him drink. Cassio (still drinking) (He tries to repeat the first theme, but cannot Let’s go to guard the ramparts… (to the servers) Tuned like a mandolin, with music I sway; remember the words.) Hey, you fellows, some wine here! when I hear that joyful sound I sway and sing! Roderigo, then All (Iago fills the three glasses; one for himself, one for Iago (as above) Iago (aside to Roderigo, while the others laugh at Ha! Ha! Roderigo and one for Cassio. The servers go from And sing a chorus to the fruit of the vine, and Cassio) Cassio table to table with their wine-jugs. Iago addresses the joy that comes from drinking the wine! Now that he’s drunk, we’ll ruin him. Who’s laughing?

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Roderigo (provoking him) (Roderigo runs out. Iago calls to the combatants, Scene 2 Otello Look at the drunkard… loudly.) Otello, Iago, Cassio, Montano, townspeople, You’re wounded, by heaven, my blood begins to My comrades! Have done with this barbarous soldiers, and later, Desdemona boil! Cassio (hurling himself at Roderigo) duel! Otello (followed by people carrying torches) My guardian angel flies in dismay and leaves me Watch what you are saying! You villain! filled with anger! Women from the Chorus (fleeing) 8 Your swords cast before me! (Enter Desdemona. Otello rushes towards her.) Roderigo (defending himself ) Away! (The duellists drop their swords. Montano leans A knave and a drunkard! on a soldier. The clouds clear away gradually.) Ah! And my lovely Desdemona is roused from Iago What’s this! What happened? her dreams, disturbed by all this madness. Cassio What! Am I among barbarians? Cassio, you’re my captain no longer. You scoundrel! Already Montano is bleeding. Or have you all been seized by Turkish fury (Cassio drops his sword which Iago recovers.) For that I will kill you! A murderous quarrel! that you fight one another?… Iago (handing Cassio’s sword to an officer) Chorus (Other Women) Montano (separating them by force and turning to My honest Iago, now by your love for me, (And so I triumph!) Cassio) Away! I charge you, tell me. Control your behaviour, good sir, I command Otello Iago, then All Iago you. Iago, go lead the men of Cassio’s squadron, Stop them! Who knows?… One moment we were all good patrol the town until the streets are quiet. Cassio (to Montano) companions, friendly, and merry… on a sudden, Women (fleeing) (Exit Iago.) I’ll beat all your brains out if you try to stop me. just as if some star bringing evil passed overhead They’ll kill themselves! Take good care of Montano. and bewitched their senses, they drew their Montano (Montano is helped inside the castle.) Men (to the duellists) weapons and fell on one another… And I would The words of a drunkard… Let all return to their own abodes. Stop them! rather have lost a leg than be a witness. (to all, imperiously) Cassio Iago (to the onlookers) Otello I myself shall remain here until the place is A drunkard? Too late to restrain their impetuous fury! Cassio, what has made you forgetful of duty…? deserted around me. (Cassio draws his sword. Montano also arms Go sound the alarm! Cassio (Gradually the stage empties. Otello makes a sign to himself. A violent fight ensues. The crowd They’re seized by the devil! Pardon… Forgive… his torch-bearers to return to the castle.) retreats.) Voices (on-stage and off ) I know not how… Iago (aside to Roderigo, rapidly) The alarm bell! Scene 3 Otello (Roderigo, as fast as you can through the Otello and Desdemona (Alarm bells are heard.) Montano… harbour go shouting: rebellion! rebellion! Otello Go! Cry it all over the town; get the watchman All Montano (supported by a soldier) 9 Now in the silent darkness to sound the alarm.) A rescue! I am wounded… the strife is heard no more.

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Now my heart that was raging is lulled in suffering became my glory. Otello Act II sweetest calm as I embrace you. My sorrows then were light; for on my sombre I pray that Heaven hears you, ‘Amen’ should Introduction. A ground-floor room in the castle. Thunder and war may crack all the world history you poured a starry glory, and made my answer from those spheres above me. Through a window a large garden is seen. asunder when after boundless anger comes such darkness bright. A balcony a boundless love! Desdemona Desdemona ‘Amen’ they answer. Scene 1 Desdemona And I saw on gleaming your dusky forehead Iago on this side of the balcony. Cassio on the O my warrior so proud! all of the splendour that shines in your soul. Otello (leaning on the rampart) Ah! This joy that invades me garden side So many torments and such sad tender sighing, Otello so many hopes have led our true loving hearts to moves me so deeply that, breathless, I tremble. Iago Ah, how you loved me I kiss you… 11 Don’t give up hope, but trust in me, and soon these embraces! for those woes I’d suffered, and how I loved you Oh! It was sweet we shall see you return to win the flighty favours for your grief and care. Desdemona our murmuring together; of Monna Bianca, once more a gallant captain, Otello!… Do you remember? Desdemona wearing your golden-hilted sword beside you. 10 Once when you told me of your life in exile, of Ah, then I loved you Otello Cassio your adventures and your years of woe, and I for those woes you’d suffered, I kiss you… Do not deceive me… was seized with rapture as I heard you, I shared and how you loved me once more I kiss you. Iago those sorrows, my love began to glow. or my grief and care. (standing up and staring at the starry heavens) Attend to what I tell you. Now the stars of the Plough have met the Otello Otello Surely you know that Desdemona commands ocean. I told you of the thrill of war, of battles when we Death, you may claim me! Let me die in the our noble commander, she’s the sun he lives by. ecstasy of this enchantment, this moment of determined to conquer or die, bold sorties, and Desdemona All you must do is beg that generous lady to climbing battlements, and trying to scale the rapture! plead for Cassio, then you will soon be pardoned. (The night sky is by now completely clear. A few Ah! It is late. ramparts while arrows whistled by. Cassio stars are visible, on the rim of the horizon the Otello But how can I approach her? Desdemona sky-blue reflection of the rising moon) Come… Venus invites us! Then you would lead me far into the desert, So sublime is my happiness I’m fearful that Iago burning arenas that first you called your home, I shall never more be granted… Be granted Desdemona It is her wont to walk every afternoon under that when you described that shameful fate you such a moment in the dark hidden years that Otello! arbour with my good wife Emilia. suffered, sold into slavery, chained by a cruel lie before me. (They make their way, arms around each other, So there await her. hand. Desdemona towards the castle.) Now I’ve shown you the way to your salvation; Otello Let Heaven dispel your sorrows, our loving take it. But when you sighed so tenderly, that hearts will never be divided. Curtain. (Cassio moves away.)

