Verdi: Otello

LSO Live

Verdi Otello Sir Colin Davis Simon O’Neill, Gerald Finley, Anne Schwanewilms London Symphony Chorus London Symphony Orchestra Giuseppe Verdi (1813–1901) Page Index Otello (1887) 2 Cast list 3 Track listing Simon O’Neill tenor Otello (a Moor, General of the Venetian forces) 5 English notes Gerald Finley bass-baritone Jago (his ensign) 7 French notes Anne Schwanewilms soprano Desdemona (wife of Otello) 9 German notes Allan Clayton tenor Cassio (a Captain, Otello’s lieutenant) 11 Synopsis Ben Johnson tenor Roderigo (a Venetian gentleman) 13 Composer biography Alexander Tsymbalyuk bass Lodovico (Ambassador of the Venetian Republic) 14 Text Matthew Rose bass Montàno (Otello’s predecessor as Governor of Cyprus) 45 Conductor biography Lukas Jakobski bass Araldo (Herald) 46 Artist biographies Eufemia Tufano mezzo-soprano Emilia (wife of Jago) 55 Chorus biography & personnel list 56 Orchestra personnel list Sir Colin Davis conductor 57 LSO biography London Symphony Chorus London Symphony Orchestra

Joseph Cullen chorus director Jocelyne Dienst repetiteur and vocal coach

Recorded live 1–6 December 2009 at the Barbican, London

James Mallinson producer Daniele Quilleri casting consultant

Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd audio editors

© 2010 London Symphony Orchestra, London UK P 2010 London Symphony Orchestra, London UK

2 Track listing Track Atto Primo 30’11’’

1 Storm: ‘Una vela! Una vela!’ Coro, Montàno, Cassio, Jago, Roderigo p14 1’22’’ 2 ‘Esultate’ Otello, Coro p15 2’12’’ 3 ‘Roderigo, ebben, che pensi’ Jago, Roderigo p15 2’26’’ 4 ‘Fuoco di gioia!’ Coro p16 2’40’’ 5 ‘Roderigo, beviam’ Jago, Cassio, Coro, Roderigo p16 1’32’’ 6 ‘I naffia l’ugola’ Jago, Cassio, Roderigo, Coro p17 3’39’’ 7 ‘Capitano, v’attende’ Montàno, Cassio, Jago, Roderigo, Coro p18 0’41” 8 ‘Va al porto’ Jago, Coro, Otello, Cassio, Montàno p19 3’29” 9 ‘Già nella notte densa’ Otello, Desdemona p20 9’24”

Atto Secondo 34’16’’

10 Prelude – ‘Non ti crucciar’ Jago, Cassio p21 2’57’’ 11 ‘Credo in un Dio crudel’ Jago p22 5’38’’ 12 ‘Ciò m’accora’ Jago, Otello p22 4’13’’ 13 Flower Chorus: ‘Un tal proposto’ Jago, Coro, Fanciulli, Desdemona, Otello p23 4’23’’ 14 ‘D’un uom che gemme’ Desdemona, Otello p24 2’06’’ 15 ‘Dammi la dolce’ Desdemona, Otello, Jago, Emilia p25 4’06” 16 ‘Ora e per sempre addio’ Otello, Jago p26 3’49” 17 ‘Era la notte’ Jago, Otello p27 4’34” 18 ‘Si, pel ciel’ Otello, Jago p28 2’31”

Atto Terzo 37’10’’

19 Prelude p28 1’13’’ 20 ‘La vedetta del porto’ Araldo, Otello, Jago, Desdemona p28 6’08’’ 21 ‘Esterrefatta’ Desdemona, Otello p30 5’13’’ 22 ‘Dio! mi potevi scagliar tutti i mali’ Otello, Jago p31 4’33’’ 23 ‘Vieni, l’aula è deserta’ Jago, Cassio, Otello p31 5’00’’ 24 ‘Bada’ Jago, Cassio, Otello, Coro, Lodovico, Desdemona, Emilia, Roderigo p33 5’10’’ 25 ‘Messeri!’ Otello, Jago, Cassio, Lodovico p36 1’49’’ 26 ‘A terra! ... sì’ Desdemona, Emilia, Cassio, Roderigo, Lodovico, Otello, Jago, Coro p36 8’04’’

Atto Quarto 29’44’’

27 Prelude – ‘Era più calmo?’ Emilia, Desdemona p39 4’38’’ 28 ‘Piangea cantando’ Desdemona p39 6’11’’ 29 ‘Ave Maria’ Desdemona p40 4’15’’ 3 Track listing Track 30 ‘Chi è là?’ Desdemona, Otello p40 3’09’’ 31 ‘Diceste questa sera’ Otello, Desdemona, Emilia p40 4’34’’ 32 ‘O mentitrice!’ Otello, Emilia, Cassio, Jago, Lodovico, Montàno p42 1’43’’ 33 ‘Niun mi tema’ Otello, Cassio, Lodovico, Montàno p43 5’14’’

Total Time 131’21’’

4 © Kevin Leighton Kevin ©

Giuseppe Verdi (1813–1901) held up as exemplars to follow. In 1863, despite effected through the offices of Faccio and Ricordi. worm’ – the destructive force whose dynamic Otello (1887) having collaborated with Verdi on the Inno delle A collaboration on Shakespeare’s Othello was energy interposes itself within and poisons all nazione (‘Hymn of the Nations’), Boito took it upon mooted, but Verdi, ever cautious about committing human endeavours. Central to his treatment of Lyric drama in four acts himself to launch an attack on the present state himself to a major undertaking, and now in his the demon Mephistopheles in his operatic version of Italian art in a poem which advocated the mid-sixties, took his time to ponder the matter. of Goethe’s Faust is the concept of the spirit of Having achieved a huge degree of international cleansing of the altar currently ‘soiled like the By way of a trial run, he set Boito the task of negation. ‘I am the spirit that forever negates all’, recognition by the time he brought Aida to street walls of a brothel’. Verdi was understandably helping him refashion Simon Boccanegra, one Mephistopheles tells Faust, ‘I wish for nothingness production in 1871, as well as his personal goal insulted, and for years afterwards would quote of his most forward-looking and original operas, and the universal ruin of all creation’. In the famous of a substantial country estate where he could this text when the name of Boito came up. which had fallen largely on deaf ears at its première Credo in Act II of Otello – a piece that has no devote himself to farming and other rural pursuits, in 1857. Likening it to a three-legged table, Verdi counterpart in Shakespeare – he tells us: ‘I am it was not easy to entice Verdi back into the Boito himself, having produced a Hamlet libretto suggested that working with his new collaborator evil because I am a man, and feel the primæval theatre. In fact, it took a good deal of persuasion for his friend and fellow-progressive, the conductor might ‘set it on its feet’. The result, unveiled slime within me’. Unlike Shakespeare’s Iago, on the part of a number of individuals, among and composer Franco Faccio in 1865, reached at La Scala in 1881, turned an interesting yet who is caught and held for questioning, Boito’s them the composer’s wife, the former soprano the apogee of fame – or perhaps notoriety – problematic work into a masterpiece. Jago flees into the night. Giuseppina Strepponi, and his publisher, Giulio with the première of his own hugely ambitious Ricordi; and the involvement of two figures Mefistofele at La Scala in 1868. The work divided The collaborative process had been a happy one. Metaphysics apart, there is a sense too in which above all – the composer-librettist Boito and the audience and caused a scandal, though In Boito, Verdi found not merely an immensely Boito discovered in Verdi the composer he had the playwright Shakespeare. some years later, and in revised form, it would skilled and supremely practical writer for the been looking for, and probably had himself hoped enter the international repertoire. But because musical stage, but – almost unique among to become. Back in his heady youth as a reformist Shakespeare’s involvement, necessarily, was of its highly mixed initial reception, Boito spent librettists – one who had an equal understanding he had penned articles outlining a future for not an active one. Arrigo Boito (1842–1918) was much of the succeeding decades either translating of opera from a composer’s viewpoint. His Italian opera with specific prescriptions for its one of the most talented figures working in the foreign librettos or writing new ones for other compression of Shakespeare’s text has frequently return to artistic health. In the magazine Figaro, 19th-century Italian operatic environment, but composers – notably La falce for Catalani in 1875 and justly been termed masterly. In his additions in 1864, for example, he had advocated: also one whose complex relationship with Verdi and La Gioconda for Ponchielli the following and alterations, too, the effect of his work is had not always been easy. A former student at the year. His second major opera, Nerone, first telling, and very much of a piece with what we 1 – The complete obliteration of formula [by Milan Conservatory, as a young man, Boito had contemplated during the early 1860s, was left know of his own metaphysical beliefs. Boito was which he meant – as another of his articles allied himself to an iconoclastic artistic movement incomplete at his death nearly 60 years later. an adherent of dualism who believed that human makes clear – arias, rondos, cabalettas, strettos, known as the Scapigliature (‘the Unkempt Ones’) existence was shaped and influenced by the ritornellos, concerted pieces and so forth – the who set themselves up to reform Italian art, and It was only in 1879, when Verdi was already eight independent principles of good and evil. Among stock-in-trade construction blocks utilised by specifically opera, on more international lines. years into his ‘retirement’ from stage composition, his published works is the allegorical poem Re Orso, Verdi and his predecessors]. The influences of Meyerbeer and Wagner were that a rapprochement between the two was which focuses on the image of the ‘eternal

5 2 – The creation of form [which Boito defined, Programme note © George Hall rather vaguely, as ‘the extrinsic manifestation, George Hall writes widely on classical music the fine clay of art’]. for BBC Opera, Opera Now and Opera News, amongst others. 3 – The actualisation of the vastest tonal and rhythmic development possible today.

4 – The supreme incarnation of the drama.

Verdi himself would never have tabulated such a programme for artistic action; he himself preferred rather to act. And while modern commentators might regard it as facile to refer to Verdi’s complex development as one of simple straightforward progress, there is an undoubted correlation between the hypothetical composer Boito was seeking to encourage in 1864 and the real composer Verdi – working by his own methods, and at his own pace – had become by the 1880s.

In setting out his theoretical policies, Boito was hoping to inspire a leap of artistic imagination. In subsequently joining forces with Verdi, he was able to achieve far more than that, for together they created a masterpiece, a miracle, even, of musical theatre. And there was one further miracle still to come, for six years later they produced Falstaff, the antipole to Otello, and a work in which Boito’s eternal spirit of negation is finally drowned out by the sound of human laughter.

6 © Kevin Leighton Kevin ©

Giuseppe Verdi (1813–1901) l’opéra, pour lui conférer un statut plus international. commencé à songer dans les années 1860, resterait de magistrale, à juste titre. Les ajouts et les Otello (1887) Les influences de Meyerbeer et Wagner furent inachevé à sa mort, près de soixante ans plus tard. altérations qu’il y a apportées sont également cités comme les exemples à suivre. En 1863, parlantes, et nous renseignent sur ce que nous Drame lyrique en quatre actes bien qu’il eût collaboré avec Verdi dans l’Inno C’est seulement en 1879, alors que Verdi s’était connaissons de ses croyances métaphysiques. delle nazione (« Hymne des nations »), Boito retiré depuis huit ans déjà de la composition Boito adhérait au dualisme, qui croyait que Comme Verdi jouissait d’une reconnaissance prit l’initiative d’une attaque contre l’état présent d’opéras, qu’un rapprochement entre les deux l’existence humaine était façonnée et influencée internationale gigantesque depuis l’époque où il de l’art italien, dans un poème qui préconisait le hommes fut opéré par l’entremise de Faccio et par les principes indépendants du bien et du avait créé Aida (1871), et qu’il avait atteint le but nettoyage de l’autel alors « souillé comme les Ricordi. On discuta d’une collaboration sur l’Othello mal. Parmi ses œuvres publiées figure le poème qu’il s’était fixé de posséder un vaste domaine à murs extérieurs d’un bordel ». On comprend que de Shakespeare, mais Verdi, toujours prudent avant allégorique Re Orso, centré sur l’image du « ver la campagne et de s’y adonner à l’agriculture et Verdi se soit senti insulté ; il continua, bien des de s’engager dans une entreprise d’envergure, éternel » – la force destructive dont l’énergie à d’autres activités rurales, il ne fut pas aisé de années après cela, à citer ce texte lorsque le et désormais au milieu de la soixantaine, prit son dynamique s’interpose pour empoisonner toutes le ramener au théâtre. En fait, il fallut une certaine nom de Boito venait dans la conversation. temps pour réfléchir à la situation. A titre d’essai, les entreprises humaines. Fondamental, dans la force de persuasion à plusieurs personnes, au il confia à Boito la tâche de l’aider dans la refonte manière dont il traite le démon Méphistophélès nombre desquelles l’épouse du compositeur, Boito lui-même, qui en 1865 avait écrit un livret de Simon Boccanegra, un de ses opéras les plus dans sa version lyrique du Faust de Goethe, est l’ancienne soprano Giuseppina Strepponi, et sur Hamlet pour son ami le chef d’orchestre et innovateurs et originaux, qui était largement tombé le concept de l’esprit de négation. « Je suis l’esprit son éditeur, Giulio Ricordi ; il fallut surtout compositeur Franco Faccio, lui aussi progressiste, dans l’oubli après sa création en 1857. Comparant qui toujours nie », dit Méphistophélès à Faust, impliquer deux personnalités hors du commun : atteint le sommet de sa renommée – ou peut-être l’ouvrage à une table à trois pieds, Verdi pensait « j’aspire au néant et je souhaite l’anéantissement le compositeur et librettiste Arrigo Boito et le de sa notoriété – avec la création de son propre que travailler avec son nouveau collaborateur le de toute création ». Dans son célèbre Credo de dramaturge William Shakespeare. opéra, un ouvrage extrêmement ambitieux, « remettr[ait] sur pied ». Le résultat, dévoilé à la l’acte II d’Otello – un passage qui n’existe pas Mefistofele, à la Scala en 1868. L’œuvre partagea Scala en 1881, transforma une partition intéressante chez Shakespeare – il nous dit : « Je suis scélérat Par la force des choses, la collaboration de le public et fit scandale, même si elle devait mais problématique en chef-d’œuvre. parce que je suis homme, et je sens la fange Shakespeare resta passive. Quant à Arrigo Boito quelques années plus tard, dans une version originelle à l’intérieur de moi. » A la différence (1842–1918), c’était l’un des plus grands talents remaniée, s’imposer au répertoire international. La collaboration s’était déroulée pour le mieux. du Iago de Shakespeare, qui est attrapé et naviguant autour de l’opéra italien du XIXe siècle, Mais, à cause de cet accueil pour le moins divisé, En Boito, Verdi avait trouvé un écrivain pour la interrogé, celui de Boito s’enfuit dans la nuit. mais ses relations, complexes, avec Verdi ne Boito passa l’essentiel des décennies suivantes à scène lyrique non seulement extrêmement doué furent pas toujours faciles. Ancien élève du traduire plutôt des livrets étrangers ou à en écrire et suprêmement pragmatique, mais – fait pour Si l’on excepte la métaphysique, il y a un autre Conservatoire de Milan, Boito s’était allié, dans sa de nouveaux à l’intention d’autres compositeurs – ainsi dire unique parmi les librettistes – qui aspect sous lequel Boito découvrit en Verdi jeunesse, à un mouvement artistique iconoclaste, notamment La falce pour Catalani en 1875 et La comprenait l’opéra également du point de vue du le compositeur qu’il appelait de ses vœux, et la Scapigliatura (« la Bohème »), qui avait pour Gioconda pour Ponchielli l’année suivante. Son compositeur. La manière dont Boito a condensé probablement celui qu’il aurait voulu être lui- ambition de réformer l’art italien, tout spécialement second opéra majeur, Nerone, auquel il avait le texte de Shakespeare a souvent été qualifiée même. Dans sa jeunesse exaltée de réformiste,

7 il avait écrit des articles qui dessinaient un futur désirait encourager en 1864 et le compositeur pour l’opéra italien en prônant spécifiquement réel que Verdi – qui travaillait selon ses propres son retour à la santé artistique. Dans le magazine méthodes, et à son propre rythme – était devenu Figaro, en 1864, il avait par exemple défendu les dans les années 1880. idées suivantes : En formulant ses lignes de conduite théoriques, 1) L’abandon total des formules [il désignait ainsi – Boito espérait susciter un bond dans l’imagination comme le définit clairement un autre de ses artistique. En joignant par la suite ses forces à articles – arias, rondos, cabalettes, strettes, celles de Verdi, il eut la possibilité d’accomplir ritournelles, morceaux concertants et ainsi de bien plus encore, car ils créèrent ensemble un suite – le stock de briques de construction utilisé chef-d’œuvre, un miracle, même, de théâtre par Verdi et ses prédécesseurs]. lyrique. Et il y aurait encore un miracle à venir, puisque six ans plus tard ils firent naître Falstaff, 2) La création d’une forme [que Boito définissait, l’antipode d’Otello, un ouvrage dans lequel l’éternel d’une manière assez vague, comme « la esprit de négation de Boito serait finalement manifestation extrinsèque, la belle argile de l’art »]. englouti sous les résonances du rire humain.

