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CHAN 3068 BOOK COVER.Qxd 16/7/07 10:47 Am Page 1 CHAN 3068 BOOK COVER.qxd 16/7/07 10:47 am Page 1 CHAN 3068(2) CHANDOS O PERA IN ENGLISH PETE MOOES FOUNDATION CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 2 Giuseppe Verdi (1813–1901) Otello Dramma lirico in four acts Lebrecht Collection Lebrecht Libretto by Arrigo Boito after Shakespeare, English translation by Andrew Porter Otello, a Moor, general of the Venetian army ................................................ Charles Craig tenor Desdemona, Otello’s wife ....................................................................Rosalind Plowright soprano Iago, an ensign ............................................................................................Neil Howlett baritone Emilia, Iago’s wife............................................................................Shelagh Squires mezzo-soprano Cassio, a platoon leader........................................................................Bonaventura Bottone tenor Roderigo, a Venetian gentleman ..........................................................................Stuart Kale tenor Lodovico, an ambassador of the Venetian Republic ..................................................Sean Rea bass Montano, Otello’s predecessor as Governor of Cyprus ............................Malcolm Rivers baritone Herald ....................................................................................................Gordon Traynor baritone English National Opera Orchestra and Chorus Mark Elder Giuseppe Verdi 3 CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 4 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 4 5 CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 6 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 6 7 CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 8 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 8 9 CHAN 3068 BOOK.qxd 16/7/07 10:52 am Page 10 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 Othello 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 Venice 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 recitative 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 Italian opera, 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 Giulio Ricordi 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 Falstaff (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 The Barber of Seville), 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 composer’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.
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