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Scene 2 And then? And then there’s nothing. Scene 3 Otello Iago alone And Heaven’s a foolish tale. Iago and Otello Yes. (Desdemona is seen walking in the garden with But why ask such a question? Iago (gazing after Cassio) Iago (pretending not to have seen Otello Emilia. Iago rushes to the balcony, beyond which 12 Take it; approaching, and seeming to talk to himself ) Iago Cassio waits.) 15 take the path to your ruin. How distressing… I ask it out of vague apprehension, not out of Your evil genius drives you, your evil genius Iago (to Cassio) malice. Otello Iago. And I am driven onward by that relentless 14 There she is… Cassio… What is it? Otello cruel God I believe in. your chance… Say what you’re thinking, Iago. (moving away from the balcony, no longer This is the moment. Iago Iago looking at Cassio, who disappears through the So hurry… there’s Desdemona. Nothing… you here? And did you trust this Cassio? trees) (Cassio approaches Desdemona, greets her and Just an idle comment that had no meaning… 13 Yes, I believe in a God walks beside her.) Otello who has created me like himself, cruel and vile She sees him, and he greets her and he Otello Often he bore a token of love to my he made me. approaches. That man who is departing from Desdemona, Desdemona. Born from some spawn of nature or from an And now I need Otello! is it Cassio? Iago atom, born into vileness. O Satan, come to help me, Satan, come to help (Both move away from the balcony.) He did so? So I am evil me! because I’m human. (He remains on the balcony, looking out, but half- Iago Otello Primeval slime has left its vileness in me. hidden. Cassio and Desdemona again come into Cassio? No… why should Cassio sneak away Yes, he did so. Yes! This is my belief! view strolling in the garden.) when he sees you? (calmly) Yes, for I do believe, just as the credulous widow They are talking together… Is he not honest? Otello in church believes in God, that all the evil that and she inclines her head, and sweetly smiles Yet I am sure it’s Cassio. Iago (imitating Otello) I do is destined, and Fate alone directs me. upon him. Not honest? Man says he’s honest, he is a clowning actor in What pretty glances; one alone would serve me, Iago his face and his heart; for all he does is one smile would break Otello’s heart for ever. My good master. Otello falsehood; charity, kissing, kindness, and his To work… Come tell me what you’re hiding. Otello striving’s in vain. (He is about to leave when he stops suddenly.) What is it? Iago Yes, I believe man is the fool of fortune; the But now I see that Fate is with me. Here he is…I’m ready. I’ve caught him. But what should I be hiding? cradle holds an infant who’s born to feed the Iago worm. (He remains on the left side of the balcony, gazing Cassio, in those first days when you were in love, Otello Then, after life’s deluded course, comes Death. fixedly at Cassio and Desdemona in the garden.) was he not a friend of Desdemona? ‘But what should I be hiding?’

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By God! Are you the echo of all I say? I know in Before I doubt her I’ll question her; if I doubt Children (scattering lily petals on the ground ) All that mind of yours you’re hiding dark and her I’ll prove it; and if I prove it (Otello turns We bring you lilies At your glances, flame in our hearts leaps up to atrocious secrets. thoughts into action), then jealousy and love will on the slender stem… The flowers that angels meet you, round your footsteps, carpets of Yes; for I heard those muttered words you spoke: be destroyed together. love to bear on high, to lay on the hem of the flowers spring up to greet you. ‘How distressing’. glorious mantle of our Madonna who dwells on Here mid rose and lily, as at sacred altars, fathers, Tell me what so distressed you? Iago (growing bolder) high. children, maidens join to sing your praise. When I said Cassio you wrinkled up your brow Those ardent words unseal my lips and now Women and Sailors and denied it. I’ll speak freely. Desdemona As our song goes winging rising up on high, Come on, speak if you love me. I do not talk of proof yet; but, O my noble Heaven is smiling, breezes dance and flowers are Otello, just observe her, for often a free and mandoline is strumming and reply. sweet. Iago trusting nature can overlook the signs that tell of Joy and hope conspire, singing their song of Sailors (offering Desdemona coral and pearl You know well that I love you. falsehood; so observe her. love. necklaces) Otello And mark the sense of every word she says to For you these coral gems, from depths of ocean, Then enough of concealment; tell me what you you; one sentence maybe will show she’s Chorus jewels found beneath the waves, pearls of softest are thinking. guiltless, or confirm your suspicion. Heaven will bless you! shine. You can speak to me freely. There she is; so observe her… Heaven will bless your love. We’d adorn Desdemona with our richest Do not be tempted to spare me, tell me the treasures, like some fair statue in a holy shrine. (During the chorus Otello looks on with Iago.) worst that can happen. (Desdemona reappears in the garden, seen through the large opening down-stage. She is surrounded by Children and Women Otello (tenderly) Iago the island women, children and Cypriot and As the song is winging lightly, winging lightly, …Ah, how this song o’erwhelms me. Even though you should kill me, hold my life in Albanian sailors, who come forward and present mandoline is strumming, and gay guitars reply. If she is guilty, then Heaven itself deceives me! your fingers, I’d be silent. her with flowers and other gifts. Some accompany Otello their singing on the guzla, others on small Women (strewing fronds and flowers) Iago Ah! harps.) For you we gathered flowers all that the island (So love and beauty are joined in sweet concord! bears, clouds of fragrance, in fragrant showers. But soon I shall destroy their tender concord.) Iago (moving close to Otello, sotto voce) Chorus (in the garden) 16 Beware, O my lord, beware of jealousy. The spring surrounds you, O bride of 17 At your glances, flame in Scene 4 It is a spiteful monster, springtime, with radiant golden shine, reflecting our hearts leaps up to meet you, round the sun’s bright ray. (When the chorus have finished, Desdemona kisses sightless, feeding on poison whose taste is fatal, your footsteps carpets of flowers spring up to several children on the brow, and some of the tearing a wound in your heart that never heals. greet you. Children and Sailors women kiss the hem of her dress. She hands a purse Otello Here mid rose and lily, as at sacred altars, fathers, As the song is winging lightly, winging lightly, to the sailors. The chorus move away. Desdemona, O God in Heaven! No! She first must give me children, maidens join to sing your praise. mandoline is strumming, and gay guitars with Emilia in attendance, enters the room and cause for suspicion. At your glances, etc. reply. goes towards Otello.)