3) La mise au goût du jour des développements Notes de programme © George Hall tonals et rythmiques le plus larges possible à George Hall écrit de nombreux articles sur la l’époque. musique, notamment pour BBC Opera, Opera Now et Opera News. 4) L’incarnation suprême du drame.

Verdi n’aurait lui-même jamais établi un tel programme d’action artistique ; pour sa part, il préférait agir. Et, si certains commentateurs modernes trouvent facile d’appréhender son développement complexe comme une progression en ligne droite, il y a une corrélation irréfutable entre le compositeur hypothétique que Boito

8 © Kevin Leighton Kevin ©

Giuseppe Verdi (1813–1901) zum Ziel gesetzt hatte, die italienische Kunst und Boito in den darauf folgenden Jahrzehnten Die Zusammenarbeit war produktiv verlaufen. Otello (1887) dabei besonders die Oper stärker international hauptsächlich dem Übersetzen von ausländischen Verdi hatte in Boito nicht nur einen äußerst auszurichten. Die Gruppe pries die Werke Libretti oder dem Verfassen von neuen Libretti fähigen und extrem praktisch denkenden Lyrisches Drama in vier Akten von Meyerbeer und Wagner als Vorbilder zur für andere Komponisten. Besondere Erwähnung Librettisten für das Musiktheater gefunden, Nachahmung. Trotz der Zusammenarbeit mit verdienen hier La falce für Catalani 1875 und La sondern auch einen, der – fast einzigartig unter Als Verdi 1871 Aida zur Inszenierung freigab, Verdi an der Inno delle nazione (Hymne der Gioconda für Ponchielli im Jahr darauf. Boitos Librettisten – ein ebenso großes Verständnis genoss er eine riesige internationale Anerkennung Völker) 1863 meinte Boito in einem seiner Gedichte, zweite große Oper, Nerone, die er erstmals in für die Oper aus dem Gesichtspunkt eines und hatte mit dem Erwerb eines beachtlichen einen Angriff auf den herrschenden Zustand den frühen 1860ern in Erwägung zog, war noch Komponisten aufbrachte. Boitos Komprimierung Landguts sein persönliches Ziel erreicht, wo er der italienischen Kunst starten zu müssen. Das bei seinem Tod fast 60 Jahre später unvollendet. von Shakespeares Text wurde häufig und mit sich der Landwirtschaft und anderen ländlichen Gedicht rief zur Reinigung des Altars auf, vom dem Recht als meisterhaft bezeichnet. Seine Zusätze Beschäftigungen widmen konnte. Unter diesen Boito behauptete, er wäre damals „verdreckt Erst 1879, als Verdi schon acht Jahre lang keine und Änderungen prägen das Werk sehr und Umständen war es nicht einfach, Verdi zurück wie die Straßenwände eines Bordells“. [Alle Bühnenwerke mehr komponiert hatte, wurde eine bringen stark das zum Ausdruck, was wir von ins Theater zu locken. Tatsächlich bedurfte es Zitate sind Übersetzungen aus dem Englischen, Versöhnung mit Boito durch die Vermittlung von seinen eigenen metaphysischen Ansichten erheblicher Überzeugungsarbeit diverser Personen, d. Ü.] Verdi fühlte sich verständlicherweise Faccio und Ricordi erwirkt. Es kursierten Gerüchte wissen. Boito war ein Anhänger des Dualismus wie zum Beispiel der Frau des Komponisten, der beleidigt, und noch viele Jahre danach zitierte er über eine Zusammenarbeit an Shakespeares und glaubte deshalb, dass die menschliche ehemaligen Sopranistin Giuseppina Strepponi, diesen Text bei der Erwähnung des Namens Boito. Othello. Doch Verdi, der nun Mitte sechzig war Existenz von den voneinander unabhängigen und seines Verlegers Giulio Ricordi. Allen voran und sich schon immer nur mit großer Vorsicht Prinzipien des Guten und des Bösen geformt machten zwei Menschen ihren Einfluss geltend – Boito wiederum erreichte, nachdem er 1865 für an ein großes Projekt gebunden hatte, ließ sich und beeinflusst wird. Zu seinen veröffentlichten der Komponist und Librettist Boito und der seinen Freund und Mitstreiter für das Progressive, Zeit, über die Sache nachzudenken. Versuchsweise Arbeiten gehört das allegorische Gedicht Re Autor Shakespeare. den Dirigenten und Komponisten Franco Faccio, bat er Boito um Hilfe bei der Bearbeitung von Orso, das sich mit dem Bildnis eines „ewigen ein Hamlet-Libretto geschrieben hatte, mit Simon Boccanegra, einer der zukunftsträchtigsten Wurms“ beschäftigt – eine destruktive Kraft, Shakespeare nahm offensichtlich keinen aktiven der Uraufführung seiner eigenen, ungeheuer und originellsten Opern Verdis, die bei ihrer deren dynamische Energie sich durch alle Einfluss. Arrigo Boito (1842–1918) gehörte zu den ehrgeizigen Oper Mefistofele 1868 an der La Uraufführung 1857 mehr oder weniger auf menschlichen Bemühungen zieht und sie vergiftet. talentiertesten Persönlichkeiten in den italienischen Scala den Zenit seines Ruhms – oder vielleicht Unverständnis gestoßen war. Verdi wählte den Entscheidend für Boitos Behandlung des Teufels Opernkreisen des 19. Jahrhunderts. Seine komplexe seines berühmt-berüchtigten Rufes. Das Werk Vergleich mit einem dreibeinigen Tisch und Mephisto in seiner Opernfassung von Goethes Beziehung zu Verdi verlief jedoch nicht immer schied das Publikum in Befürworter und Gegner meinte, die Arbeit mit seinem neuen Mitarbeiter Faust ist das Konzept vom Geist der Verneinung. einfach. Boito hatte am Mailänder Konservatorium und erregte einen Skandal. Jedoch sollte es würde die Oper „auf ihre Füße stellen“. Das „Ich bin der Geist, der stets verneint“, erklärt studiert und sich als junger Mann einer einige Jahre später und in überarbeiteter Form Resultat wurde 1881 an der La Scala enthüllt: Mephisto dem Faust, „Ich strebe nach dem Nichts ikonoklastischen Künstlerbewegung angeschlossen, weltweit Eingang in das Bühnenrepertoire finden. Ein interessantes, wenn auch problematisches und dem völligen Untergang aller Schöpfung.“ In die als Scapigliature (ungefähr „die Gruppe mit Aber aufgrund der sehr geteilten Aufnahme des Stück hatte sich in ein Meisterwerk verwandelt. dem berühmten Kredo im zweiten Akt des Otellos – den zerzausten Haaren“) bekannt wurde und sich Werkes bei seiner Uraufführung widmete sich ein Abschnitt ohne Vorbild in Shakespeare –

9 erklärt uns Boitos Jago: „Ich bin schlecht, weil 4 Die äußerste Verkörperung des Dramas. Now und Opera News über ein breites ich ein Mensch bin, und fühle den Urschleim in Themenspektrum in klassischer Musik. mir.“ Im Gegensatz zu Shakespeares Jago, der Verdi hätte nie so ein Programm zum gefangen und verhört wird, flieht Boitos Jago in künstlerischen Handeln vorgeschrieben, er die Nacht. selber zog das Handeln vor. Nun mögen einige moderne Kommentatoren eine Beschreibung Mal von der Metaphysik abgesehen entsteht von Verdis komplexer Entwicklung als einen auch der Eindruck, als ob Boito in Verdi den einfachen geradlinigen Verlauf für oberflächlich Komponisten fand, nach dem er gesucht hatte halten, doch gibt es zweifellos eine Beziehung und der er womöglich selber einmal werden zwischen dem hypothetischen Komponisten, wollte. Damals in seiner unbesonnenen Jugend den sich Boito 1864 agitierend erhoffte, und als Erneuerer hatte er Artikel über die Zukunft dem realen Komponisten Verdi der 1880er der italienischen Oper verfasst einschließlich Jahre – der mit seinen eigenen Methoden und genauer Vorschriften, unter Befolgung derer die in seinem eigenen Tempo arbeitete. Oper angeblich ihre künstlerische Gesundheit wiedergewinnen könnte. In der Zeitschrift Figaro Mit der Darlegung seiner theoretischen proklamierte er 1864 zum Beispiel: Prinzipien hoffte Boito, zu Höhenflügen künstlerischer Kreativität anzuregen. Als er sich 1 Die vollständige Zerstörung von Formeln später mit Verdi zusammenschloss, konnte er [damit meinte er – wie ein anderer Artikel von viel mehr erreichen, denn zusammen gelang ihm ausspricht – Arien, Rondos, Cabaletten, ihnen ein Meisterwerk, ja geradezu ein Wunder Strettas, Ritornelle, konzertante Stücke usw., also des Musiktheaters. Noch ein weiteres Wunder das feste Repertoire der von Verdi und seinen sollte geschehen. Denn sechs Jahre danach Vorgängern verwendeten Konstruktionsblöcke]. schufen die beiden Künstler den Falstaff, das Gegenstück zum Otello und ein Werk, in dem 2 Die Schaffung von Form [die Boito ziemlich Boitos Geist der ewigen Verneinung endlich vom wage als „die äußere Manifestation, die Schall menschlichen Lachens übertönt wird. Modelliermasse der Kunst“ definierte]. Einführungstext © George Hall 3 Die Realisierung der heutzutage größtmöglichen George Hall schreibt für unter anderem die tonalen und rhythmischen Entwicklung. britischen Zeitschriften BBC Opera, Opera

10 Synopsis about Bianca to refer to Desdemona. Cassio has discovered Synopsis Desdemona’s handkerchief left at his lodgings by an unknown Act One hand (Jago’s). Otello is now utterly convinced. Trumpets sound Acte I A seaport in Cyprus towards the end of the 15th century. The and Lodovico and the entire court enter. Lodovico brings Otello Un port maritime à Chypre à la fin du XVe siècle. Sous les yeux populace watches a sea-battle raging during a fierce storm. Otello instructions nominating Cassio as his successor in Cyprus. du peuple, une bataille navale fait rage au milieu d’une violente and his Venetian forces triumph over the Turks and he enters to Beside himself with grief and anger, Otello flings the weeping tempête. A la tête de ses troupes vénitiennes, Otello l’emporte universal acclaim. Jago, Otello’s ensign, comforts Roderigo, who Desdemona to the ground. All are horrified. In the confusion, Jago sur les Turcs, et il fait son arrivée sous les acclamations générales. has fallen in love with Otello’s wife, Desdemona. Jago admits to him offers to murder Cassio while Otello will strangle Desdemona. Iago, l’enseigne d’Otello, console Roderigo, qui est tombé amoureux that he hates the Moorish leader and will aid him in his quest. As Otello dismisses the assembly and curses Desdemona, then de l’épouse d’Otello, Desdemona. Iago lui avoue qu’il hait le chef the Cypriots celebrate, Cassio, Otello’s second in command, egged collapses. As off-stage voices formally praise Otello, Jago places maure et va aider Roderigo dans sa quête. Tandis que les Chypriotes on by Jago, becomes increasingly drunk. Jago tells the former his foot on his unconscious body. célèbrent la victoire, Cassio, le second d’Otello, sombre dans Cypriot governor Montàno that this is habitual. Roderigo instigates l’ivresse, poussé par Iago. Ce dernier dit à l’ancien gouverneur a fight with Cassio that quickly escalates and involves Montàno, Act Four chypriote Montàno qu’une telle conduite est habituelle. Roderigo who is wounded. Otello arrives to restore order and dismisses Desdemona’s bedroom. Her maid Emilia is helping her prepare provoque une bagarre avec Cassio, bagarre qui dégénère Cassio from his post. Desdemona, disturbed by the noise, enters, to sleep. She has a premonition of death and sings an old song rapidement et implique Montàno, lequel est blessé. Otello arrive and as the crowd disperses she and Otello contemplate the rocky she learned from her own mother’s maid, the ‘Willow Song’. She à restaurer l’ordre et démet Cassio de ses fonctions. Desdemona, path of their love, which they reaffirm with a kiss. embraces Emilia, who leaves, then prays to the Virgin. She lies dérangée par le bruit, fait son entrée ; tandis que la foule se down. Otello enters, carrying a scimitar, extinguishes the candle disperse, Otello et elle considèrent le chemin escarpé de leur Act Two and, contemplating his sleeping wife, kisses her three times. She amour, qu’ils se réaffirment d’un baiser. Inside the castle, Jago, joking with Cassio about Cassio’s mistress, awakens. He accuses her of infidelity, which she denies, and Bianca, tells him that the way back into Otello’s favour is through announces that he is going to kill her. She pleads her innocence Acte II Desdemona. He sees this as an opportunity to further his scheme to no avail. He strangles her. Emilia knocks at the door, announcing A l’intérieur du château, Iago plaisante avec Cassio à propos de la to destroy Otello and, left alone, ponders his own evil nature as that Cassio has killed Roderigo. As Emilia enters, she hears maîtresse de celui-ci, Bianca ; il lui dit que, grâce à Desdemona, the creation of a cruel God. Desdemona is walking in the garden Desdemona’s dying groans. She declares that she has killed herself. il peut regagner les faveurs d’Otello. Il là un biais pour parvenir à and Jago sends Cassio off to speak with her. When Otello enters, As Emilia accuses Otello, he tells her of Jago’s evidence, which ses fins : détruire Otello ; resté seul, il médite sur sa propre nature Jago begins to insinuate that there is an illicit relationship between she refutes. She calls for help and Cassio rushes in with Jago and maléfique, créature d’un dieu cruel. Desdemona se promène dans Cassio and Desdemona. Insecure and jealous by nature, Otello Lodovico. Montàno enters with further information about Jago’s le jardin, et Iago envoie Cassio lui parler. A l’entrée d’Otello, Iago quickly takes the bait. Warning Otello of jealousy, Jago suggests treachery, which is finally revealed. He flees. Otello seizes his commence à insinuer qu’une relation illégitime s’est nouée entre he watch them closely. Cypriot women and children pay homage scimitar, warding off Lodovico. He mourns Desdemona, and then Cassio et Desdemona. Inquiet et jaloux de nature, Otello mord to Desdemona. She intercedes with Otello for the contrite Cassio. stabs himself, struggling in his final moments to kiss her once more. aussitôt à l’hameçon. Tout en mettant Otello en garde contre Otello drops her handkerchief to the ground, which Emilia – Jago’s toute jalousie, Iago lui suggère de les observer de près. Les femmes wife – picks up. Jago wrenches it from her. Disconcerted by Synopsis © George Hall et les enfants de Chypre rendent hommage à Desdemona. Celle-ci Otello’s ill-humour, Desdemona leaves. Jago continues to poison intercède auprès d’Otello en faveur de Cassio repentant. Otello Otello’s mind against her. Otello quickly assumes the worst and laisse tomber son mouchoir à terre, et Emilia – la femme de Iago – demands proof of Desdemona’s unfaithfulness. Jago describes le ramasse. Iago le lui arrache. Déconcertée par la mauvaise Cassio muttering about making love to Desdemona when half humeur d’Otello, Desdemona quitte les lieux. Iago continue de asleep, and says he has seen him with her handkerchief. Otello is distiller son poison dans l’esprit d’Otello. Celui-ci imagine bientôt convinced, and Jago joins with him in a vow of bloody vengeance. le pire et demande la preuve de l’infidélité de Desdemona. Iago décrit comment Cassio racontait, en marmonnant dans un demi- Act Three sommeil, avoir fait l’amour à Desdemona ; il ajoute avoir vu Cassio In the castle’s great hall, the Herald announces the arrival of en possession du mouchoir de la jeune femme. Otello est convaincu, Lodovico, the Venetian ambassador. As Jago whispers to Otello et Iago se joint à lui dans un serment de vengeance sanglante. about Cassio’s guilt, he scarcely notices. Desdemona enters to find her husband a changed man, full of barely repressed anger Acte III towards her. He demands her handkerchief, and when she cannot Dans le grand hall du château, le Héraut annonce l’arrivée de produce it warns her of dire consequences. Misguidedly she returns Lodovico, l’ambassadeur de Venise. Comme Iago parle à voix to her pleas for Cassio to be forgiven. Otello, now furious, accuses basse, avec Otello, de la culpabilité de Cassio, il le remarque à her of unfaithfulness. Perplexed and miserable, she begins to weep. peine. Desdemona entre et trouve en son mari totalement changé, He pushes her out and contemplates his own despair. Jago brings empli d’une colère à peine contenue à son égard. Otello lui Cassio in and Otello hides behind a pillar. As he listens to their demande son mouchoir et, comme elle n’est pas en mesure de conversation, Otello misinterprets, as Jago intends, Cassio’s joking le lui donner, il la menace des pires représailles. D’une manière