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Desdemona (to Otello) Otello Otello (aside) Emilia 18 I come from someone Here on my forehead… (Maybe I lack the art of amusing conversation, And in my heart I fear some misfortune. who has felt your anger and for him I am maybe she finds me old and seeks a younger pleading. Desdemona (unfolding her handkerchief as if companion, maybe because my blackness alarms Iago about to wipe Otello’s forehead ) her tender soul, oh, she is ruined and I am Do you not fear me! Otello All that ugly pain will quickly pass at the scorned; broken my heart, and ground to dust Emilia Who can that be? soothing touch of this linen when I bind your my longing, lost my dream of love.) forehead. You cruel man! Desdemona Iago (sotto voce to Emilia) Iago Cassio. Otello (throwing the handkerchief to the Give me that handkerchief that you are holding. Obey… ground ) Otello Emilia (sotto voce to Iago) I’ve no need of your help. Emilia Was it he I saw beside you underneath that Why do you want it? Why should I? arbour? Desdemona What are you planning? Ah, you are angry my lord! Iago Desdemona Iago Do not oppose me when I command you. Obey! Obey! Yes, Cassio. And by his grief I’m moved so Otello (harshly) (Iago snatches the handkerchief from Emilia) deeply; he is repentant, he deserves forgiveness. Oh leave me! Just leave me! Emilia (Now I have got what I needed and Iago knows I am pleading for him; for him I implore you. Yes I can see that you plan some mischief. how to use it. So please forgive him. (Emilia picks up the handkerchief.) Iago Yes I can use it!) Otello Desdemona Your wild suspicions! Emilia Not now. If unknowing I’ve done wrong, husband, Emilia (I could not stop him and he has snatched it. forgive me. God in your mercy guard her from danger.) Desdemona 19 Grant me, But, I shall be her faithful guardian. O my lord, can you refuse me? oh grant me sweet words of pardon, say you Iago Otello Please forgive him. forgive me. Give it to me! Now leave me! I must be alone. Otello I am your gentle handmaid longing to help and (He grasps Emilia’s arm violently.) Iago (sotto voce to Emilia who is about to Not now. serve you; ah, but I hear you sighing. Obey or else you will feel my anger! leave) Why are your eyes cast down? Emilia (And you must be quiet. Do you hear me?) Desdemona Look in my eyes and read there, read all my I am your wife, I’m not your slave-girl. I can hear you are troubled. tender love. (Exeunt Desdemona and Emilia. Iago also seems Your voice is angry. For in my heart is comfort, Oh let me ease your Iago about to leave, but reaching the door down-stage, What pain has come to hurt you? pain. You are the servant and slave of Iago. he stops.)

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Scene 5 Alas… More dreadful than a crime committed is Iago (picking himself up) that in itself may seem but a trifle – not a proof Otello, Iago down-stage the pain of suspicion. The grace of Heaven protect me now! but just a pointer towards the truth you seek. Those secret hours when she fed her passion May Heaven protect you also. So hear it. Otello (in despair) (when I was cheated!) how could I suspect them? I’m no longer your ensign. (approaching close to Otello, sotto voce) 20 Desdemona guilty! I had no reason. I was happy, oblivious… Now let me call upon the world to witness 23 Darkness had fallen, Iago (down-stage, looking covertly at the I could not guess the truth; I felt no treason in how being true is rewarded. Cassio was sleeping, I lay beside him. handkerchief, then putting it carefully back inside that fair lovely form, as I embraced her; could (as if about to leave) With interrupted accents he uttered all he was his jerkin) not taste in her kisses the burning kisses of Otello thinking. (This handkerchief can be my certain proof that Cassio! But now!… No… remain here. Softly he whispered, gently he murmured, 21 she was false to her lord. Now and forever farewell, For perhaps you are honest. telling his secrets as he lay dreaming; Now I must leave it where Cassio’s sure to all that I lived for, farewell, sublime clearly I heard him, murmuring gently: find it.) enchantment of the mind! Iago (at the doorway as if leaving) ‘Desdemona beloved! Farewell, glittering arms, farewell, my victories, Better for me if I’d simply told a lie. Oh let our love be secret. Otello gallant adventure on my cantering steed! We must be careful! Otello Can I believe it? Farewell, the banner that I bore in triumph! Ecstasy of love quite overwhelms me.’ 22 By all creation! When the peal of trumpet called me to arms! Then in his dreaming he moved toward me; Iago (to himself, staring at Otello) Can I believe in Desdemona? The call of clarion in battle, farewell now!… tried to embrace me with tender passion as if he (I see my poison working.) I do so and yet I doubt her; you may be honest For Otello’s glory is at an end. loved me, and then he whispered: and maybe you’re a liar… A proof is needed! Otello ‘I curse the evil destiny Iago Ah, I must be certain! Faithless to me! To me!!! that gave you to the Moor.’ Calm now, my lord. Iago (coming back to Otello) And then his dream passed on. Iago (darkly) Otello My lord, restrain your passion. He fell into slumber, said no more. (Roar and suffer!) O you demon! Go find me a visible token that What proof could you accept as certain? Otello Otello Desdemona is guilty… Perhaps you would see them kissing? Now I’m sure she’s guilty! Betrayal!!!… Betrayal!!!… No escape! No escape! Otello Iago Nothing can help you! Iago (good-humouredly, having moved to Ah! That would be a torment! It was a dream I told you. Find me a sure, visible, certain token! Otello’s side) Or I shall destroy you, a furious lightning flash Iago Otello Do not give it a thought! will fall upon your head, and my terrible anger But it wouldn’t be easy; you cannot hope for a A dream can tell us what is true. Otello (jumping to his feet) will strike you! certain proof, for how can deeds of darkness ever Iago You? Be careful! Leave me! (grasping Iago by the throat and dragging him to be seen by day?… And yet there’s something, A dream sometimes confirms what we suspect To the cross you have bound me!… the ground ) something that may convince you, something for other reasons.

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Otello (He raises his hand to heaven. Otello is about to Scene 1 Scene 2 What’s that? rise; Iago prevents him and kneels himself.) Otello, Iago, the Herald Otello, Desdemona from the door on the left

Iago Iago The Herald (from the peristyle, to Otello who is in Desdemona (still by the doorway) Do you remember in Desdemona’s hand a lovely Do not rise, my lord! the room with Iago) 2 God give you joy, Otello, 1 handkerchief adorned with flowers and of a Hear me call the sun I bring word that the watchman at the harbour dear lord and ruler of my heart. silken texture? to witness, call that globe which lights my has sighted the Venetian vessel that is bringing way, call the earth and all creation; hear my the ambassadors to Cyprus. Otello (going towards Desdemona and taking her hand ) Otello solemn vow! Otello (to the Herald, motioning him to leave) That is the handkerchief I gave her, as my first To Otello I am faithful, heart and hands are Thank you, my lady, let me hold your Make them welcome. snow-white hand in mine. gift of love. his alone. (Exit the Herald.) If he calls for deeds of vengeance gladly I obey! Warm is the dew that glows here upon this ivory Iago (to Iago) hand. I saw the handkerchief yesterday (yes, I am sure), Iago and Otello (together, raising their hands to Continue. Desdemona I saw it held by Cassio. heaven, as if swearing a vow) Iago Ah, it has learned no sorrow, has felt no age See me swear, you heavens above me! I’ve sent for Cassio, and with my clever or care. Otello By the jagged lightning flash! questions I’ll lead him on to talk, while you in Ah! Would that God had given him twenty Hear me call, you angry sea below, fatal and dark! hiding (indicating the balcony) can hear his every Otello thousand lives! I devote my soul to vengeance, soon the flame of word, observe his answers, his actions, his And yet within this gentle hand Ah! For then twenty thousand times I’d kill him! hatred will fire this hand, this hand I raise now! gestures. there lurks a tiny devil. Iago, my heart is frozen. God, hear me on high! But control your anger or the truth will escape A crafty imp is hiding there, making this hand And I renounce every form of pity. you. too generous. All of my foolish love I change to hatred. Curtain. Here is Desdemona. To chastise him, fold your hands in repentance Look at me, beware me. You must be careful… and holy fervour… Crushed by the coils of the angry monster of I’ll leave you. jealousy! COMPACT DISC TWO (He moves away as if to leave, then stops and Desdemona Ah! Vengeance! Vengeance! Vengeance! approaches Otello again.) And yet this hand consented to give my heart to (He kneels.) Act III The handkerchief… Otello. 24 See me swear, you heavens above me! The great hall of the castle. The stage is divided by But I have come to speak to you of Cassio. By the jagged lightning flash! a row of pillars around a large peristyle on the Otello Hear me call, you angry sea below, fatal and dark! right. The characters can pass freely into the smaller Go! Why remind me? Otello I devote my soul to vengeance, soon the flame of room, adjoining the peristyle, which has a balcony I would gladly forget. Again I feel that burning pain in my forehead; hate will flash from my hand, as I raise it! at one end, up-stage. (Exit Iago.) will you help me to soothe it?

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Desdemona (offering him a handkerchief ) Desdemona Desdemona Behold me! Observe my eyes and read what’s in Take this. I’ll do so… A cruel thought! them; my heart lies open before you… I pray to Otello I’ll do so later… Otello Heaven, for you my tears are falling, for you this No; that handkerchief I gave you when first we Otello Look at my eyes! crystal stream of despairing and sorrow flows. met. No, now! Tell me, who are you? See them the first sad tears I shed; Desdemona Desdemona Desdemona see them, and in your heart reply; It’s not with me. 3 You are trying to tease me, The true loving wife of Otello. Desdemona is true. Otello thus you reject my pleading for Cassio; My tears are shed for you. O sly Otello, I see your plan. Otello Desdemona, beware if you’ve lost it! Swear it! Otello Beware then! Otello Damn yourself swearing… If your demon could see you now, he’d take you For it was woven by an enchantress whose By Heaven! for an angel and would reject you. powers were mighty; I feel my blood is boiling! Desdemona and while she wove it, she cast a spell there, Go find that handkerchief… Otello must know I’m honest. Desdemona of dark enchantment. Desdemona Otello God sees my heart and knows me faithful! Careful! To lose it or give it away would bring To Cassio you’ve always been devoted. I know that you’re lying. disaster! Otello Otello Desdemona No! It’s Satan who sees you. Desdemona Now find that handkerchief ! Then heaven help me! Are you in earnest? Desdemona Desdemona Otello Otello For justice I implore you, O my husband! Let Cassio, Cassio be pardoned… Run to your own damnation, I am in earnest. Otello Otello swear your are faithful. Desdemona Ah! Desdemona! Now leave me! Go, find that handkerchief ! Desdemona (staring at him) You make me frightened! Yes, leave me! Desdemona Faithful I am… Oh leave me! Otello O God! I hear you threaten, your voice is dark Otello What! Maybe you have lost it? Desdemona with fury! Swear it and damn yourself!!! You are weeping?!… Desdemona Otello Desdemona With a secret torment your heart is breaking! No… Lift up your head! You glare at me in anger, I meet your glance and Ah, how can I be the cause of your grief, Otello (Seizing her by the neck and shoulders and forcing fear it, in you there speaks a fury, I hear it, and when I am blameless? Then fetch it. her to look at him.) I’m bewildered. What is my fault then?