11 peu avisée, elle le supplie à nouveau de pardonner à Cassio. A Handlung voller unterdrückter Rage ihr gegenüber. Er fordert ihr Taschentuch, présent hors de lui, Otello l’accuse d’infidélité. Interloquée et und als sie es nicht vorzeigen kann, droht er ihr schreckliche Folgen accablée, elle se met à pleurer. Otello renvoie sa femme et médite Erster Akt an. Töricht bittet sie erneut um Cassios Vergebung. Der mittlerweile sur son propre désespoir. Iago fait entrer Cassio et Otello se cache Eine Hafenstadt in Zypern gegen Ende des 15. Jahrhunderts. völlig rasende Otello wirft ihr Untreue vor. Vor den Kopf geschlagen derrière un pilier. Entendant leur conversation, Otello en tire des Das Volk sieht einer Seeschlacht zu, die während eines heftigen und hilflos beginnt sie zu weinen. Er schmeißt sie heraus und gibt conclusions erronées, comme c’était le dessein de Iago, pensant Unwetters ausgetragen wird. Otello und seine venezianischen sich seiner eigenen Verzweiflung hin. Jago bringt Cassio herein, und que les railleries de Cassio à propos de Bianca font référence Truppen siegen über die Türken. Umjubelt tritt Otello auf die Otello versteckt sich hinter einer Säule. Beim Belauschen ihrer à Desdemona. Cassio a découvert le mouchoir de Desdemona, Bühne. Jago, Otellos Fähnrich, tröstet Rodrigo, der sich in Otellos Konversation glaubt Otello fälschlicherweise, jedoch genau nach laissé dans ses appartements par une main inconnue (celle de Frau Desdemona verliebt hat. Jago offenbart Rodrigo, dass er den Jagos Plan, Cassio würde über Desdemona scherzen. Dabei hatte er Iago). Otello est à présent complètement convaincu. Des trompettes dunkelhäutigen Vorgesetzten hasst und Rodrigo in seinem Streben über Bianca gesprochen. Cassio zeigt auch das in seiner Unterkunft résonnent et Lodovico fait son entrée, accompagné de la cour au unterstützen wird. Bei den Festlichkeiten der Zyprier wird Cassio, von unbekannter Hand (Jago) hinterlegte Taschentuch Desdemonas complet. Il transmet à Otello des instructions faisant de Cassio Otellos zweiter Befehlshaber, von Jago animiert zunehmend vor. Otello ist nun völlig überzeugt. Unter Trompetenklängen kommen son successeur à Chypre. Hors de lui de chagrin et de colère, Otello betrunken. Jago erzählt dem ehemaligen Kommandanten von Lodovico und der gesamte Hof auf die Bühne. Lodovico übermittelt jette au sol Desdemona, en pleurs, déclenchant l’horreur générale. Zypern, Montàno, Cassio würde auch sonst viel trinken. Rodrigo an Otello die Aufforderung, Cassio als seinen Nachfolger in Zypern Dans la confusion, Iago propose d’assassiner Cassio, tandis qu’Otello zettelt einen Streit mit Cassio an, der schnell eskaliert und Montàno zu ernennen. Völlig außer sich vor Verzweiflung und Wut schleudert veut étrangler Desdemona. Otello chasse l’assemblée et maudit mit hineinzieht, der dabei verwundet wird. Otello kommt hinzu, Otello die weinende Desdemona zu Boden. Alle sind entsetzt. In Desdemona avant de s’évanouir. Tandis que des voix en coulisse stellt die Ordnung wieder her und degradiert Cassio. Die vom Lärm dem Durcheinander bietet sich Jago an, Cassio zu töten, während chantent solennellement les louanges d’Otello, Iago pose son beunruhigte Desdemona tritt auf. Nachdem sich das Volk wieder Otello Desdemona erwürgen soll. Otello schickt die versammelte pied sur son corps inanimé. verstreut hat, reflektieren sie und Otello über die Schwierigkeiten, Masse weg, verflucht Desdemona und bricht dann zusammen. mit denen ihre Liebe konfrontiert war. Mit einem Kuss beteuern Während Stimmen hinter der Bühne Otello preisen, wie es die Acte IV sie sich erneut ihre Liebe. Form verlangt, setzt Jago seinen Fuß auf den bewusstlosen Körper. La chambre à coucher de Desdemona. Sa femme de chambre Emilia l’aide à se préparer pour la nuit. Dans une prémonition de Zweiter Akt Vierter Akt sa mort, elle chante une vieille chanson qu’elle a apprise de la Im Schloss scherzt Jago mit Cassio über Cassios Geliebte Bianca. Desdemonas Schlafzimmer. Ihre Hofdame Emilia hilft ihr, sich auf femme de chambre de sa propre mère, la « Chanson du saule ». Jago meint, Cassio könne sich bei Otello über Desdemona wieder die Bettruhe vorzubereiten. Desdemona hat Vorahnungen vom Tod Elle embrasse Emilia, qui s’en va, puis prie la Vierge. Elle se couche. einen guten Stand verschaffen. Jago glaubt damit, seinen Plan zur und singt ein altes Lied, das sie von der Maid ihrer Mutter gelernt Otello entre, portant une cimeterre ; il éteint la chandelle puis, Beseitigung Otellos zu fördern. Wieder allein denkt er über seine hatte, das “Weidenlied”. Desdemona umarmt Emilia, die dann das contemplant sa femme endormie, l’embrasse à trois reprises. eigene böse Natur nach und erklärt sie als die Schöpfung eines Zimmer verlässt, und betet zur Jungfrau Maria. Sie geht zu Bett. Elle se réveille. Il l’accuse d’infidélité, ce qu’elle nie, et lui annonce grausamen Gottes. Desdemona spaziert gerade durch den Garten, Otello tritt ein und trägt einen Dolch bei sich. Er löscht die Kerze qu’il va la tuer. Elle proteste en vain de son innocence. Il l’étrangle. und Jago empfiehlt Cassio, mit ihr zu sprechen. Wenn Otello auftritt, und küsst seine schlafende Frau drei Mal, während er über sie Emilia frappe à la porte, annonçant que Cassio a tué Roderigo. En beginnt Jago Andeutungen fallen zu lassen, es gäbe eine unlautere nachdenkt. Sie wacht auf. Er wirft ihr Untreue vor, was sie bestreitet, pénétrant dans la chambre, Emilia entend les râles de Desdemona Beziehung zwischen Cassio und Desdemona. Von Natur aus und kündigt an, dass er sie töten wird. Sie beteuert vergebens mourante, qui prétend s’être donné la mort. Lorsque Emilia accuse unsicher und eifersüchtig beißt Otello schnell an. Jago mag zwar ihre Unschuld. Er erwürgt sie. Emilia klopft an die Tür und ruft, Otello, il lui fait part du témoignage de Iago, qu’elle dénie. Elle Otello vor der Eifersucht warnen, legt ihm aber gleichzeitig nahe, dass Cassio Rodrigo ermordet hat. Als Emilia eintritt, hört sie appelle à l’aide et Cassio se précipite dans la chambre avec Iago die beiden genauer zu beobachten. Zypriotische Frauen und Desdemonas sterbendes Geröchel. Desdemona behauptet, sie et Lodovico. Montàno entre avec de nouvelles révélations sur la Kinder huldigen Desdemona. Sie setzt sich bei Otello für den habe Selbstmord begangen. Als Emilia Otello anklagt, erzählt er traîtrise de Iago, qui éclate à présent au grand jour. Iago s’enfuit. reumütigen Cassio ein. Otello wirft ihr Taschentuch zu Boden, ihr von Jagos Beweis, den sie entkräftet. Sie ruft um Hilfe, und Otello saisit sa cimeterre, évitant Lodovico. Il pleure la mort de das Emilia – Jagos Frau – aufhebt. Jago entreißt es ihr. Verwirrt Cassio stürzt mit Jago und Lodovico herein. Montàno tritt mit Desdemona, puis se poignarde, rassemblant ses dernières forces durch Otellos schlechte Laune tritt Desdemona ab. Jago vergiftet weiteren Informationen über Jagos Verrat auf, der sich schließlich pour embrasser sa femme une dernière fois. weiter Otellos Glauben an Desdemonas Liebe. Otello denkt erhärtet. Jago flieht. Otello ergreift seinen Dolch und pariert dabei schnell an das Schlimmste und fordert Beweise für ihre Untreue. Lodovico. Er trauert um Desdemona und ersticht sich dann. In Synopsis © George Hall Jago behauptet, Cassio hätte schlaftrunken gebrummelt, wie er seinen letzten Augenblicken versucht er verzweifelt, sie noch und Desdemona miteinander geschlafen hätten. Jago sagt auch, einmal zu küssen. Cassio trüge ihr Taschentuch bei sich. Otello ist überzeugt, und Traduction: Claire Delamarche zusammen mit Jago schwört er blutige Rache. Handlung © George Hall

Dritter Akt Im Hauptsaal des Schlosses kündigt der Herold die Ankunft des Übersetzung aus dem Englischen: Elke Hockings venezianischen Gesandten Lodovico an. Als Jago dem Otello etwas über Cassios Schuld zuflüstert, nimmt er davon kaum Notiz. Desdemona tritt auf und trifft auf einen völlig veränderten Mann,

12 Giuseppe Verdi (1813–1901) Giuseppe Verdi (1813–1901) Giuseppe Verdi (1813–1901)

Verdi revolutionised Italian opera, finding a powerful musical Verdi a bouleversé l’opéra italien, trouvant une expression Verdi revolutionierte die italienische Oper. Schon in frühen expression for such themes as abduction, murder, premature musicale puissante à des sujets comme l’enlèvement, le meurtre, Werken wie Rigoletto und La traviata fand er beeindruckenden death and seduction in early mature works like Rigoletto and la mort prématurée et la séduction, dès ses premières œuvres musikalischen Ausdruck für solche Themen wie Entführung, Mord, La traviata and, in later life, brilliantly translating Shakespeare’s de maturité telles que Rigoletto et La traviata et, à la fin de sa vie, frühzeitiger Tod und Verführung. Im späteren Leben brachte er ‘heroes’ Othello and Falstaff to the operatic stage. Keyboard and en transportant à la scène lyrique d’une manière brillantissime Shakespeares Charaktere Othello und Falstaff auf die Opernbühne. other musical studies in Le Roncole and nearby Busseto nurtured les personnages shakespeariens d’Othello et Falstaff. L’étude Unterweisungen auf Tasteninstrumenten und in Musik in Le Roncole the boy’s natural talent; however, he failed to gain a place at the des instruments à claviers et d’autres matières musicales, suivies und dem nahe gelegenen Busseto förderten das natürliche Talent Milan Conservatory. Undeterred, Verdi studied privately with aux Roncole puis dans la cité proche de Busseto, nourrirent le des Jungen. Allerdings gelang es ihm nicht, sich einen Platz am Vincenzo Lavigna and duly became Maestro di Cappella in Busseto. talent inné du jeune garçon. Verdi échoua à l’entrée du conservatoire Mailänder Konservatorium zu sichern. Unbeeindruckt studierte de Milan. Sans se laisser démonter, il prit alors des leçons privées Verdi privat bei Vincenzo Lavigna und wurde ordnungsgemäß His first marriage ended tragically with the death of his wife in auprès de Vincenzo Lavigna et devint comme il se doit maestro Maestro di cappella in Busseto. 1840. By then Verdi had completed his first opera, Oberto, which di cappella à Busseto. was performed in 1839 at La Scala, Milan. A series of works was Seine erste Ehe endete 1840 tragisch mit dem Tod seiner Frau. commissioned by the illustrious Milanese theatre, including Nabucco Son premier mariage se termina tragiquement avec la mort de son Zuvor hatte Verdi seine erste Oper, Oberto, abgeschlossen, die and I Lombardi. Their public success led to further commissions épouse en 1840. A cette époque, Verdi avait déjà composé son 1839 am Teatro alla Scala, Mailand aufgeführt wurde. Im Auftrag elsewhere, with new works created for Venice, Paris, London and premier opéra, Oberto, représenté en 1839 à la Scala de Milan. dieses berühmten Mailänder Theaters entstanden eine Reihe von Florence. His international profile was enhanced with the triumphant L’illustre théâtre milanais passa commande d’une série d’ouvrages, Werken wie zum Beispiel Nebukadnezar [Nabucco] und I Lombardi first productions of Rigoletto (1851), Il trovatore (1853) and La traviata au nombre desquels Nabucco et Les Lombards. Leur succès public [Die Lombarden]. Ihr Erfolg beim Publikum führte zu Aufträgen (1853). In 1859, Verdi married the soprano Giuseppina Strepponi. entraîna des commandes d’autres établissements, et de nouvelles von anderen Auftraggebern, was neue Werke für Venedig, Paris, partitions furent créées à Venise, Paris, Londres et Florence. Les London und Florenz bedeutete. Verdis internationale Anerkennung After the censors refused to allow the theme of regicide in Un productions triomphales de Rigoletto (1851), Le Trouvère (1853) wurde durch die triumphierenden ersten Inszenierungen des ballo in maschera (1859), Verdi’s work was championed by Italy’s et La Traviata (1853) établirent la réputation internationale de Rigoletto (1851), Il trovatore [Der Troubadour] (1853) und La nationalist movement. By coincidence the letters of his name stood Verdi qui, en 1859, épousa la soprano Giuseppina Strepponi. traviata (1853) gestärkt. 1859 heiratete Verdi die Sopranistin as an acrostic for ‘Vittorio Emanuele, Re D’Italia’, allowing partisan Giuseppina Strepponi. opera fans to cry ‘Viva Verdi’ in support of both the composer and Après le rejet par la censure du sujet d’Un bal masqué (1859), qui Italy’s future king. met en scène un régicide, l’œuvre de Verdi trouva le soutien du Nachdem die Zensoren ihre Zustimmung zum Thema des mouvement nationaliste italien. La coïncidence voulait que les Königsmordes in Un ballo in maschera [Ein Maskenball] Between the composition of Aida (1871) and Otello, created for lettres de son nom forment l’acrostiche de « Vittorio Emanuele, (1859) verweigert hatten, wurde Verdis Werk von Italiens La Scala in 1887, Verdi wrote little for the stage. His final opera, re d’Italia » ; ainsi les amateurs d’opéras pouvaient-ils, en criant Unabhängigkeitsbewegung gefördert. Zufällig ließen sich die Falstaff, was immediately recognised as a masterpiece. « Viva Verdi », manifester leur engouement pour le compositeur Buchstaben von Verdis Namen als ein Akrostichon für „Vittorio autant que pour le futur roi d’Italie. Emanuele, Re D’Italia“ interpretieren, was den opernliebenden Profile © Andrew Stewart Partisanen erlaubte, zur Unterstützung sowohl des Komponisten Andrew Stewart is a freelance music journalist and writer. He is Entre la composition d’Aida (1871) et celle d’Otello, créé à la Scala als auch des zukünftigen Königs von Italien „Viva Verdi“ zu rufen. the author of The LSO at 90, and contributes to a wide variety of en 1887, Verdi composa peu pour la scène. Son dernier opéra, specialist classical music publications. Falstaff (1893), fut immédiatement salué comme un chef-d’œuvre. Zwischen der Komposition der Aida (1871) und des für die La Scala 1887 geschaffenen Otello schrieb Verdi wenig für die Bühne. Seine Portrait © Andrew Stewart letzte Oper, Falstaff, wurde sofort als ein Meisterwerk verstanden. Andrew Stewart est un journaliste et écrivain indépendant spécialisé en musique. Il est l’auteur de The LSO at 90, et contribue à toutes Kurzbiographie © Andrew Stewart sortes de publications consacrées à la musique classique. Andrew Stewart ist freischaffender Musikjournalist und Autor. Er verfasste The LSO at 90 [Das London Symphony Orchestra mit 90] und schreibt ein breites Spektrum an anspruchsvollen Artikeln Traduction: Claire Delamarche über klassische Musik.

Übersetzung aus dem Englischen: Elke Hockings

13 Text

ATTO PRIMO ACT ONE Montàno Montano Or s’affonda, or s’inciela … First it sinks down, then it rears up … L’esterno del Castello. Una taverna con pergolato. The castle exterior. An inn with a trellised arbor. Gli spaldi nel fondo e il mare. È sera. Lampi, In the background the quayside and sea. It is Cassio Cassio tuoni, uragano. evening. Lightning. A thunder-storm rages. Erge il rostro dall’ onda. Its prow rises from the waves.

Continui lampi. The lightning continues. SCENA I SCENE I Metà del Coro Half of the Chorus Cipriotti (tenori) Cypriots (tenors) Nelle nubi si cela e nel mar, She is lost in the sea and the night 1 Una vela! 1 A sail! E alla luce dei lampi ne appar. But the lightning reveals her to sight.

Cipriotti (bassi) Cypriots (basses) Lampi e tuoni continui. The thunder and lightning continue. Una vela! A sail! Tutti All Lampi. Lightning. Lampi! tuoni! gorghi! Lightning! Thunder! Whirlpools! turbi tempestosi e fulmini! Storm winds and thunderbolts! Il Primero Grupo First Group Un vessillo! A flag! Un fulmine. A flash of lightning.

Il Secondo Grupo Second Group Treman l’onde! Treman l’aure! The waves heave! The winds howl, Un vessillo! A flag! Treman basi e culmini. The sea and mountains quake.

Un fulmine, lampi e tuoni. Thunder and a flash of lightning. Entrano dal fondo molte donne del popolo. Many townswomen enter from the back.