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Otello Scene 3 Iago (leading Cassio close to the first column of the You ask me?… Otello Now hurry! Into hiding! peristyle) On your brow see it written, on that white lovely Otello (He leads Otello quickly towards the balcony; Cassio brow in letters of flame it’s written. 4 God! Had it pleased you to try me with he runs to the back of the peristyle where Cassio is Which one? Desdemona affliction, with cruel torment, shameful standing, undecided whether to enter.) Alas! dishonour, change all my triumphs, my deeds of Iago (almost sotto voce) adventure into a mockery, turn them, to ashes… Scene 5 Oh, Bianca! Otello I should have carried with patience that cross of Otello (hidden), Iago and Cassio Otello What! You deny you’re a treacherous harlot? anguish and borne it in calm submission and Iago (He’s smiling.) Desdemona been resigned to the wishes of Heaven. 5 Come now; the hall’s deserted. Ah! No! No! Let me swear it on my faith as a But, oh pain, oh grief! Cassio So join me, my gallant captain. Christian!… I have lost my fair vision by whose Nonsense! bewitchment I was enchanted. Cassio Otello Iago All now is lost, all I lived for, the radiant star I’m a captain no more, I have been stripped of What? Are you a victim of her bright eyes? that inspired me, filling my soul with joy! my rank. Desdemona And tender Pity, you angel of grace inspiring Iago Cassio I am not, I swear it, that dreadful word you mercy, cover your gentle features, assume a grim Take heart, for with her as your champion your You make me laugh. called me. aspect of Hell! victory is certain. Iago (Changing suddenly from anger to a more frightening Scene 4 Cassio Laughing is winning. ironic calm, Otello takes Desdemona by the hand Otello, then Iago and leads her to the door by which she entered.) I thought that maybe I should find Desdemona. Cassio (laughing) Otello Otello (hidden) Only too true in duels of love, laughing is Otello Ah! Damned for ever! (He spoke her name.) winning. Ha! Ha! Then let me hold once more that white hand; I will make her confess it and then I’ll kill her! I ask your pardon. I must know! I must know! Cassio Iago I mistook you (please forgive me, I’m sorry that I’ll prove it! I want once more to see her to discover if my Ah! Ah! I wronged you) for the vile filthy harlot who’s Iago (beside Otello and pointing to the entrance) pardon is granted. Otello (from the balcony) the wife of Otello. Cassio’s here! Iago (gaily) (He is triumphant, and his laughter will kill me, (With these words, Otello, who has now reached the Otello Await her; and meanwhile I know that your God give me strength now to bear all my grief !) door on the left, forces Desdemona out of the room Here? Great God! I thank you! tongue is eager to tell me all your new with a brusque movement. He returns, in utter (with a sudden shudder of horror) adventures: what is the news of that poor girl Cassio despair, to the centre of the stage.) But oh! What cruel torment! who loves you? That woman’s kisses, oh, how they bore me.

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Iago Otello (cautiously, moving closer to hear what they Cassio Otello (hidden behind the column and from time You make me laugh. are saying) Yes, truly. to time looking at the handkerchief in Cassio’s Cassio (And now he’s telling the manner, the place, (Iago makes a sign to him to speak lower.) hands) Ah, love is fleeting! the hour…) So I am eager to learn who left it… (All is ended! Both love and grief! Cassio (continuing to speak sotto voce) Iago (to himself, with a quick glance towards Iago And my heart has turned to stone.) A new adventure captures your heart. ……………………… Otello) Have I guessed rightly? And someone left there…… (Otello’s watching.) Iago (to Cassio, pointing to the handkerchief ) (loudly to Cassio) 6 This is a cobweb, Cassio ……………………… Then show me! men are flies, Ha! Ha! (The words are lost.) Cassio (he draws Desdemona’s handkerchief from caught in the web, the victim dies. Iago Otello his jerkin) If you admire it, you must beware; Ha! Ha! (I can’t hear what he’s saying… Here it is. if you desire it, you’re in a snare. Otello Closer! I must overhear! Iago (taking the handkerchief ) Cassio (looking at the handkerchief which he has (He is triumphant, What have I come to!) Ah how delightful! meantime retrieved from Iago) and his laughter will kill me; Cassio (aside) O fair shining marvel what needle could make God give me strength now to bear all my pain!) ……………………… (Otello’s listening. you? Cassio An embroidered handkerchief… He is approaching with stealthy footsteps.) You sparkle so brightly with rays from above, You have guessed it rightly. ……………………… (bending with a laugh towards Cassio and putting so whitely, so lightly, a delicate flake of snow, Yes, I confess it. of starry beams they wove you to fill men with Iago his hands behind his back so that Otello can see the Listen… love. She left it! How charming! handkerchief ) Who can resist you? Iago (almost sotto voce) Otello Otello Visiting angels leave both their virtue and their Speak in a whisper. I’m listening. (She betrayed me, I have proved it; (I must approach them. Iago gives the signal.) veils behind. Cassio (almost sotto voce, while Iago leads him to crimes of darkness shine by day.) the part of the stage furthest away from Otello. (Gradually, Otello, moving behind the columns Otello (drawing as close as he can to the (Trumpet fanfare off-stage, then a cannon shot. Now and then words are distinguishable) with great caution, manages to draw close to the handkerchief, behind Iago, hidden by the first Otello has returned to the balcony.) Iago, you know pair.) column) (That’s it. She gave it! that house where I’m staying… Iago (sotto voce) Iago Oh mortal anguish!) ……………………… While you were absent? Careful! Careful! ……………………… (loudly) Iago That is the signal to tell that the envoys coming (The words are lost.) Nonsense! (Otello’s listening.) from Venice have landed safely.

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And listen. Otello Scene 7 Lodovico (fanfares from all sides) And it condemns her. Otello, Lodovico, Roderigo, the Herald, Dignitaries Iago, All of the castle is ringing with trumpets. Go prepare me a draught of deadly poison. of the Venetian Republic, Gentlemen and Ladies, what’s the news here? If you remain here Otello will find you, off now. Soldiers, Trumpeters upstage, then Iago with And why is Cassio not among you? Voices (nearer) Desdemona and Emilia, from the left. Cassio Evviva! Evviva! Iago I’ll leave you. The Lion of St Mark! Chorus He’s lost Otello’s favour. 8 Hail him! All hail him! Desdemona Iago Iago Hail to the Lion of St Mark! Go. Not poison. Your best way is to choke her. I’m sure he’ll soon return to grace. There in her bed, there where she betrayed you. Lodovico (holding a rolled-up parchment in his Otello (to Desdemona, rapidly while pretending to (Exit Cassio quickly.) hand ) Otello read ) The Doge and all the Senate through me salute Are you so certain? Scene 6 Yes, I approve of your plan, that’s fitting. the all-victorious hero of Cyprus. And as their Iago and Otello. Iago envoy I have brought you the decree of the Desdemona Council. What say you? Otello (moving closer to Iago) With Cassio, Iago himself will deal. 7 Lodovico How shall I take her life? Otello Otello (accepting the missive and kissing the seal ) In humble duty I kiss the symbol of their might. He’s reading, he did not hear you. Iago Iago, from this day forth I appoint you my Iago And did you see how he was laughing? captain. Lodovico (approaching Desdemona) Maybe he’ll soon return to grace. Iago My lady, may kind Heaven safely guard you. Otello My noble Desdemona I saw it. Desdemona Lord, I thank you. May Heaven hear you. Iago, I hope so; all know how tenderly I feel (Intermittent fanfares and shouts of joy are heard.) (The noises grow louder. Fanfares and shouts) toward our Cassio… Emilia (aside to Desdemona) Envoys have come from Venice. Otello (still reading; feverishly sotto voce, to Iago You must meet them. (Why all your sadness?) You saw the handkerchief? Desdemona) But to avoid suspicion Desdemona should be Desdemona (aside to Emilia) Then keep your chattering tongue from its Otello with you to greet them. (Emilia! Some evil shadows cloud the mind of nagging… Otello and cloud my future.) I saw it plainly. Otello Desdemona Yes, go to call her. Iago (approaching Lodovico) Oh forgive me, my lord… Voices (off-stage, distant ) Messere, we’re glad to have you with us. To the harbour! (Exit Iago by the door on the left, Otello goes to Otello (hurling himself at Desdemona) They are landing! receive the envoys.) (Lodovico, Desdemona and Iago gather in a group.) You fiend, be silent!