Montàno Montano Fende l’etra un torvo Through the air some gloomy spectre È l’alato Leon! It is the winged lion. E cieco spirto di vertigine. Ah! Seems to rush and threaten us. Ah! Iddio scuote il cielo bieco, God shakes the white heavens Cassio Cassio Come un tetro vel. Ah! Like a gloomy curtain. Ah! Or la folgor lo svela. The lightning reveals it now. Tutto è fumo! tutto è fuoco! l’orrida caligine All is smoke! All is fire! The horrible soot Si fa incendio, poi si spegne più funesta. Turns to fire, then dies, still more ghastly. Trombe sul palco. Trumpets sound on stage. Spasima l’universo, accorre a valchi The universe writhes, the phantom north wind L’aquilon fantasima, Rushes through the passes, Altri (che sopraggiungono) Others (who are arriving) I titanici oricalchi squillano nel ciel. Titanic trumpets blare out in the sky. Uno squillo! A trumpet blast! Lampi, tuoni e fulmini continui. Continual flashes of lightning and thunder. Altri (che sopraggiungono) Another group (who are arriving) Uno squillo! A trumpet blast! Tutti (con gesti spavento e di supplicazione e All (with gestures of fright and supplication, rivolti verso lo spaldo) facing toward the bastion) Colpo di Cannone. A cannon shot is heard. Dio, fulgor della bufera! God, the eye of the storm! Dio, sorriso della duna! God, the smile of the shore! Tutti All Salva l’arca e la bandiera Save the vessel and the flag Ha tuonato il cannon! The cannon has thundered. Della veneta fortuna! Of Venetian destiny! Tu, che reggi gli astri e il Fato! Thou, who rulest the stars and Fate! Cassio Cassio Tu, che imperi al mondo e al ciel! Thou, who governest world and sky! È la nave del Duce. It’s the General’s ship. Fa che in fondo al mar placato Grant that the faithful anchor Posi l’àncora fedel. Rest on the bottom of the calmed sea.

14 Un lampo. A lightning strike. Tutti All Evviva Otello! Evviva! Evviva! Evviva! Vittoria! Long live Othello! Hurrah! Hurrah! Hurrah! Jago Iago Vittoria! Vittoria! Victory! Victory! Victory! È infranto l’artimon! The mainsail’s ripped! Otello entra nella ròcca, seguito da Cassio, Othello enters the fortress, followed by Cassio, Altro lampo. Another lightning strike. Montàno e soldati. Montano, and the soldiers.

Roderigo Roderigo Coro Chorus Il rostro piomba su quello scoglio! The vessel is hurtling towards the cliff! Vittoria! Stermino! Victory! Destruction! Dispersi, distrutti, Scattered, destroyed, Coro Chorus Sepolti nell’ orrido Their galleys are buried Aita! Aita! Help! Help! Tumulto piombàr. Deep in the horrible sea. Avranno per requie Their rest will be Ancora un lampo. Another lightning strike. La sferza dei flutti, The lash of the waves, La ridda dei turbini, The riot of the whirlwinds, Jago (a Roderigo) Iago (to Roderigo) L’abisso del mar. The abyss of the sea. L’alvo frenetico del mar sia la sua tomba! Let the frenzied bed of the sea be his grave! Vittoria! Evviva! Victory! Hurrah!

Coro Chorus Tuono lontano. Distant thunder. È salvo! è salvo! He’s safe! He’s safe! Coro Chorus Voci Interne Off-stage Voices Si calma la bufera. The storm is dying down. Gittate i palischermi! Lower the small boats! Jago (in disparte a Roderigo) Iago (aside to Roderigo) Tuono lontano. Distant thunder. 3 Roderigo, ebben, che pensi? 3 Well, Roderigo, what are you thinking?

Mano alle funi! Fermi! All hands to the ropes! Make fast! Roderigo Roderigo D’affogarmi … Of drowning myself … Lampo. Lightning. Nel fondo è un andirivieni della ciurma che sale In the background the crew goes back and forth Prima Parte del Coro First Part of the Chorus dalla scala della spiaggia ed entra nel castello between the beach and the castle carrying Forza ai remi! Row with all your might! portando armi e bagagli, mentre dei popolani weapons and baggage, while some of the escono da dietro la ròcca portando dei rami da people come from behind the castle, carrying Seconda Parte del Coro (scendono la scala Second Part of the Chorus (descending the ardere presso lo spaldo; alcuni soldati con fiaccole firewood up near the ramparts; some soldiers dello spaldo) bastion stairway) illuminano la via percorsa da questa gente. with torches light the way for them. Alla riva! To the shore! Jago Iago Tuono lontano. Distant thunder. Stolto è chi s’affoga per amor di donna. A fool is he who drowns himself for a woman’s love.

Voci Interne Off-stage Voices Roderigo Roderigo All’approdo! allo sbarco! To the landing place! Disembark! Vincer nol so. I cannot overcome it.

Altre Voci Interne Other Voices Off-stage Alcuni del popolo formano da un lato una Some of the people heap the wood in a pile Evviva! Evviva! Evviva! Hurrah! Hurrah! Hurrah! catasta di legna: la folla s’accalca intorno to one side: the crowd mills around, restless turbolenta e curiosa. and curious. Otello (dalla scala della spiaggia salendo sullo Othello (climbing to the bastion by the stairs spaldo con seguito di marinai e di soldati) from the beach followed by sailors and soldiers) Jago Iago 2 Esultate! 2 Rejoice! Suvvia, fa senno, Come to your senses now, L’orgoglio musulmano sepolto è in mar; The Moslem’s pride is buried in the sea, Aspetta l’opra del tempo; Wait for time to do its work. Nostra e del ciel è gloria! The glory is ours and heaven’s! A Desdemona bella, The lovely Desdemona, Dopo l’armi lo vinse l’uragano. After our arms, the storm defeated him. Che nel segreto de’ tuoi sogni adori, Whom you adore in your secret dreams,

15 Presto in uggia verranno i foschi baci Will soon come to dislike the dark kisses Movono intorno mutando stuol, Move about, a changing mass, Di quel selvaggio dalle gonfie labbra. Of that savage with swollen lips. E son fanciulle dai lieti canti, Now they are maidens with joyful songs, Buon Roderigo, amico tuo sincero Good Roderigo, I, your sincere friend, E son farfalle dall’igneo vol. Now they are butterflies with fiery flights. Mi ti professo, nè in più forte ambascia I can see your suffering and declare myself Arde la palma col sicomoro, The palm log burns with the sycamore, Soccorrerti potrei. Se un fragil voto Able to help. If a woman’s fragile vow Canta la sposa col suo fedel; The bride sings with her faithful beloved, Di femmina non è tropp’arduo nodo Is not too tough a knot Sull’aurea fiamma, sul lieto coro Over the golden flame, over the happy chorus Pel genio mio nè per l’inferno, giuro For my wits or for hell’s, I swear Soffia l’ardente spiro del ciel. Plays the ardent breath of heaven. Che quella donna sarà tua. M’ascolta: That woman shall be yours. Listen to me: Fuoco di gioia, rapido brilla! The joyful fire quickly gleams! Benchè finga d’amarlo, odio quel Moro … Though I pretend to love him, I hate that Moor … Rapido passa, fuoco d’amor! Quickly passes the fire of love! Splende, s’oscura, palpita, oscilla, It glows, darkens, throbs, and wavers, Entra Cassio: poi s’unisce a un crocchio di soldati. Cassio enters, then joins a group of soldiers. L’ultimo guizzo lampeggia e muor. The last flame flickers and dies.

Jago (sempre in disparte a Roderigo) Iago (still aside to Roderigo) Il fuoco si spegne a poco a poco: la bufera è cessata. The fire slowly dies out; the storm is over. … E una cagion dell’ira, eccola, guarda. … And there is a reason for my wrath, look. Jago, Roderigo, Cassio e parecchi altri uomini Iago, Roderigo, Cassio and several other armed (indicando Cassio) (pointing to Cassio) d’arme intorno a un tavolo dove c’è del vino: men are around a table where there is wine: Quell’azzimato capitano usurpa il grado mio, That dandified captain usurps my rank, parte in piedi, parte seduti. some are standing, some sitting. Il grado mio che in cento The rank I have deserved Ben pugnate battaglie ho meritato; For fighting well in a hundred battles; Jago Iago 5 Roderigo, beviam! qua la tazza, Capitano. 5 Roderigo, let’s drink! Your cup’s here, Captain. Continua il passaggio della bassa ciurma The crew continues to move back and forth in nel fondo. the background. Cassio Cassio Non bevo più. I’ll drink no more. Tal fu il voler d’Otello, ed io rimango This was Othello’s wish, and I remain Di sua Moresca Signoria l’alfiere! His Moorish Lordship’s ensign! Jago (avvicinando il boccale alla tazza di Cassio) Iago (holding the pitcher toward Cassio’s cup) Ingoia questo sorso. Swallow this drop. Dalla catasta incominciano ad alzarsi dei globi Denser and denser clouds of smoke begin to di fumo sempre più denso. rise from the pile of wood. Cassio (ritirando il bicchiere) Cassio (drawing back his glass) No! No! Ma, come è ver che tu Roderigo sei, But, as surely as you are Roderigo, Così è pur vero che se il Moro io fossi So it is sure that if I were the Moor Jago Iago Vedermi non vorrei d’attorno un Jago. I shouldn’t want to see an Iago around me. Guarda! oggi impazza tutta Cipro! Look! All of Cyprus is running riot! Se tu m’ascolti … If you listen to me … È una notte di gioia, dunque … It’s a night of joy, so …

Jago conduce Roderigo verso il fondo : il fuoco Iago leads Roderigo toward the back: the fire Cassio Cassio divampa. I soldati s’affollano intorno alle tavole leaps up. The soldiers crowd around the tables Cessa. Già m’arde il cervello Stop. My brain is already on fire della taverna. of the tavern. Per un nappo vuotato. From a glass I drained.

Mentre dura il canto intorno al fuoco di gioia, As the singing goes on around the fire of Jago Iago i tavernier appenderanno al pergolato dell’ rejoicing, the tavern-keepers hang Venetian Sì, ancora bever devi. Yes, you must drink more. osteria della lanterne veneziane a vari colori lanterns of various colours from the pergola, Alle nozze d’Otello e Desdemona! To the marriage of Othello and Desdemona! che illumineranno gaiamente la scena. I soldati giving a festive illumination to the scene. The si saranno adunati intorno alle tavole, parte soldiers gather around the tables, some sitting, Tutti (tranne Roderigo) Tutti (except Roderigo) seduti, parte in piedi, ciarlando e bevendo. some standing, chattering and drinking. Evviva! Hurrah!

Coro Chorus Cassio (alzando il bicchiere e bevendo un poco) Cassio (raising his glass and drinking a little) 4 Fuoco di gioia! 4 Fire of rejoicing! Essa infiora questo lido. She bedecks this island like a flower. L’ilare vampa, fuga la notte col suo splendor. The merry flame banishes night by its brightness Guizza, sfavilla, crepita, avvampa, It darts, sparkles, crackles, and blazes, Jago (sotto voce a Roderigo) Iago (whispering to Roderigo) Fulgido incendio che invade il cor. The shining fire that invades our hearts. Lo ascolta. Listen to him. Dal raggio attratti vaghi sembianti Drawn by the light, lovely forms

16 Cassio Cassio Cassio (a Jago, col bicchiere in mano) Cassio (to Iago, glass in hand) Col vago suo raggiar chiama i cuori a raccolta. With her sweet radiance she gathers all hearts. Questa del pampino verace manna The vine’s truth-giving manna Di vaghe annugola Beclouds my mind Roderigo Roderigo Nebbie il pensier. With lovely mists. Pur modesta essa è tanto. And yet she is very modest. Jago (a tutti) Iago (to all) Cassio Cassio Chi all’esca ha morso He who has succumbed Tu, Jago, canterai le sue lodi! You, Iago, will sing her praises! Del ditirambo To this magic brink, Spavaldo e strambo Bold and strange, Jago (piano a Roderigo) Iago (softly to Roderigo) Beva con me! Drink with me. Lo ascolta. Listen to him. Roderigo e Coro Roderigo and Chorus Chi all’esca ha morso, etc. He who has succumbed, etc. (forte a Cassio) (aloud to Cassio) … beve, beve con te, etc. … drink, drink with me, etc. Io non sono che un critico. I am nothing but a critic. Jago (piano a Roderigo indicando Cassio) Iago (softly to Roderigo, pointing at Cassio) Cassio Cassio Un altro sorso e brillo egli è. Another sip and he’s drunk. Ed ella d’ogni lode è più bella. And she is more beautiful than any praise. Roderigo (a Jago) Roderigo (to Iago) Jago (come sopra, a Roderigo, a parte) Iago (as before, to Roderigo, aside) Un altro sorso e brillo egli è. Another sip and he’s drunk. Ti guarda da quel Cassio. Beware of that Cassio. Jago (ad alta voce) Iago (aloud) Roderigo Roderigo Il mondo palpita quand’io son brillo! The world spins when I am drunk! Che temi? What do you fear? Sfido l’ironico Nume e il destin! I defy Fate and its destiny!

Jago (ancora a piano a Roderigo; sempre più Iago (again quietly to Roderigo; becoming more Cassio (bevendo ancora) Cassio (drinking again) incalzante) and more insistent) Come un armonico liuto oscillo; I sway like a tuned lute; Ei favella già con troppo bollor, He speaks already with too much ardour, La gioia scalpita sul mio cammin! Joy waits impatiently on my path! La gagliarda giovinezza lo sprona, His bold youth spurs him on, è un astuto seduttor che Your path is blocked Jago (come sopra) Iago (as above) T’ingombra il cammino. By a clever seducer. Chi all’esca ha morso, etc. He who has succumbed, etc. Bada … Watch out … Roderigo e Coro Roderigo and Chorus Roderigo Roderigo Chi all’esca ha morso, etc. He who has succumbed, etc. Ebben? Yes? Jago (a Roderigo) Iago (to Roderigo) Jago Iago Un altro sorso e brillo egli è! Another sip and he’s drunk. S’ei inebria è perduto! If he becomes drunk, he is lost! Fallo ber. Make him drink. Roderigo (a Jago) Roderigo (to Iago) Un altro sorso e brillo egli è! Another sip and he’s drunk. (ai tavernieri) (to the servers) Qua, ragazzi, del vino! Here, boys, some wine! Jago (a tutti) Iago (aloud) Fuggan dal vivido nappo i codardi … He who flees from the glowing cup … Jago riempie tre bicchieri: uno per sè, uno per Iago fills three glasses: one for himself, one for Roderigo, uno per Cassio. I tavernieri circolano Roderigo, and one for Cassio. The waiters move Cassio (interrompendo; alzando il bicchiere, Cassio (interrupting him; lifting his glass, with colle anfore. about with pitchers. al colmo dell’esaltazione) extreme excitement) In fondo all’anima ciascun mi guardi! … Let each man look into the depths of my soul! … Jago (a Cassio, col bicchiere in mano: la folla gli Iago (to Cassio, glass in hand; the crowd gathers si avvicina e lo guarda curiosamente) around and watches him with curiosity) Beve. He drinks. 6 Inaffia l’ugola! Trinca, tracanna! 6 Wet your gullet! Drink up, gulp it down! Prima che svampino canto e bicchier. Before song and glass disappear. Jago (interrompendo) Iago (interrupting him) … Che in cor nascondono frodi. … His heart conceals deadly secrets.