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Lodovico (rushing to Otello’s hand ) Scene 8 Iago I lie here… my body broken… my soul in agony. No! Cassio, followed by the Herald, and the above (No.) I cannot hide my tears, my wounded heart I try in vain to hide. All Otello (whose eyes never leave the door) Otello (loudly for everyone to hear) Oh horror! (There he is! He’s here!) The men whom I commanded Emilia (speaking very rapidly and sotto voce to Lodovico (moving towards Iago as Cassio is about to enter) (No angry words escape her! Desdemona) My mind will not believe what my eyes have had (Observe his every action.) Ah, she is brave and true; checks in her breast (Continue with your whining…) to witness. (loudly for all to hear) her cry of woe… 9 All hear me! The Doge… (loudly for all to hear, no longer looking at Cassio) she seeks to conceal her grief. Otello (suddenly, and imperiously, to the Herald ) (harshly but sotto voce to Desdemona) And the fleet and the fortress I leave in charge of Her tears are flowing, sorrow beclouds her brow. Go call Cassio! (Now pretend you’re weeping.) your new general. O Lord, may this disaster, causing her bitter (Exit the Herald.) (loudly for all to hear) Lodovico (to Otello, pointing to Desdemona, grief, may it not be an omen of worse to come.) has recalled me to Venice. Iago (moving quickly to Otello’s side, speaking in a who approaches as a suppliant) Roderigo low voice) Roderigo Otello, My hopes are plunged in darkness, (Why call him?) (My hopes are shattered.) Now be kind, comfort her, her heart is breaking. and cruel fate’s unkind; she will depart at daybreak and I am left behind.) Otello (to Iago in a low voice) Otello (continuing to speak loudly but in control Otello (to Lodovico and Desdemona) (Watch her when first he enters.) of himself ) We shall embark at daybreak. Cassio And he’s appointed to take my place the man (in a fury he seizes Desdemona) (A sudden flash of lightning reveals a glorious All So lie there! And weep there! Unhappy lady! who served so faithfully beside me, Cassio. hope, honour and fame await me, (Desdemona falls. Emilia and Lodovico run to her and all is within my grasp. Lodovico (in a low voice, drawing nearer to Iago, Iago (with vehemence and surprise) aid, raising her gently. Otello, in a fearsome rage, But can I trust my fortune? who has moved a short way from Otello) (Infernal torment!) has thrown the parchment to the ground. Iago Wild storm is all about me. And can that be the hero? retrieves it and secretly reads it.) In sudden waves that bear me upward I may That be the soldier you obey as your leader? Otello (continuing as above, he displays the parchment) Desdemona drown.) Iago (to Lodovico, shrugging his shoulders) Thus the Doge has decreed and I obey him. 10 I lie here! Yes: I lie in the dust here… in despair… Lodovico He’s what he is. rejected… grieving… (Raising his hand against her, clenching his Cassio (kneeling to Otello) Lodovico some evil force has changed that noble heart swarthy fist! And so shall I. Come tell me what you’re thinking. I love. She turns her face to heaven and seeks relief on Iago Otello (quickly and covertly to Iago, pointing to Once my life was smiling high. Where he’s concerned my tongue had best be Cassio) when hope and love inspired me, but now all All who behold her weeping weep in their hearts silent. (See him? The news is not to his liking.) hope of joy has fled. to see her.

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My heart is filled with sorrow, tears fill my eyes Iago Coward! One hope remains. Women with grief.) Anger alone is useless! You cannot conquer evil fortune. Ah, who can see her suffering! So hear my plan. Tears fill my eyes with sorrow, my heart is filled (The chorus converse in groups.) Do not delay! Act swiftly, you must act! with grief. Women The crime must be avenged. Roderigo All who behold her weep at the sight. O heaven! I’ll deal with Cassio. I’m listening. Otello (rising and facing the crowd, with a He will rejoice no longer, in Hell he will atone Men Iago terrifying expression) for what he has done! Mysterious! Otello will sail away at daybreak, and Cassio is Now leave me! Otello in charge. But if something should happen to Chorus Who’ll take his life? (touching his sword ) All Pity and terror shake me! Cassio… why then Otello stays here. Ah! Oh scene of sorrow! Iago Otello (hurling himself at the crowd ) Oh fearful sight! I. Roderigo All men must fly Otello! With hand upraised, he defies God. Otello A devilish scheme! (off-stage fanfare) Women You? I see your plan. Ah, see her, pure and tender, in tears of grief. Iago (to the onlookers) Iago Iago His old disease assails him, Men I give my word. Sword at the ready! depriving him of reason. Raising hands against her, he clenches his black And when it is dark I shall follow his footsteps, Otello fist, trembling with dark rage. I’ll choose the place, the moment, then you Otello (in a ringing voice) So be it. must act. Take heart! Good hunting! All those who remain with me, I brand as rebel. Iago (approaching Otello who is slumped, in utter Iago No sign of weakness! despair, in a chair) Lodovico (he tries to pull Desdemona away) By tonight you will learn that he is dead. Take my advice. Come… (He leaves Otello and moves towards Roderigo, Roderigo Otello to whom he speaks ironically.) Command me! Voices (from outside) What now? And so your love will sail away tomorrow and My fate is in your hands. Evviva! leave you on the shore! Iago Iago (in the centre of the stage) Desdemona (freeing herself from Lodovico and My lord, do not let fury blind you. Roderigo 11 All in this day of glory rejoice, put cares aside! running towards Otello) Time is flying. Alas! See, our star is victorious, that star can be our My husband! guide. Otello Iago Otello (in a terrifying voice to Desdemona) That’s true. You coward! (The male chorus repeat his lines.) Wife of my bosom, my curse upon you!

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All Iago (standing, with a gesture of gloating triumph, as she was faithful, and her name was Barbara; ‘Oh he was destined for deeds of glory, Oh God! pointing at Otello, inert on the ground ) she was in love and he she loved proved false; and I to love…’ There lies your Lion! she used to sing a song; the Song of the Willow. (breaking off ) (Exeunt all horrified, Desdemona with the aid of (to Emilia) But listen. Someone is crying. Emilia and Lodovico.) Curtain. Will you loosen my tresses. Quiet. Who’s knocking at the door? This very evening, how that unhappy strain Scene 9 Act IV Emilia haunts my mind and will not leave me. Otello and Iago, alone Desdemona’s bedroom. Bed, prie-dieu, table, mirror, 14 It’s the wind. chairs. A hanging lamp burns before the image of the ‘The poor soul sat sighing beneath a willow, Otello (growing more and more agitated ) Madonna, which rests above the prie-dieu. A door beside a sad stream. Desdemona 12 But who can flee himself! on the right. It is night. A light burning on the table O willow! willow! willow! ‘And I to love him and to die. Blood! Ah! Too terrible to think of!… Alone and crying and lost in a sad dream. Sing willow! ‘How distressing!’ Scene 1 Willow! willow! willow! Willow! willow! willow!’ (He is unable to control himself.) Desdemona and Emilia Sing willow! Farewell, Emilia. I see them both embracing… This willow wreath I’ll twine to be my bridal How my eyelids are burning! the handkerchief… Emilia garland.’ It’s a sure sign of weeping. Ah! 13 Did he seem calmer? But hurry now; for soon will come Otello. Good night, Emilia. (He faints.) Desdemona ‘The quiet stream ran by her where the rushes Ah! Emilia, Emilia, farewell. Yes, I think so. He bade me go to my chamber grow, Iago (Emilia turns to leave, then returns and and await him there. in vain it tried to cheer her, and from her (My poison works upon him.) Desdemona embraces her. Exit Emilia.) Emilia. Let me ask you to lay upon my bed the eyelids bitter tears would flow; that stream grew mournful to hear her. Fanfare and Voices (from outside) bridal sheets that were spread there on my Scene 2 Oh willow! willow! willow! Hail Otello! wedding night. Desdemona alone Sing willow! Iago (listening to the shouts, then looking at Otello (Emilia does so.) This willow wreath I’ll twine to be my bridal Desdemona (She goes to the prie-dieu.) prostate and senseless on the ground ) Listen. If I should chance to die before you, see garland. 15 Ave Maria, Mother of mercy, O loving Holy Hear! They’re shouting his praises. that I’m shrouded in one of those bridal sheets. From branches high above sweet birds came Virgin, blessed be thy name; and blessed be the Soon it will all be over. Emilia flying, moved by her tender moaning. fruit, O gentle mother, of thy most sacred (after a pause) But why this talk of dying! And when they heard her piteous lamentation, womb, Jesu. If on that brow I place my heel, what power on Desdemona (sitting down without thinking before the very stones were groaning.’ Pray for those who humbly earth can stop me? the mirror) Please put away this necklace. kneel before thee, pray for those who sin, Fanfare and Voices (off-stage, growing louder) I’m so unhappy. Unhappy Barbara! Her plaintive story always and for the sinless, pray for all who know Long live Otello! Hail to the Lion of St Mark! My mother once had a poor little servant, as fair would end with a simple refrain: oppression, and for the oppressor, he too is

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wretched, and he needs thy mercy. Desdemona Desdemona Desdemona Pray for a maiden whose heart must bear I prayed. Because I love you, you’ll kill me?… God help me! cruel grief, who suffers from unjust suspicion; Otello I don’t love Cassio… pray, we implore thee, pray for us ever, while Otello go and ask him. If you remember some mortal sin you’ve You love Cassio. we are living, and in the hour of dying. committed which still remains unconfessed, He’ll tell you. Pray for us all… you must ask for God’s pardon. Desdemona Otello (She remains kneeling, her forehead resting on the No! I swear I do not!! He’s silent for ever. prie-dieu as if in silent prayer. Only the first and Desdemona last words of the prayer can be heard.) But why? Otello Desdemona Ave Maria… Do you deny you gave my handkerchief to Heaven! Murdered? Otello Cassio? And in the hour of dying. And quickly! Amen. Otello (coldly) I do not wish to kill your immortal soul. Desdemona Murdered. (She rises and goes to lie down.) Desdemona I did not! You mean to kill me? Desdemona Scene 3 Otello Then I’m lost! Desdemona and Otello. Otello enters by a secret Otello Yet in his hand I saw it. for you wrong him! door, places a scimitar on the table, and pauses Yes. Desdemona Otello (forcefully) before the light, undecided whether to extinguish it. I am not guilty! Desdemona You dare to mourn him? He looks at Desdemona. He puts out the light. The Then God have mercy on me. Otello scene is illuminated only by a light from the prie- Desdemona dieu. Otello, driven by a sudden burst of fury, Otello Confess it! Amen. Otello… do not murder me… approaches the bed; there he pauses. He gazes at Desdemona Desdemona who is sleeping. He kisses her three Desdemona Truly. Otello times. At the third kiss Desdemona awakens. Otello, and you have mercy too. In vain you beg for mercy. Otello Desdemona Otello Do not tell a falsehood… Desdemona (in desperation) 16 Who’s there?… Think of your offences. Ah! Now confess as you lie on your deathbed. O God, I want to live… (She raises herself.) Otello? Desdemona Desdemona Otello All my sin has been love. But not to die. So die now, you vile harlot! Otello Yes! Have you said your prayers tonight, Otello Otello Desdemona Desdemona? For that I kill you. To die this instant. Be kind!