17 Cassio Cassio Jago (a Roderigo, in disparte mentre gli altri Iago (aside to Roderigo, whilst the others laugh Non temo, non temo il ver … I’ve nothing to hide … ridono de Cassio) at Cassio) Pensa che puoi cosi del lieto Otello Think that thus you can disturb happy Jago Iago Turbar la prima vigilia d’amore! Othello’s first night of love! Chi all’esca ha mor … He who has succumbed … Roderigo (risoluto) Roderigo (resolutely) Cassio (barcollando) Cassio (tottering) Ed è ciò che mi spinge. And that is what drives me on. Non temo il ver … I don’t fear the truth … Cassio Cassio Jago Iago … S’impor … s’impor … s’imporporino … … Are wink … are wink … are winking … Del ditiramb … To this brink … Roderigo e Coro Roderigo and Chorus Cassio Cassio Ah! Ah ah! Ah ah! Ha! Ha ha! Ha ha! Non temo il ver … I’ve nothing to hide … Tutti All Jago Iago Bevi, bevi con me, bevi con me. Drink, drink with me, drink with me. Bevi con me … Drink with me … Tutti bevono. They all drink. Cassio Cassio Non temo il ver … I don’t fear the truth … Montàno (venendo dal Castello, e rivolgendosi Montano (entering and addressing Cassio) a Cassio) Jago Iago 7 Capitano, v’attende la fazione ai baluardi. 7 Captain, the guard awaits you on the ramparts. Bevi con me … Drink with me … Cassio (barcollando) Cassio (tottering) Cassio Cassio Andiamo! Let’s go! Non temo il ver … e bevo … I’ve nothing to fear … whilst drinking … Montàno Montano Tutti (la metà del Coro; ridendo) All (half of the Chorus; laughing) Che vedo? What do I see? Ah! ah! Ha! Ha! Jago (a Montàno) Iago (to Montano) Cassio (vorrebbe ripetere il primo motivo, ma Cassio (tries to repeat the first theme, but he Ogni notte in tal guisa Cassio preludia al sonno. Every night Cassio prepares for sleep in this fashion. non si sovviene) cannot remember it) Del calice … The glass … Montàno (a Jago) Montano Otello il sappia. Othello must know this. Jago (a Roderigo) Iago (aside to Roderigo) Egli è briaco fradicio. He’s blind drunk. Cassio Cassio Ti scuoti, Bestir yourself, Andiamo ai baluardi. Let’s go to the ramparts. Lo trascina a contesa; Draw him into an argument; È pronto all’ira … He is quick to anger … Roderigo e Coro Roderigo and Chorus Ah, ah! Ah, ah! Ha! Ha! Ha! Ha! Cassio Cassio Del calice … gl’orli … The glass … is overflowing … Cassio Cassio Chi ride? Who’s laughing? Tutti (gli altri ridono di Cassio) All (they laugh at Cassio) Ah ah! Ah ah! Ha ha! Ha ha! Roderigo (provocandolo) Roderigo (provoking him) Rido d’un ebro … I’m laughing at a drunkard … Jago Iago T’offenderà … ne seguirà tumulto! He will insult you … a brawl will follow! Cassio (scagliandosi contro Roderigo) Cassio (hurling himself at Roderigo) Bada alle tue spalle! Furfante! Watch your back! Scoundrel! Cassio (ripiglia, ma con voce soffocata) Cassio (resumes, but with a choked voice) Del calice … gl’orli … The glass … the bubbles …

18 Roderigo (difendendosi) Roderigo (defending himself) Donne (fuggendo) Women (fleeing) Briaco ribaldo! Drunken knave! S’uccidono! They’re killing each other!

Cassio Cassio Uomini (ai combattenti) Men (to the two fighters) Marrano! Nessun più ti salva! Rogue! No one can save you now! Pace! Peace!

Montàno (separandoli a forza e dirigendosi Montano (forcing them apart and speaking Jago (agli astanti) Iago (to the bystanders) a Cassio) to Cassio) Nessun più raffrena quel nembo pugnace! No one can now restrain that fighting tempest! Frenate la mano, Signor, ve ne prego. Restrain your hand, Sir, I beseech you. Si gridi l’allarme! Satana li invade!! Give the alarm! Satan possesses them!!

Cassio (a Montàno) Cassio (to Montano) Continua il combattimento. Donne fuggendo ed They continue to fight. The women and others Ti spacco il cerèbro se qui t’interponi. I’ll split your skull if you interfere here. altre entro le scene. flee the scene.

Montàno Montano Voci (in scena e dentro) Voices (on-stage and off-stage) Parole d’un ebro … The words of a drunkard … All’armi!! All’armi!! Soccorso!! Soccorso!! To arms!! To arms!! Help!! Help!!

Cassio Cassio Campane a stormo. Bells sound the alarm. D’un ebro?! A drunkard?! Tutti All Cassio sguainando la spada. Montàno s’arma Cassio draws his sword. Montano also takes arms. Soccorso! Help! anch’esso. Assalto furibondo. La folla si ritrae. A furious fight ensues. The crowd draws back.

Jago (a parte a Roderigo, rapidamente) Iago (aside to Roderigo, quickly) SCENA II SCENE II 8 Va al porto, con quanta più possa 8 Go to the port, shouting with all the strength Ti resta, gridando: sommossa! sommossa! You have left: rebellion! rebellion! Otello seguito da genti con fiaccole. Othello enters followed by men bearing torches. Va! spargi il tumulto, l’orror; Go! Spread disorder, horror; Le campane risuonino a stormo. Let the bells ring the alarm. Otello Othello Abbasso le spade! Lower your swords! Roderigo esce correndo. Jago si rivolge Roderigo runs out. Iago turns rapidly to the two rapidamente ai due combattenti. men who are fighting. I combattenti s’arrestano. Montàno s’appoggia The men stop fighting. Montano leans on a a un soldato. Le nubi si diradano a poco a poco. soldier. The clouds slowly disperse. Jago Iago Fratelli! l’immane conflitto cessate! Brothers! Stop this monstrous fight! Olà! Che avvien? What’s this?! What’s happening? Son io fra i Saraceni? Am I among the Saracens? Molte Donne del Coro (fuggendo) Women of the Chorus (fleeing) O la turchesa rabbia è in voi trasfusa Or has Turkish fury filled you, Fuggiam! Let’s flee! Da sbranarvi l’un l’altro? So that you tear each other to pieces? Onesto Jago, per quell’amor che tu mi porti, parla. Honest Iago, by the love that you bear me, speak. Jago Iago Ciel! già gronda di sangue Montàno! Heaven! Montano is already drenched in blood! Jago Iago Tenzon furibonda! Oh, murderous fight! Non so … qui tutti eran cortesi amici, I don’t know … here all were courteous friends, Dianzi, e giocondi … ma ad un tratto, come Before, and merry … but suddenly, as if Altre Donne Other Women Se un pianeta maligno avesse a quelli An evil planet had bewitched the minds Fuggiam! Let’s flee! Smagato il senno, sguainando l’arme Of those two, drawing their weapons S’avventano furenti … avess’ io prima They hurled themselves on each other furiously … Jago Iago Stroncati i piè che qui m’addusser! Would I had chopped off the feet that brought Tregua! A truce! me here!

Tutti All Otello Othello Tregua! A truce! Cassio, come obliasti te stesso a tal segno? Cassio, how did you so far forget yourself?

19 Cassio Cassio Già il mio cor fremebondo Now my furious heart Grazia … perdon … parlar non so … Mercy … forgive me … I cannot speak … S’ammansa in quest’amplesso e si rinsensa. Is appeased in this embrace and grows calm. Tuoni la guerra e s’inabissi il mondo Let war thunder and the world be engulfed Otello Othello Se dopo l’ira immensa If after such immense wrath Montàno … Montano … Vien quest’immenso amor! Comes this immense love!

Montàno (sostenuto da un soldato) Montano (supported by a soldier) Desdemona Desdemona Son ferito … I am wounded … Mio superbo guerrier! My superb warrior! Quanti tormenti, How many torments, Otello Othello Quanti mesti sospiri e How many sad sighs, Ferito! … pel cielo Wounded! … By heaven Quanta speme And how much hope Già il sangue mio ribolle. Ah! My blood is already boiling. Ah! Ci condusse ai soavi abbracciamenti! Led us to these tender embraces! L’ira volge l’angelo nostro tutelare in fuga! Anger puts our guardian angel to flight! Oh! com’è dolce il mormorare insieme: Ah! How sweet it is to murmur together: Entra Desdemona. Otello accorre ad essa. Desdemona enters. Otello hurries to her. Te ne rammenti! Do you remember! Quando narravi l’esule tua vita When you told of your life in exile Otello Othello E i fieri eventi e i lunghi tuoi dolor, The fierce events and your long sorrows, Che? La mia dolce Desdemona anch’essa What? My sweet Desdemona also Ed io t’udia coll’anima rapita And I listened to you with my soul enthralled Per voi distolta da’ suoi sogni? Roused from her dreams on your account? In quei spaventi e coll’estasi in cor. In those fears and with ecstasy in my heart. Cassio, non sei più capitano. Cassio, you are no longer captain. Otello Othello Cassio lascia cadere la spada che è raccolta da Jago. Cassio drops his sword, which is picked up by Iago. Pingea dell’armi il fremito, la pugna I described the clang of arms, the fighting, E il vol gagliardo alla breccia mortal, And the bold rush into the mortal breach, Jago (porgendo la spada di Cassio ad un soldato; Iago (handing Cassio’s sword to an officer; L’assalto, orribil edera, coll’ugna The attack, hanging like horrible ivy on a se stesso) to himself) Al baluardo e il sibilante stral. The rampart by our nails, while arrows whistled past. Oh, mio trionfo! Oh, my triumph! Desdemona Desdemona Otello Othello Poi mi guidavi ai fulgidi deserti, Then you led me to the shining deserts, Jago, tu va nella città sgomenta Iago, go into the frightened city All’arse arene, al tuo materno suol; The burning sands, your native land; Con quella squadra a ricompor la pace. With that squad of soldiers and restore peace. Narravi allor gli spasimi sofferti Then you told me of the sufferings undergone, E le catene e dello schiavo il duol. The chains and the slave’s sorrow. Jago esce. Iago goes out. Otello Othello Si soccorra Montàno. Assist Montano. Ingentilìa di lagrime la storia Your lovely face ennobled the story Il tuo bel viso e il labbro di sospir; With tears and your lips with sighs; Montàno è accompagnato nel Castello. Montano is taken into the castle. Scendean sulle mie tenebre la gloria, On my darkness descended glory, Il paradiso e gli astri a benedir. Paradise, and the stars to give their blessing. Al proprio tetto ritorni ognun. Let everyone return to his own home. Desdemona Desdemona (a tutti con gesto imperioso) (to all, with an authoritative gesture) Ed io vedea fra le tue tempie oscure And at your dark temples I saw Io da qui non mi parto I will not leave here Splender del genio l’eterea beltà. The ethereal beauty of genius shine. Se pria non vedo deserti gli spaldi. Until I see the ramparts deserted. Otello Othello La scena si vuota. Otello fa cenno agli uomini The stage empties. Othello motions to the E tu m’amavi per le mie sventure And you loved me for my misfortunes colle fiaccole che lo accompagnavano di rientrare torch-bearers to go back into the castle. Ed io t’amavo per la tua pietà. And I loved you for your pity. nel Castello. Restano soli Otello e Desdemona. Only Othello and Desdemona remain. Desdemona Desdemona Ed io t’amavo per le tue sventure And I loved you for your misfortunes SCENA III SCENE III E tu m’amavi per la mia pietà. And you loved me for my pity.

Otello Othello Otello Othello 9 Già nella notte densa s’estingue ogni clamor. 9 Now in the dense night every noise is silenced. E tu m’amavi … And you loved me …

20 Desdemona Desdemona Desdemona Desdemona E tu m’amavi … And you loved me … Otello! Othello!

Otello Othello S’avviano abbracciati verso il castello. Embracing, they go toward the castle. Ed io t’amavo … And I loved you … Fine dell’Atto primo. End of Act One. Otello e Desdemona Othello and Desdemona … Per la tua / mia pietà. … For your / my pity.

Otello Othello Venga la morte! e mi colga nell’estasi Let death come! Let it take me in the ecstasy ATTO SECONDO ACT TWO Di quest’amplesso Of this embrace, Il momento supremo! The supreme moment! Una sala terrena nel Castello. Una invetriata la A room on the ground floor of the castle. Through divide da un grande giardino. Un verone. a window a large garden is seen. A balcony. Il cielo si sarà tutto rasserenato: si vedranno The sky has become completely serene: some alcune stelle e sul lembo dell’orizzonte il stars can be seen, and at one side of the riflesso ceruleo della nascente luna. horizon the azure reaction of the rising moon. SCENA I SCENE I

Tale è il gaudio dell’anima che temo, Such is the joy of my soul that I am afraid, Jago (al di qua del verone, a Cassio) Iago (to Cassio, from this side of the balcony) Temo che piu non mi sara concesso I am afraid that I will not again be granted 10 Non ti crucciar. Se credi a me, tra poco 10 Don’t torment yourself. If you believe me, soon Quest’attimo divino This divine moment Farai ritorno ai folleggianti amori You will return to the frivolous loves Nell’ignoto avvenir del mio destino. In the unknown future of my destiny. Di Monna Bianca, altiero capitano, Of Monna Bianca, a proud captain, Coll’elsa d’oro e col balteo fregiato. With a gold hilt and embroidered belt. Desdemona Desdemona Disperda il ciel gli affanni Let heaven dispel all sorrows Cassio (al di là del verone) Cassio (from the other side of the balcony) E amor non muti col mutar degli anni. And may love not change as the years change. Non lusingarmi … Don’t flatter me …

Otello Othello Jago Iago A questa tua preghiera To this prayer of yours Attendi a ciò ch’io dico. Listen to what I say to you. Amen risponda la celeste schiera. May the heavenly host answer “Amen.” Tu dêi saper che Desdemona è il Duce You must know that Desdemona is the commander Del nostro Duce, sol per essa ei vive. Of our Commander, he lives only for her. Desdemona Desdemona Pregala tu, quell’anima cortese Beseech her, that kindly soul Amen risponda. May it answer “Amen.” Per te interceda e il tuo perdono è certo. To intercede for you and your pardon is assured.

Otello (appoggiandosi ad un rialzo degli spaldi) Othello (leaning against a step of the ramparts) Cassio Cassio Ah! la gioia m’innonda Ah! Joy engulfs me Ma come favellarle? But how can I speak with her? Si fieramente … che ansante mi giacio. So fiercely … that I lie breathless. Un bacio … A kiss … Jago Iago È suo costume It is her habit Desdemona Desdemona Girsene a meriggiar fra quelle fronde To stroll among those trees at noontime Otello! Othello! Colla consorte mia. Quivi l’aspetta. With my wife. Await her here. Or t’è aperta la via di salvazione. Vanne. Now the way to salvation is open to you. Go. Otello (alzandosi e mirando il cielo) Othello (rising and looking at the starry sky) Un bacio … ancora un bacio. A kiss … another kiss. Cassio s’allontana. Cassio leaves. Già la pleiade ardente al mar discende. The glowing Pleiades already descend to the sea.

Desdemona Desdemona SCENA II SCENE II Tarda è la notte. It is late. Jago (seguendo coll’occhio Cassio) Iago (following Cassio with his eye) Otello Othello Vanne; la tua meta già vedo. Go; I see your destination already. Vien … Venere splende. Come … Venus is shining. Ti spinge il tuo dimone, Your demon drives you,

21 E il tuo dimon son io. And I am your demon. Già conversano insieme … ed essa inclina, They are already talking together … and she inclines E me trascina il mio, nel quale io credo, Mine drives me, and I believe in it, Sorridendo, il bel viso. Her beautiful face, smiling. Inesorato Iddio. An inexorable God. Mi basta un lampo sol di quel sorriso I need only one flash of that smile Per trascinare Otello alla ruina. To drag Othello to his ruin. (allontanandosi dal verone senza più (moving away from the balcony without looking Andiam … Let us go … guardar Cassio che sarà scomparso fra any longer in the direction of Cassio, who has gli alberi) disappeared among the trees) Fa per avviarsi rapdio all’uscio del lato destro, He starts to go quickly toward the door at the 11 Credo in un Dio crudel che m’ha creato 11 I believe in a cruel God who created me ma s’arresta subitamente. right, but suddenly stops. Simile a sè e che nell’ira io nomo. Similar to Himself, and whom I name in my wrath. Dalla viltà d’un germe o d’un atòmo From the baseness of a germ or an atom, … Ma il caso in mio favor s’adopra. … But chance is working in my favour. Vile son nato. Basely I was born. Eccolo … al posto, all’opra. There he is … to my position, to work. Son scellerato perchè son uomo; I am wicked because I am a man; E sento il fango originario in me. And I feel the mud of my origin in me. Si colloca immoto al verone di sinistra, He takes his place, motionless, on the balcony, Si! questa è la mia fè! Yes! This is my creed! guardando fissamente verso il giardino, staring toward the garden, where Cassio and Credo con fermo cuor, siccome crede I believe with a firm heart, just as dovestanno Cassio e Desdemona. Desdemona are. La vedovella al tempio, The little widow in church believes, Che il mal ch’io penso e che da me procede, That the evil I think, the evil that comes from me, Per il mio destino adempio. Is wrought by my destiny. SCENA III SCENE III Credo che il guisto è un istrion beffardo, I believe the honest man is a mocking actor E nel viso e nel cuor, In his face and in his heart, Jago (simulando di non aver visto Otello il quale Iago (pretending that he hasn’t seen Othello Che tutto è in lui bugiardo: That everything in him is falsehood: glì sarà avvicinato fingendo di parlare fra sè) approaching, and appearing to talk to himself) Lagrima, bacio, sguardo, His tears, kiss, gaze, 12 Ciò m’accora … 12 That distresses me … Sacrificio ed onor. Sacrifice, and honour. E credo l’uom gioco d’iniqua sorte And I believe that man is the plaything of unjust fate Otello Othello Dal germe della culla From the germ of the cradle Che parli? What are you saying? Al verme dell’avel. To the worm of the grave. Vien dopo tanta irrision la Morte. After so much derision comes Death. Jago Iago E poi? E poi? La Morte è’il Nulla. And then? And then? Death is Nothingness Nulla … voi qui? Nothing … you here? È vecchia fola il Ciel. And heaven an old wives’ tale. Una vana voce m’uscì dal labbro … An idle word escaped my lips …

Si vede passare nel giardino Desdemona con Desdemona is seen passing through the garden Otello Othello Emilia. Jago si slancia ad verone, al di là del with Emilia. Iago dashes to the balcony, beyond Colui che s’allontana That man going away from quale si sarà appostato Cassio. which Cassio has taken his stand. Dalla mia sposa, è Cassio? My wife, is it Cassio?

Jago (a Cassio) Iago (to Cassio) E l’uno e l’altro si staccano dai verone. The two of them move from the balcony. Eccola … Cassio … a te … There she is … Cassio … it’s up to you … Questo è il momento. This is the moment. Jago Iago Ti scuoti … vien Desdemona. Bestir yourself … Desdemona’s coming. Cassio? No … quei si scosse Cassio? No … that man started Come un reo nel vedervi. As if guilty, on seeing you. Cassio va verso Desdemona, la saluta, Cassio goes toward Desdemona, greets her, le s’accosta. walks beside her. Otello Othello Credo che Cassio ei fosse. I believe it was Cassio. S’è mosso; la saluta He has moved; he’s greeted her E s’avvicina. And is approaching her. Jago (dolce) Iago (softly) Or qui si tragga Otello! … aiuta, aiuta Now let Othello be drawn here! … help, help Mio signore … My Lord … Sàtana il mio cimento! Satan, help my cause! … Otello Othello Sempre al verone, osservando, ma un poco Still on the balcony, observing, but keeping his Che brami? What do you want? discosto, si vedono ripassare nel giardino distance, he watches Cassio and Desdemona Cassio e Desdemona. cross the garden once more.

22 Jago Iago Otello Othello Cassio, nei primi dì del vostro amor, In the first days of your love, Dunque senza velami Then without veils and without Desdemona non conosceva? Didn’t Cassio know Desdemona? T’esprimi, e senza ambagi. Ambiguous words express yourself. T’esca fuor dalla gola Let your worst thought Otello Othello Il tuo piì rio pensiero colla più ria parola. Come from your throat with the worst words! Sì. Perchè fai tale inchiesta? Yes. Why do you ask such a question? Jago Iago Jago Iago S’anco teneste in mano tutta l’anima mia Even if you held my whole soul in your hand Il mio pensiero è vago d’ubbie, non di malizia. My thought is vague, a whim, with no malice. Nol sapreste. You would not know it.

Otello Othello Otello Othello Di’ il tuo pensiero, Jago. Speak your thought, Iago. Ah! Ah!

Jago Iago Jago (avvicinandosi molto ad Otello e sottovoce) Iago (coming very close to Othello and whispering) Vi confidaste a Cassio? You confided in Cassio? Temete, signor, la gelosia! Fear jealousy, my Lord! È un’idra fosca, livida, cieca, It is a dark, leaden, blind hydra Otello Othello Col suo veleno sè stessa attosca, That poisons itself with its own venom, Spesso un mio dono o un cenno portava alla Often he carried a gift or a word from me to Vivida piaga le squarcia il seno. Tearing an open wound in its breast. mia sposa. my wife. Otello Othello Jago Iago Miseria mia! No! O misery!! No! Dassenno? Really? Il vano sospettar nulla giova. Vain suspicions are no help. Pria del dubbio l’indagine, Before doubt, inquiry. Otello (calmo) Othello (calmly) Dopo il dubbio la prova, After doubt, the proof. Si, dassenno. Yes, really. Dopo la prova, After the proof, Nol credi onesto? Don’t you believe him honest? (a se stesso) (to himself) Jago (imitando Otello) Iago (imitating Othello) Otello ha sue leggi supreme, Othello turns thoughts to actions, Onesto? Honest? (a voce alta) (aloud) Otello Othello Amore e gelosia vadan dispersi insieme! Let love and jealousy be dispelled together! Che ascondi nel tuo core? What are you hiding in your heart? Jago (con piglio più ardito) Iago (with a bolder mien) Jago Iago 13 Un tal proposto spezza di mie labbra il suggello. 13 Such a proposal breaks the seal on my lips. Che asondo in cor, signore? What am I hiding in my heart, my Lord? Non parlo ancor di prova, pur, generoso Otello, I do not yet speak of proof; still, generous Othello, Vigilate … soventi le oneste e ben create Keep watch; often honest and well-disposed Otello Othello Coscienze non vedono la frode: vigilate. Minds do not see deceit: keep watch. “Che ascondo in cor, signore?” “What am I hiding in my heart, my Lord?” Scrutate le parole di Desdemona, un detto Examine Desdemona’s words; a remark Pel cielo ! tu sei l’eco dei detti miei, By heaven! You are the echo of my words; Può ricondur la fede, può affermare il sospetto. Can restore trust or confirm suspicion. Nel chiostro dell’anima ricetti qualche In the cloister of your soul you harbour some terribil mostro. terrible monster. Coro (nel giardino) Chorus (in the garden) Sì, ben t’udii poc’anzi mormorar: Yes, I clearly heard you murmur just now: Dove guardi splendono raggi, At your glances a flame in our hearts “Ciò m’accora.” “that distresses me”. Avvampan cuori, Leaps up to meet you, Ma di che t’accoravi? But what distressed you? Dove passi scendono Round your footsteps carpets of flow’rs Nomini Cassio e allora tu corrughi la fronte. You mention Cassio and then you frown. Nuvole di fiori. Spring up to greet you. Suvvia, parla, se m’ami. Come, if you love me, speak. Qui fra gigli e rose, Here amid rose and lily, Come a un casto altare, As at sacred altars Jago Iago Padri, bimbi, spose Fathers, children, maidens Voi sapete ch’io v’amo. You know that I love you. Vengono a cantar. Join to sing your praise.

23 Jago Iago Desdemona Desdemona Eccola; vigilate … There she is; keep watch … Splende il cielo, danza l’aura, The sky is bright, the air dances, Olezza il fior. The flowers are perfumed. Si vede ricomparire Desdemona nel giardino, Desdemona is seen again in the garden, through Gioia, amor, speranza cantan mio cor. Joy, love, and hope sing in my heart. dalla vasta apertura del fondo: è circondata the broad open window at the back: she is da Donne, da Fanciulli, da Marinai Cipriotti e surrounded by Women, Children, Cypriots and Coro Chorus Albanesi che si avanzano e le offrono fiori ed Sailors, who come forward and offer her flowers Vivi felice! Addio. Qui regna Amore. May you live happily! Goodbye. Here Love reigns. altri doni. Alcuni s’accompagnano, cantando, and other presents. Some sing, accompanying sulla Guzla, altri su delle piccole arpe. themselves on the guzla, others on little harps. Durante il Coro, Otello osserva con Jago. During the chorus, Othello looks on with Iago.

Fanciulli (spargendo al suolo fiori di giglio) Children (scattering lilies on the ground) Otello (soavemente commosso) Othello (softly moved) T’offriamo il giglio soave stel We offer you the lily, the tender stalk Quel canto mi conquide. That song overcomes me. Che in man degl’ angeli fu assunto in ciel, That in the angels’ hands was borne up to heaven, No, no, s’ella m’inganna, No, no, if she is betraying me, Che abbella il fulgido manto That bedecks the gleaming mantle Il ciel sè stesso irride! Heaven is mocking itself! E la gonna della Madonna And the gown of the Madonna E il santo vel. And her holy veil. Jago (aparte) Iago (aside) Beltà ed amor in dolce inno concordi! Beauty and love united in sweet song! Donne e Marinai Women and Sailors I vostri infrangerò soavi accordi. I will interrupt your tender chords. Mentre all’ aura vola As the happy song Lieta la canzon, Is wafted on the air, Finito il coro, Desdemona bacia la testa d’alcuni When the chorus is over, Desdemona kisses the L’agile mandòla The agile mandolin tra fanciulli, e alcune donne le baciano il limbo heads of some of the children, and some of the Ne accompagna il suon. Accompanies its sound. della veste, ed essa porge una borsa ai marinai. women kiss the hem of her dress; she hands Il Coro s’allontana: Desdemona, seguìta poi da a purse to the sailors. The chorus goes away: Marinai (offrendo a Desdemona dei monili di Sailors (offering pearl and coral jewels to Emilia entra nella sala e s’avanza verso Otello. Desdemona, followed by Emilia, enters into corallo e di perle) Desdemona) the room and goes toward Othello. A te le porpore, le perle e gli ostri, For you the purple conches, the pearls and the coral, Nella voragine còlti del mar. Gathered in the abyss of the sea. Vogliam Desdemona coi doni nostri We wish to adorn Desdemona with our gifts SCENA IV SCENE IV Come un’immagine sacra adornar. Like a holy image. Desdemona (a Otello) Desdemona (to Othello) Donne e Fanciulli Women and Children 14 D’un uom che geme sotto il tuo disdegno 14 I bring you the plea of a man Mentre all’ aura vola As the happy song la preghiera ti porto. Who is suffering at your displeasure. Lieta la canzon, Is wafted on the air L’agile mandòla The agile mandolin Otello Othello Ne accompagna il suon. Accompanies its sound. Chi è costui? Who is he?

Le Donne (spargendo fronde e fiori) Women (scattering branches and flowers) Desdemona Desdemona A te la florida messe dai grembi For you we scatter from our laps in clouds, in Cassio. Cassio. Spargiam al suolo, a nembi, a nembi. clouds the harvest of flowers to the ground. L’april circonda la sposa bionda April surrounds the blond bride Otello Othello D’un etra rorida che vibra al sol. With dewy air that shimmers in the sun. Era lui che ti parlava sotto quelle fronde? Was it he who spoke to you under those trees?

Fanciulli e Marinai Children and Sailors Desdemona Desdemona Mentre all’ aura vola, etc. As the happy song, etc. Lui stesso, e il suo dolor che in me s’infonde He himself, and his grief, which I feel, Tanto è verace che di grazia è degno. Is so real that it merits forgiveness. Tutti All Intercedo per lui, per lui ti prego. I intercede for him. I beg you, on his behalf. Dove guardi splendono raggi, etc. At your glances a flame in our hearts, etc. Tu gli perdona. Forgive him.

Otello Othello Non ora. Not now.

24 Desdemona Desdemona Emilia (sottovoce a Jago) Emilia (to Iago in a low voice) Non oppormi il tuo diniego. Don’t deny me. Qual frode scorgi? What deceit are you planning? Gli perdona. Forgive him. Ti leggo in volto. I can read your face.

Otello Othello Otello (a parte) Othello (aside) Non ora. Not now. … Forse perchè discendo … Perhaps because I am declining Nella valle degli anni. Into the valley of my years. Desdemona Desdemona Forse perchè ho sul viso Perhaps because on my face Perché torbida suona la voce tua? Why does your voice sound shaken? Quest’atro tenebror. There is this darkness. Qual pena t’addolora? What grief saddens you? Forse perchè gl’inganni d’arguto Perhaps because I do not understand Amor non tendo. The deceits of sly love. Otello Othello Forse perchè discendo, etc. Perhaps because I am declining, etc. M’ardon le tempie. My temples burn. Jago Iago Desdemona (spiegando il suo fazzoletto come Desdemona (unfolding her handkerchief, as if T’opponi a vôto You oppose me in vain per fasciare la fronte d’Otello) to bandage Othello’s forehead) Quand’io commando. When I command. Quell’ardor molesto That troublesome burning Svanirà, se con questo Will disappear if my hand Emilia Emilia Morbido lino la mia man ti fascia. Bandages you with this soft linen. Il tuo nefando livor m’è noto. I know your unspeakable rancor.

Otello (getta il fazzoletto a terra) Othello (throwing the handkerchief on the ground) Jago Iago Non ho d’uopo di ciò. I do not need that. Sospetto insano! Insane suspicion!

Desdemona Desdemona Emilia Emilia Tu sei crucciato, signor. You are worried, my Lord. Guardia fedel è questa mano. My hand is a loyal guard.

Otello (aspramente) Othello (harshly) Jago (afferra violentemente il braccio di Emilia) Iago (violently seizing Emilia’s arm) Mi lascia! Mi lascia! Leave me! Leave me! Dammi quel vel! Give me that handkerchief! Su te l’irosa mia man s’aggrava! My angry hand is poised over you! Emilia raccoglie il fazzoletto dal suolo. Emilia picks up the handkerchief from the ground. Emilia Emilia Desdemona Desdemona Son la tua sposa, non la tua schiava. I am your wife, not your slave. Se inconscia, contro te, sposo, ho peccato, If, unwittingly, I have offended you, my husband, 15 Dammi la dolce e lieta parola del perdono … 15 Give me your sweet and happy word of pardon … Jago Iago La schiava impura tu sei di Jago. You are the unchaste slave of Iago. Otello (a parte) Othello (aside) Forse perchè gl’inganni Perhaps because I do not understand Emilia Emilia D’arguto amor non tendo … The deceits of sly love … Ho il cor presago d’una sventura. My heart has a presentiment of misfortune.

Desdemona Desdemona Jago Iago … La tua fanciulla io sono … I am your maiden Nè mi paventi? Do you not fear me? Umile e mansueta; Humble and obedient; Ma il labbro tuo sospira, But your lip sighs, Emilia Emilia Hai l’occhio fiso al suol. Your eyes are on the ground. Uomo crudel! Cruel man! Guardami in volto e mira Look into my face and see Come favella amor. How love speaks. Jago Iago Vien ch’io t’allieti il core, Come, let me gladden your heart, A me … Give it to me … Ch’io ti lenisca il duol. Let me ease your suffering. Emilia Emilia Jago (a Emilia sottovoce) Iago (to Emilia in a low voice) Che tenti? What are you attempting? Quel vel mi porgi ch’or hai raccolto. Give me that handkerchief you just picked up.

25 Jago Iago Tramerò la prova del peccato d’amor. I will weave the proof of sinful love. A me quel vel! Give me that handkerchief! Nella dimora di Cassio ciò s’asconda. It shall be hidden in Cassio’s house.

Emilia Emilia Otello Othello Uomo crudel! Cruel man! Atroce idea! Horrible idea!

Con un colpo di mano Jago ha carpito il With a sudden movement, Iago seizes the Jago (fra sè, fissando Otello) Iago (to himself, gazing at Othello) fazzoletto ad Emilia. handkerchief from Emilia. Il mio velen lavora. My poison is working.

Desdemona Desdemona Otello Othello Guardami in volto e mira Look into my face and see Rea contro me! contro me! False to me! Against me!!! Come favella amor. How love speaks. Jago (cupo) Iago (darkly) Otello Othello Soffri e ruggi! Suffer and roar! Ella è perduta e irriso She is lost and I am Io sono e il core m’infrango Mocked and my heart breaks Otello Othello E ruinar nel fango And, ruined in the mire, Atroce! atroce! Horrible! Horrible! Vedo il mio sogno d’or. I see my golden dream. Ella è perduta e irriso, etc. She is lost and I am, etc. Jago (dopo essersi portato accanto ad Iago (good-humouredly, having moved to Otello, bonariamente) Otello’s side) Jago (e se stesso) Iago (to himself) Non pensateci più. Think no more about it. Già la mia brama conquido, I am already achieving my desire, Ed ora su questa trama Jago lavora! And now Iago is at work on this plot! Otello (balzando) Othello (springing up) Tu? Indietro! fuggi! You? Stand back! Flee! Emilia (e se stessa) Emilia (to herself) M’hai legato alla croce! Ahimè! You have nailed me to the cross! Alas! Vinser gli artigli truci e codardi. His grim and cowardly claws overpowered me. Più orrendo d’ogni orrenda inguiria More horrible than any horrible injury Dio dai perigli sempre ci guardi. God guard us always from dangers. Dell’ ingiuria è il sospetto. Is the injury of suspicion. Nell’ ore arcane della suà lussuria In the secret hours of her lust Desdemona Desdemona (E a me furate!) m’agitava il petto (And stolen from me!) did any presentiment Dammi la dolce e lieta parola del perdon. Give me your sweet and happy word of pardon. Forse un presagio ? Ero baldo, giulivo. Perhaps stir in my breast? I was confident, joyful. Nulla sapevo ancor; io non sentivo I knew nothing yet; I didn’t feel Otello Othello Sul suo corpo divin che m’innamora On her divine body that makes me love her Escite! Solo vo’ restar. Leave! I want to be alone. E sui labbri mendaci And on her false lips Gli ardenti baci di Cassio! The ardent kisses of Cassio! Jago (sottovoce ad Emilia che sta per escire) Iago (in a low voice to Emilia, who is about to go) Ed ora! ed ora … And now! And now … Ti giova tacer. Intendi? It’s best for you to keep silent. Understand? 16 Ora e per sempre addio sante memorie, 16 Now and forever, farewell, sacred memories, Addio, sublimi incanti del pensier! Farewell sublime enchantments of my thought! Desdemona ed Emilia escono. Jago finge d’escire Desdemona and Emilia go out. Iago pretends Addio schiere fulgenti, addio vittorie, Farewell, gleaming troops, farewell victories, dalla porta del fondo, ma giuntovi s’arresta. to leave by the door at the back, but when he Dardi volanti e volanti corsier! Flying arrows and flying chargers! reaches it he stops. Addio, vessillo trionfale e pio, Farewell holy, triumphant banner, E diane squillanti in sul mattin! And trumpets blaring at early morning! Clamori e canti di battaglia, addio! Sounds and songs of battle, farewell! SCENA V SCENE V Della gloria d’Otello è questo il fin. This is the end of Othello’s glory.