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Otello Emilia (as above) my own hand… and tell my lord I never Emilia (She frees herself and runs towards the door, Die! Oh my lord… wronged him… crying out at the top of her voice.) Come quickly, there’s news that I must bring you! In death I love him… Come here! Come help me! Desdemona Come, open! Farewell… Come help me! Oh let me live tomorrow… Otello’s murdered Desdemona. Otello (opening) (She dies.) Otello Emilia, what’s happened? No. Otello Scene 4 Emilia (entering) Oh, she’s a liar! Otello, Emilia, Lodovico, Cassio, Iago, then Desdemona There’s been a murder! I have killed her. Montano with armed attendants An hour… Cassio killed Roderigo. Emilia All (except Otello and Emilia) Otello Otello Cruel murderer! 18 Who’s shouting! Oh God! Ah no! No. And Cassio? Otello Emilia (to Iago) Desdemona Emilia She was Cassio’s mistress. Iago, reveal all the truth to this madman. Then a moment… Lives. Just ask Iago. Did you believe that Desdemona betrayed him? Answer! Otello Otello Emilia Iago No. Cassio lives then! Ask Iago? So I believed. Desdemona (from the bed ) Otello Desdemona Otello I’m killed unjustly… Ask Iago! While I say an Ave. That lovely kerchief that once I gave her, I have been killed unjustly… Otello Emilia to Cassio she freely gave it. Too late now! Emilia (running to the bed ) Madman! And you believed him? Emilia What is that cry? Oh God! (He strangles her. A cry from Desdemona. Otello O you powers defend us! A knocking at the door is heard. He gazes at the Desdemona You dare deny it? Iago (to Emilia) inert body of Desdemona.) I am not guilty… Quiet. 17 Calm and cold as the tomb. (He springs towards Emilia.) Emilia Emilia Emilia (from outside, again beating on the door) Oh Heaven! But who… Emilia No. Otello! Otello! who did this? I don’t fear you. All shall be told! Otello (stumbling) Desdemona Otello (He seizes hold of her.) Iago Who’s there! Who’s knocking! Ah, no one… Silence! Silence.

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Emilia Life’s weary journey has reached its end. No! That handkerchief was taken from my hand, Oh! Glory! Otello’s done. was seized from me by Iago. (He lets fall the sword. He goes over to the bed and gazes upon Desdemona.) Cassio And you… That handkerchief I found in my room today. how deathly pale you are! Montano (entering and pointing at Iago) So weary, so silent, and lovely. Roderigo confessed it as he died, he revealed all Ill-fated gentle creature born of a star of evil. Iago’s plotting. Cold now, cold as your pure tender virtue, Otello (to Iago) and gone to Heaven. Ah! Deny the charge! Desdemona! Desdemona!… Ah!… Dead!… Dead!… Dead now!… Iago (fleeing) (stealthily taking a dagger from his clothes) No. I still am armed! Lodovico (He stabs himself.) Stop him! Cassio Montano Ah! Stop him! Pursue him. All (Exit some, in pursuit of Iago.) Oh, Otello! All Otello Set a guard on him! Before I killed you… wife… first I kissed you. Otello (lunging for his sword ) Now I’m dying… I lie in shades of darkness… O Heaven, have you no lightning left? I kiss you… again I kiss you… Lodovico once more I kiss you… Give me your sword! (He dies.) Otello Curtain. You dare to?! Charles Craig as Otello and Neil Howlett as Otello 19 Do not fear me, English translation copyright though I still have my sword here. © Andrew Porter, 1981

122 123 CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 124 Fayer Fritz Curzon Fritz

Charles Craig Rosalind Plowright

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Shelagh Squires

Stuart Kale Neil Howlett Bonaventura Bottone

Malcolm Rivers

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Opera in English on Chandos Opera in English on Chandos

CHAN 3065(16) CHAN 3052(2) CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 142 Catherine Ashmore

You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] website: www.chandos.net

Photos of English National Opera’s 1983 production of Otello by Reg Wilson

Director of the original stage production: Jonathan Miller Musical assistant: Peter Robinson

Recording producer John Fraser Sound engineer Stuart Eltham Recording venue London Coliseum; 6, 22, 25 & 28 January 1983 Front cover Photo of Rosalind Plowright and Charles Craig in English National Opera’s 1983 production of Otello, by Reg Wilson Back cover Photo of Mark Elder by Sally Soames Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright G. Ricordi & Co. (Edited Alberto Zedda) p 2001 Chandos Records Ltd digitally remastered from a p 1983 recording c 2001 Chandos Records Ltd Jonathan Miller Chandos Records Ltd, Colchester, Essex CO2 8HQ, England Printed in the EU

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SOLOISTS/ENGLISH NATIONAL OPERA ORCHESTRA & CHORUS/ELDERCHAN 3068(2) bit 24 digitally remastered bass tenor tenor tenor soprano 1983 recording baritone baritone baritone p mezzo-soprano Sean Rea Sean CHAN 3068(2) Stuart Kale Stuart Charles Craig Charles Craig LIVE RECORDING 69:54 Neil Howlett Neil Malcolm Rivers Malcolm Gordon Traynor Gordon 2-disc set Rosalind Plowright Rosalind Bonaventura Bottone Bonaventura COMPACT DISC TWO 2001 Chandos Records Ltd Printed in the EU Shelagh Squires Shelagh c DIGITAL DDD 2001 Chandos Records a from remastered Ltd digitally p CHANDOS (1813–1901)

VERDI: OTELLO 68:12 , Otello’s wife, Otello’s ...... , Otello’s predecessor as Governor of Cyprus as Governor predecessor , Otello’s ...... , an ambassador of the Venetian RepublicVenetian , an ambassador of the ...... , a Venetian gentlemanVenetian , a ...... COMPACT DISC ONE ...... , Iago’s wife, Iago’s ...... , a platoon leader...... , a Moor, general of the Venetian armyVenetian of the general , a Moor, ...... , an ensign ...... Desdemona Iago Emilia Roderigo Lodovico Herald Giuseppe Verdi Verdi Giuseppe lirico in four acts Dramma Porter Andrew translation by English Boito after Shakespeare, Arrigo by Libretto Otello and Chorus Orchestra Opera National English Elder Mark Montano Cassio CHANDOS RECORDS LTD Colchester . Essex . England

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