Otello (accasciato, su d’un sedile) Othello (slumped in a chair) Jago Iago Desdemona rea! Desdemona guilty! Pace, signor. Peace, my Lord.

Jago (nel fondo guardando di nascosto Iago (at the back, covertly looking at the Otello Othello il fazzoletto, poi riponendolo con cura handkerchief, then carefully placing it in Sciagurato! mi trova una prova secura Wretch! Find me nel giustacuore) his doublet) Che Desdemona è impura … Certain proof that Desdemona is unchaste … Con questi fili With these threads Non sfuggir! non sfuggir ! nulla ti giova! Don’t flee! Don’t flee! Nothing avails you!

26 Vo’ una secura, una visibil prova! I want certain, visible proof! Con interrotte voci tradia With faltering words he betrayed O sulla tua testa Or else on your head L’intimo incanto. His inner enchantment. S’accenda e precipiti il fulmine Let the thunderbolt of my fearful, Le labbra lente, lente movea, His lips moved very slowly Del mio spaventoso furor che si desta! Wakening fury kindle and fall! Nell’ abbandono In the abandon Del sogno ardente, e allor dicea, Of his ardent dream; and then he said, Afferra Jago alla gola e lo atterrandolo. He seizes Iago by the throat and hurls him to Con flebil suono: In a faint tone: the ground. (sottovoce parlate) (speaking softly) Jago (rialzandosi) Iago (picking himself up) “Desdemona soave! “Sweet Desdemona! Divina grazia difendimi! Divine grace, defend me! Il nostro amor s’asconda. Let our love be kept hidden. Il cielo vi protegga. Heaven protect you. Cauti vegliamo! We must keep careful watch! Non son più vostro alfiere. I am your ensign no longer. L’estasi del ciel tutto m’innonda.” Heavenly ecstasy engulfs me wholly.” Voglio che il mondo testimon mi sia I want the world to be my witness Seguia più vago l’incubo blando; The tender nightmare continued more sweetly; Che l’onestà è periglio. That honesty is a danger. Con molle angoscia With soft anguish, L’interna imago quasi baciando, As if kissing the inner vision, Fa per andarsene. He starts to leave. (parlando) (speaking) Otello Othello Ei disse poscia: He then said: No … rimani. Forse onesto tu sei. No … stay. Perhaps you are honest. (sempre sottovoce) (still softly) Jago (sulla soglia fingendo d’andarsene) Iago (on the threshold, pretending to go) “Il rio destino impreco “I curse wicked fate, Meglio varebbe ch’io fossi un ciurmador. It would be better for me if I were a deceiver. che al Moro ti donò.” Which gave you to the Moor.” E allora il sogno Then the dream Otello Othello In cieco letargo si mutò. Turned into blind sleep. Per l’universo! By the universe! Credo leale Desdemona I believe Desdemona faithful, Otello Othello E credo che non lo sia. And I believe that she is not; Oh! mostuosa colpa! Oh! Monstrous guilt! Te credo onesto I believe you honest, E credo disleale … And I believe you disloyal … Jago Iago La prova io voglio! Voglio la certezza! I want the proof! I want certainty! Io non narrai che un sogno. I related only a dream.

Jago (ritornando verso Otello) Iago (coming back toward Othello) Otello Othello Signor, frenate l’ansie. My lord, restrain your anxiety. Un sogno che rivela un fatto. A dream that reveals an act. E qual certezza v’abbisogna? What certainty do you need? Avvinti verderli forse? To see them embracing perhaps? Jago Iago Un sogno che può dar forma di prova ad A dream that can make another clue Otello Othello altro indizio. become proof. Ah, morte e dannazione! Ah! Death and damnation! Otello Othello Jago Iago E qual? What clue? Ardua impresa sarebbe; e qual certezza That would be a difficult undertaking; and of Sognate voi se quell’ immondo fatto What certainty do you dream, if that foul act Jago Iago Sempre vi sfuggirà? Ma pur se guida Will always elude you? But if reason Talor vedeste in mano di Desdemona Have you seen sometimes in Desdemona’s hand è la ragione al vero, una si forte Be the guide to truth, I have such a strong un tessuto a handkerchief Congettura riserbo che per poco alla Conjecture that it leads almost Trapunto a fior e più sottil d’un velo? Embroidered with flowers and finer than gauze? Certezza vi conduce. Udite. To certainty. Listen. Otello Othello Avvicinandosi molto ad Otello e sottovoce. Coming very close to Othello and in a low voice. È il fazzoletto ch’io le diedi, It’s the handkerchief I gave her, Pegno primo d’amor. My first pledge of love. 17 Era la notte, Cassio dormia, 17 It was night, Cassio was sleeping, Gli stavo accanto. I was beside him.

27 Jago Iago ATTO TERZO ACT THREE Quel fazzoletto ieri (certo ne son) That handkerchief yesterday (I’m certain of it) 19 La gran sala del Castello. A destra un vasto 19 The great hall of the castle. To the right is a vast (cupo e lento) (slowly and darkly) peristilio a colonne. Questo peristilio è annesso courtyard with a colonnade. This courtyard is Lo vidi in man di Cassio. I saw in Cassio’s hand. ad una sala di minori proporzioni; nel fondo connected to a smaller room; at the back of the della sala un verone. hall is a balcony. Otello (con forza) Othello (forcefully) Ah! Mille vite gli donassse Iddio! Ah! If God gave him a thousand lives! Una è povera preda al furor mio! One of those lives is a poor prey to my rage!! SCENA I SCENE I Jago, ho il cor di gelo. Iago, my heart is frozen. Lungi da me le pietose larve! Far from me every form of pity! Araldo (dal peristilio, a Otello che sarà con Herald (from the colonade, to Othello and Iago Tutto il mio vano amor esalo al cielo, I breathe all my vain love to heaven; Jago nella sala) who are in the hall) Guardami, ei sparve. Look at me, it vanishes. 20 La vedetta del porto ha segnalato 20 The sentry at the harbour has sighted Nelle sue spire d’angue l’idra m’avvince! In its serpent’s coils the hydra grips me. La veneta galea che a Cipro adduce The Venetian galley that is bringing Ah! sangue! sangue! sangue! Ah! Blood! Blood! Blood! Gli ambasciatori. The ambassadors to Cyprus.

S’inginocchia. He kneels. Otello (all’araldo, fa cenno all’Araldo di allontanarsi) Othello (to the herald, motioning to him to go) Bene sta. Very well. (solenne) (solemnly) 18 Si, pel ciel marmoreo guiro! 18 Yes, I swear by the heaven of marble! L’araldo lascia. The herald leaves. Per le attorte folgori! By the forked lightning! Per la Morte e per l’oscuro mar sterminator! By Death and by the dark, murderous sea! (a Jago) (to Iago) D’ira e d’impeto tremendo presto fia With rage and terrible force Continua. Go on. Che sfolgori questa man Let this hand that I raise and extend Jago Iago (levando le mani al cielo) (raising his hands toward heaven) Qui trarrò Cassio e con astute inchieste I’ll bring Cassio here and with clever questions Ch’io levo e stendo! Soon blaze out! Lo adescherò a ciarlar. I’ll lure him to prattle. Fa per alzarsi, Jago lo trattiene inginocchiato. Otello starts to rise, but Iago keeps him on his knees. Indicando il vano del verone. Pointing to the door to the balcony. Jago (s’inginocchia anch’esso) Iago (kneeling with him) Non v’alzate ancor! Don’t rise yet! Voi là nascosto You, hidden there, Testimon è il Sol ch’io miro, My witness is the Sun that I see, Scrutate i modi suoi, le sue parole, Observe his manners, his words, Che m’irradia e inanima That shines on me and animates me, I lazzi, i gesti. Paziente siate His jokes and gestures. Be patient L’ampia terra e il vasto spiro The broad earth and the vast O la prova vi sfugge. Or the proof will elude you. Del Creato inter, Breath of all Creation, Ecco Desdemona. Here is Desdemona. Che ad Otello io sacro ardenti, That to Othello I consecrate my ardent Finger conviene … io vado. It’s best to pretend … I am going. Core, braccio ed anima Heart, arm and soul S’anco ad opere cruenti Even if his will S’allontana come per escire, poi s’arresta e si He moves away as if to leave, then stops and S’armi il suo voler! Arms itself for bloody tasks! riavvicina ad Otello. approaches Othello again.

Jago e Otello (alzando le mani al cielo come Iago and Othello (together, raising their arms Il fazzoletto … The handkerchief … chi guira) to heaven, as if swearing) Si, pel ciel marmoreo guiro! Yes, I swear by the heaven of marble! Otello Othello Per le attorte folgori! By the forked lightning! Va! volentieri obliato l’avrei. Go! I would happily have forgotten it. Per la Morte e per l’oscuro mar sterminator! By Death and by the dark, murderous sea! D’ira e d’impeto tremendo presto fia With rage and terrible force let this hand Jago esce. Iago leaves. Che sfolgori questa man ch’io levo e stendo! That I raise and extend soon blaze out. Dio vendicator! Avenging God!

Fine dell’Atto secondo. End of Act Two.

28 SCENA II SCENE II Desdemona Desdemona Mi fai paura! You frighten me! Otello e Desdemona dalla porta di sinistra. Othello and Desdemona from the door on the left. Otello Othello Desdemona (ancora presso alla soglia) Desdemona (still near the threshold) Che? l’hai perduto forse? What?! Have you lost it perhaps? Dio ti giocondi, o sposo dell’alma mia sovrano. God rest you merry, o husband, sovereign of my soul. Desdemona Desdemona Otello (andando incontro a Desdemona e Othello (going toward Desdemona and taking No. No. prendendole la mano) her hand) Grazie, madonna, datemi la vostra eburnea mano. Thank you, my Lady, give me your ivory hand. Otello Othello Caldo mador ne irrora la morbida beltà. Warm moisture bedews its soft beauty. Lo cerca. Look for it.

Desdemona Desdemona Desdemona Desdemona Essa ancor l’orme ignora del duolo e dell’età. It is still unaware of the stamp of grief and of age. Fra poco … lo cercherò … In a little while … I’ll look for it …

Otello Othello Otello Othello Eppur qui annida il demone gentil del And yet the courteous demon of ill counsel No, tosto! No, at once! mal consiglio, nests here, Che il vago avorio allumina del piccioletto artiglio. Illuminating the lovely ivory of this little claw. Desdemona Desdemona Mollemente alla prece s’atteggia Gently it assumes the attitude of prayer Tu di me ti fai gioco. You are teasing me. E al pio fervore … And of pious fervour … Storni cosi l’inchiesta di Cassio; This way you ward off the question of Cassio; Astuzia è questa del tuo pensier. This is the cleverness of your thinking. Desdemona Desdemona Eppur con questa mano io v’ho donato il core. And yet with this hand I gave you my heart. Otello Othello Ma riparlar vi debbo di Cassio. But I must speak to you again of Cassio. Pel cielo! l’anima mia si desta! By heaven! my soul is aroused! Il fazzoletto … The handkerchief … Otello Othello Ancor l’ambascia del mio morbo m’assale; Again the pain of my illness attacks me; Desdemona Desdemona Tu la fronte mi fascia. Bandage my forehead. È Cassio l’amico tuo diletto. Cassio is your beloved friend.

Desdemona (sciogliendo un fazzoletto) Desdemona (handing him a handkerchief) Otello Othello A te. Here. Il fazzoletto! The handkerchief!!

Otello Othello Desdemona Desdemona No; il fazzoletto voglio ch’io ti donai. No, I want the handkerchief I gave you. A Cassio, a Cassio perdona … Cassio, forgive Cassio …

Desdemona Desdemona Otello Othello Non l’ho meco. I don’t have it with me. Il fazzoletto! The handkerchief!

Otello Othello Desdemona Desdemona Desdemona, guai se lo perdi! guai! Desdemona, woe, if you have lost it! Woe! Gran Dio! nella tua voce v’è un grido di minaccia! Great God! Your voice is a menacing cry! Una possente maga ne ordia lo stame arcano. It was woven by a mighty sorceress. Ivi è riposta l’alta malia d’un talismano. It contains the lofty magic of a talisman. Otello Othello Bada! smarrirlo, oppur donarlo, Take care! To lose it, or to give it away, Alza quegli occhi! Raise those eyes! è ria sventura! is terrible misfortune! Desdemona Desdemona Desdemona Desdemona Atroce idea! Horrible idea! Il vero parli? Are you speaking the truth? Prendendola a forza sotto il mento e per le Seizing her by the neck and shoulders and Otello Othello spalle e obbligandola a guardarlo. forcing her to look at him. Il vero parlo. I speak the truth.

29 Otello Othello Desdemona (con energia) Desdemona (with energy) Guardami in faccia! Dimmi chi sei! Look me in the face! Tell me who you are! Vede l’Eterno la mia fede! The Eternal One sees my loyalty!

Desdemona Desdemona Otello Othello La sposa fedel d’Otello. Othello’s faithful wife. No! la vede l’inferno. No! hell sees it.

Otello Othello Desdemona Desdemona Giura! Swear! La tua giustizia impetro, sposo mio! For justice I implore you, my husband! Giura e ti danna … Swear and damn yourself … Otello Othello Desdemona Desdemona Ah! Desdemona! Indietro! indietro! indietro! Ah! Desdemona! Away! Away! Away! Otello fedel mi crede. Othello believes me faithful. Desdemona Desdemona Otello Othello Tu pur piangi? You’re weeping too? Impura ti credo. I believe you impure. … e gemendo freni del cor lo schianto! … and groaning, holding back your breaking heart!

Desdemona Desdemona (con disperazione) (with desperation) Iddio m’aiuti! God help me! E son io l’innocente cagion di tanto pianto! And I am the innocent cause of such weeping! Qual è il mio fallo? What have I done wrong? Otello Othello Corri alla tua condanna, You are running to your damnation, Otello Othello Di’ che sei casta. Say that you are chaste. E il chiedi? … Il più nero delitto You ask me? … The blackest crime sovra il candido giglio della tua fronte è scritto. Is written on the white lily of your forehead. Desdemona (fissandolo) Desdemona (fixing him with her eyes) Casta … Io son … I am … chaste … Desdemona Desdemona Ahimè! Alas! Otello Othello Giura e ti danna! Swear and damn yourself!!! Otello Othello Che? non sei forse una vil cortigiana? What? Aren’t you perhaps a base harlot? Desdemona Desdemona 21 Esterrefatta fisso lo sguardo tuo tremendo, 21 Terrified, I look into your fearful gaze, A Fury Desdemona Desdemona In te parla una Furia, la sento e non l’intendo. speaks in you; I hear it and don’t understand it. Ciel! Heaven! No … no … pel battesmo della fede cristiana! No … no … by my baptism in the Christian faith! (dolce) (softly) Mi guarda! Look at me! Otello Othello Che? What? (con passione) (passionately) Il volto e l’anima ti svelo; il core infranto I reveal my face and my soul to you; examine Desdemona Desdemona Mi scruta…io prego il cielo per te con My broken heart … with these tears I pray to Ah! … non son ciò che esprime quella I am not what that horrible word expresses. questo pianto, heaven for you. parola orrenda. Per te con queste stille cocenti aspergo For you I sprinkle the ground with these il suol. burning drops. Otello, mutando d’un tratto l’ira nella più terribile Changing suddenly from anger to a more frightening calma dell’ironia, prende Desdemona per mano ironic calm, Othello takes Desdemona by the hand (animando) (animatedly) e la conduce alla porta d’onde entrò. and leads her to the door by which she entered. Guarda le prime lagrime, che da me spreme il duol. Look at the first tears that grief presses from me. Otello Othello Otello Othello Datemi ancor l’eburnea mano, Give me your ivory hand again; S’or ti scorge il tuo demone, If your devil could see you now, Vo’fare ammenda. I want to make amends. Un angelo ti crede He would take you for an angel Vi credea, perdonate se il mio pensiero è fello, I thought you, forgive me if my thought is wicked, E non t’afferra. And would not seize you. Quella vil cortigana che è la sposa d’Otello. That base harlot who is Othello’s wife.

30 Otello sforza con un’inflessione del braccio, ma With these words, Othello bends his arm and Conduce rapidamente Otello, nel fondo a He quickly leads Othello to the back, towards the senza scomporsi, Desdemona ad escire. Poi forces Desdemona to leave. Then he comes sinistra dove c’ è il vano del verone corre verso balcony; he runs to the back of the courtyard ritorna verso il contro della scena nel massimo back to the centre of the stage in the deepest il fondo del peristilio dove incontra Cassio che where Cassio is standing, undecided about grado dell’abbattimento. stage of dejection. esita ad entrare. whether to enter.

SCENA III SCENE III SCENA V SCENE V

Otello Othello Jago (a Cassio) Iago (to Cassio) 22 Dio! mi potevi scagliar tutti i mali 22 God! you couId have hurled at me all the ills 23 Vieni, l’aula è deserta. 23 Come; the hall is deserted. Della miseria, della vergogna, Of poverty, of shame, T’inoltra, o Capitano. Come inside, Captain. Far de’ miei baldi trofei trionfali Made of my bold, triumphal trophies Una maceria, una menzogna … A ruin, a falsehood … Cassio Cassio E avrei portàto la croce crudel And I would have carried the cruel cross Questo nome d’onor suona ancor vano per me. That honoured word still rings in vain for me. D’angoscie e d’onte Of anguish and shame Con calma fronte With a serene brow Jago Iago E rassegnato al volere del ciel. Resigned to the will of heaven. Fa cor, la tua causa è in tal mano Take heart, your cause is in such hands Ma, o pianto, o duol! But, oh tears, oh grief! Che la vittoria è certa. That your victory is certain. M’han rapito il mirraggio They have taken from me the vision Dov’io, giulivo, l’anima acqueto. Where, rejoicing, I stilled my spirit. Cassio Cassio Spento è quel sol, quel sorriso, quel raggio Extinct is that sun, that smile, that radiance Io qui credea di ritrovar Desdemona. I thought I would find Desdemona here. Che mi fa vivo, che mi fa lieto! That makes me alive, that makes me happy! Tu alfin, Clemenza, pio genio immortal And you, finally, Clemency, pious, immortal spirit Otello (nascosto) Othello (hidden) Dal roseo riso, Of rosy laughter, Ei la nomò! He spoke her name. Copri il tuo viso Cover your holy face Santo coll’orrida larva infernal! With a horrible, hellish apparition! Cassio Cassio Vorrei parlarle ancora, I would like to speak to her again, per saper se la mia grazia è profferta. To know if my pardon has been proclaimed. SCENA IV SCENE IV Jago (gaiamente; onducendo Cassio accanto Iago (gaily; leading Cassio next to the first Otello Othello alla prima colonna del peristilio) column in the courtyard) Ah! Dannazione! Ahl Damnation! L’attendi … e intanto, giacchè non si stanca Wait for her; and meanwhile, as your tongue Pria confessi il delitto e poscia muoia! Let her first confess the crime and then die! Mai la tua lingua nelle fole gaie, Never wearies of gay tales, Confession! Confession! … Confession! Confession! … Narrami un po’ di lei che t’innamora. Tell me a little of her whom you love. La prova! … The proof! … Cassio Cassio Entra Jago. Iago enters. Di chi? Of whom?

Jago (indicando l’ingresso) Iago (beside Othello and pointing to the entrance) Jago (sottovoce assai) Iago (in a very low voice) Cassio è là! Cassio is there! Di Bianca Of Bianca.

Otello Othello Otello Othello Là? Cielo! Oh, gioia! There?! Heaven! Oh, joy!! Sorride! He smiles!

(con raccapriccio) (with a sudden shudder of horror) Cassio Cassio Orror! Supplizi immondi! Horror! Foul torments!! Baie! Foolishness!

Jago Iago Jago Iago Ti frena! Ti nascondi! Now hurry! Into hiding. Essa t’avvince coi vaghi rai. She ensnares you with her lovely glances.

31 Cassio Cassio Le parole si perdono. His words are lost. Rider mi fai. You make me laugh. Otello (avvicinandosi un poco e cautamente Othello (coming a little closer, cautiously, to Jago Iago per udir le parole) hear what they say) Ride chi vince. He laughs who wins. Or gli racconta il modo, Now he’s telling him the manner, Il luogo e l’ora … The place and the time … Cassio (ridendo) Cassio (laughing) In tai difide, per verità, In such duels, in truth, Cassio (sempre sottovoce) Cassio (still in a low voice) Vince chi ride. Ah! Ah! He wins who laughs. Ha! Ha! … Da mano ignota … … By an unknown hand …

Jago (ridendo) Iago (laughing) Le parole si perdono ancora. The words are lost again. Ah! Ah! Ha! Ha! Otello Othello Otello (dal verone) Othello (from the balcony) Le parole non odo … I can’t hear the words … L’empio trionfa, il suo scherno m’uccide; The villain’s triumphant; his contempt kills me; Lasso! e udir le vorrei! Dove son guinto! Alas! I want to hear them! What have I come to!! Dio frena l’ansia che in core mi sta! God curb the anxiety that is in my heart! Cassio Cassio Cassio Cassio … Un vel trapunto … … An embroidered handkerchief … Son già di baci sazio e di lai. I am already sated with kisses and poems. Jago (come sopra) Iago (as above) Jago Iago È strano! è strano! It’s strange! It’s strange! Rider mi fai. You make me laugh. Otello Othello Cassio Cassio D’avvicinarmi Jago mi fa cenno. Iago motions me to come closer. O amor’ fugaci! Oh fleeting loves! Passo con lenta cautela, Otello, nascondendosi Gradually, Othello, moving behind the columns with Jago Iago dietro le colonne, arriverà più tardi vicino ai due. great caution, manages to draw close to the pair. Vagheggi il regno … d’altra beltà. You dream of the reign of another beauty. Colgo nel segno? Have I struck home? Jago (sottovoce) Iago (whispered) Da ignota mano? By an unknown hand? Cassio Cassio Ah! Ah! Ha! Ha! (molto forte) (loudly) Baie! Nonsense! Jago Iago Ah! Ah! Ha! Ha! Cassio Cassio Da senno. Quanto mi tarda saper chi sia … Truly. How eager I am to know who it is … Otello (dal verone) Othello (as before) L’empio trionfa, il suo scherno m’uccide. The villain mocks me, his contempt kills me; Fa cenno a Cassio di parlare ancora sottovoce. Iago motions to him to speak softly still. Dio frena l’ansia che in core mi sta! God curb the anxiety that is in my heart! Jago (guardando rapidamente dalla parte Iago (looking quickly toward Othello; Cassio Cassio d’Otello, fra sè) to himself) Nel segno hai côlto. Si, lo confesso. M’odi … You’ve struck home. Yes, I confess it. Hear me … Otello spia. Othello is watching.

Jago (assai sottovoce) Iago (in a very low voice) Jago (a Cassio ad alta voce) Iago (to Cassio in a loud voice) Sommesso parla. T’ascolto. Speak softly. I’m listening to you. L’hai teco? You have it with you?

Jago conduce Cassio in porto più lontano da Otello. Iago leads Cassio to a place further away from Otello. Cassio (estrae dal giusta-cuore il fazzoletto Cassio (takes Desdemona’s handkerchief from di Desdemona) his doublet) Cassio (molto sottovoce) Cassio (in a whisper) Guarda. Look. Jago, t’è nota la mia dimora … Iago, you know my house …

32 Jago (prendendo il fazzoletto) Iago (taking the handkerchief) Cassio Cassio Qual meraviglia! What a marvel! Miracolo vago … Lovely miracle …

(a parte) (aside) Jago Iago Otello origlia. Othello’s listening. … Casca, si lagna, … Falls, complains, Ei s’avvicina con mosse accorte. He’s approaching with cautious movements. S’impiglia e muor. Is entangled and dies. Questa è una ragna, etc. This is a cobweb, etc. (a Cassio scherzando) (towards Cassio, laughingly) Troppo l’ammiri, You admire it too much, Bel cavaliere, nel vostro ostello perdono Handsome knight, in your dwelling, Troppo la guardi; You look at it too much; Gli angeli l’aureola e il vel. The angels loose their halos and veils. Bada ai deliri Beware of vain Vani e bugiardi. And false ravings. Mettendo le mani dietro la schiena perché He puts his hands behind his back so that Otello possa osservare il fazzoletto. Othello can see the handkerchief. Cassio Cassio Più bianco, più leve Whiter, lighter Otello (avvicinandosi assai al fazzoletto, dietro Othello (coming very close to the handkerchief, Che fiocco di neve, Than a snowflake, le spalle di Jago e nascosta dalla prima colonna) behind Iago’s back, still hidden by the first column) Che nube tessuta Than a cloud woven È quello! è quello! That’s the one! That’s the one! Dalla’aure del ciel. From the sky’s breezes. Ruina e morte! Ruination and Death! Miracolo vago! Lovely miracle!

Jago (e se stesso) Iago (to himself) Otello (e se stesso) Othello (to himself) Origlia Otello. Othello’s listening. Tradimento, tradimento, tradimento, Treason, treason, betrayal La tua prova, la tua prova Your proof, your proof Otello (a parte sottovoce; nascosta dietro Othello (aside, quietly; hidden behind the Spaventosa mostri al Sol. Crimes of darkness shine by day. la colonna e guardando di tratto in tratto il column and from time to time looking at the fazzoletto nelle mani di Cassio) handkerchief in Cassio’s hands) Cassio Cassio Tutto è spento! Amore e duol. All is dead! Love and grief. Miracolo vago! Lovely miracle! L’alma mia nessun più smuova. No one can move my soul any more. Otello Othello Jago (a Cassio indicando il fazzoletto) Iago (to Cassio, pointing to the handkerchief) Tradimento! Treason! Questa è una ragna This is a cobweb Dove il tuo cuor In which your heart Jago (a Cassio) Iago (to Cassio) Casca, si lagna, Falls, complains, Troppo l’ammiri. You admire it too much. S’impiglia e muor. Is entangled and dies. Troppo l’ammiri, You admire it too much, Otello Othello Troppo la guardi; You look at it too much; Tradimento! Treason! Bada ai deliri Beware of vain Vani e bugiardi. And false ravings. Jago Iago Questa è una ragna, etc. This is a cobweb, etc. Bada! Listen! 24 Bada! 24 Listen! Cassio (guardando il fazzoletto che avrà Cassio (looking at the handkerchief, which he ritolto a Jago) has taken back from lago) Squillo di tromba interno, poi un colpo di Trumpet fanfare off-stage, then a cannon shot. Miracolo vago dell’aspo e dell’ago Lovely miracle of the spool and the needle canonne; Otello sarà ritornato nel vano del Othello has returned to the balcony. There are Che in raggi tramuta That changes into rays verone. Rispondono dal Castello. signals in answer from the castle. Le fila d’un vel, The threads of a cloth; Più bianco, più leve Whiter, lighter Jago Iago Che fiocco di neve, Than a snowflake, Quest’è il segnale che annuncia That is the signal to announce the landing Che nube tessuta Than a cloud woven L’approdo della trireme veneziana. Of the Venetian trireme. Dall’aure del ciel. From the sky’s breezes. Trombe da altra parte. Trumpet blasts from several directions. Jago Iago Questa è una ragna dove il tuo cuor … This is a cobweb in which your heart …

33 Jago Iago Jago Iago Ascolta. Now listen. … Val meglio soffocarla, … Better to smother her, Tutto il castel co’suoi squilli risponde. The whole castle answers with its trumpet blasts. Là nel suo letto, là, dove ha peccato. There, in her bed, there, where she has sinned. Se qui non vuoi con Otello scontrarti, fuggi. If you don’t want to encounter Othello here, flee. Otello Othello Cassio Cassio Questa giustizia tua mi piace. I like this justice of yours. Addio. Goodbye. Jago Iago Jago Iago A Cassio Jago provvederà. Iago will see to Cassio. Va. Go. Otello Othello Cassio esce velocemente dal fondo. Cassio goes out quickly at the back. Jago, fin d’ora mio Capitano t’eleggo. Iago, starting now I name you my Captain.

Jago Iago SCENA VI SCENE VI Mio Duce, grazie vi rendo. My General, I give you my thanks.

Otello (avvicinandosi a Jago) Othello (coming over to Iago) Il tumluto è sempre più vicino. Fanfare e grida. The noises grow louder. Fanfares and shouts. Come la ucciderò? How will I kill her? Ecco gli Ambasciatori. Here are the Ambassadors. Jago Iago Li accogliete. Ma ad evitar sospetti, Receive them. But, to avoid suspicion, Vedeste ben com’egli ha riso? You saw clearly how he laughed? Desdemona si mostri a quei Messeri. Let Desdemona show herself to those gentlemen.

Otello Othello Otello Othello Vidi. I saw. Si, qui l’adduci. Yes, bring her here.

Di tanto in tanto salve di gioia e squilli che Intermittent fanfares and shouts of joy Jago esce dalla porta di sinistra: Otello s’avvia Iago goes out through the door at left. Othello si avvicinana. are heard. verso il fondo per ricevere gli Ambasciatori. goes toward the back to receive the Ambassadors.

Jago Iago E il fazzoletto? And the handkerchief? SCENA VII SCENE VII

Otello Othello Entrano Jago, Lodovico, Roderigo, l’Araldo – Enter Iago, Lodovico, Roderigo, the Herald – Tutto vidi. I saw everything. Desdemona con Emilia – Dignitari della Desdemona with Emilia – Dignitaries of the Republica Veneta – Gentiluomini e Dame – Venetian Republic – Gentlemen and Ladies – Voci (dal di fuori, lontane) Voices (off-stage, distant) Soldati – Trombettieri, poi Cassio. Soldiers – Trumpeters and, afterwards, Cassio. Evviva! Alla riva! Allo sbarco! Hurrah! To the shore! To the landing! Tutti All Otello Othello Viva! Evviva! Hurrah! Hurrah! È condannata. She is condemned. Viva il Leon di San Marco! Long live the Lion of St. Mark!

Voci Voices Lodovico (tenendo una pergamena avvoltolata Lodovico (holding a rolled parchment in Evviva! Hurrah! in mano) his hand) Il Doge ed il Senato The Doge and the Senate Otello Othello Salutano l’eroe trionfatore Greet the triumphant hero Fa ch’io m’abbia un velen per questa notte. See that I have a poison for tonight. Di Cipro. Io reco nelle vostre mani Of Cyprus. I convey to your hands Il messaggio dogale. The Doge’s message. Jago Iago Il tosco, no … Poison, no … Otello (prendendo il messaggio e baciando Othello (taking the message and kissing il suggello) the seal) Voci (più vicine) Voices (nearer) Io bacio il segno della Sovrana Maestà. I kiss the symbol of the Sovereign Majesty. Evviva il Leon di San Marco! Hurrah! Long live the Lion of St. Mark!

34 Lo spiega e legge. He opens the letter and reads it. Otello (sempre in atto di leggere, ma Othello (still reading, but in a low, feverish febbrilmente a Desdemona, sottovoce) voice, to Desdemona) Lodovico (avvicinandosi a Desdemona) Lodovico (approaching Desdemona) Frenate dunque le labbra loquaci … Then restrain your talkative lips … Madonna, My lady, V’abbia il ciel in sua guardia. May heaven keep you. Desdemona Desdemona Perdonate, signor … Forgive me, My Lord … Desdemona Desdemona E il ciel v’ascolti. And may heaven listen to you. Otello (avventandosi contro Desdemona) Othello (hurling himself at Desdemona) Demonio, taci! Be silent, you devil!! Emilia (a Desdemona, a parte) Emilia (to Desdemona, aside) Come sei mesta! How sad you are! Lodovico (arrestando il gesto d’Otello) Lodovico (arresting Othello’s gesture) Ferma! Stop! Desdemona (ad Emilia, a parte) Desdemona (to Emilia, aside) Emilia, una gran nube Emilia! A great cloud Tutti All Turba il senno d’Otello e il mio destino. Disturbs Othello’s wisdom and my destiny. Orrore! Horror!

Jago (andando a Lodovico) Iago (approaching Lodovico) Lodovico Lodovico Messere, son lieto di vedervi. Sir, I am happy to see you. La mente mia non osa My mind doesn’t dare Pensar ch’io vidi il vero. Believe that what I saw was true. Lodovico, Desdemona e Jago formano Lodovico, Desdemona, and Iago gather in crocchio insieme. a group. Otello (all’Araldo, con accento imperioso) Othello (to the herald, in a commanding voice) A me Cassio! Bring Cassio to me! Lodovico Lodovico Jago, quali nuove? … Iago, what news? … Jago (ad Otello a bassa voce) Iago (to Othello, speaking in a low voice) Ma in mezzo a voi non trovo Cassio. But I do not find Cassio in your midst. Che tenti? What are you attempting?

Jago Iago L’araldo esce. The herald goes out. Con lui crucciato è Otello. Othello is angry with him. Otello (a Jago sottovoce) Othello (to Iago in a low voice) Desdemona (dolce) Desdemona (softly) Guardala mentre ei giunge. Watch her when he arrives. Credo che in grazia tornerà. I believe he will return to favour. Gentil Uomini Gentlemen Otello (sempre in atto di leggere a Desdemona Othello (to Desdemona quickly as he continues Ah! triste sposa! Ah! Unhappy wife! rapidamente) reading) Ne siete certa? Are you certain of it? Lodovico (a bassa voce avvicinandosi a Jago Lodovico (in a low voice, drawing nearer to Iago, che si sarà un po’ allontanato da Otello) who has moved a short way away from Othello) Desdemona Desdemona Quest’è dunque l’erore? Is this then the hero? Che dite? What do you say? Quest’è il guerriero dai sublimi ardimenti? This the warrior of sublime daring?

Lodovico Lodovico Jago (a Lodovico, alzando le spalle) Iago (to Lodovico, shrugging) Ei legge, non vi parla. He is reading, he isn’t speaking to you. È quel ch’egli è. He is what he is.

Jago Iago Lodovico Lodovico Forse che in grazia tornerà. Perhaps he will return to favour. Palesa il tuo pensiero. Reveal what you are thinking.

Desdemona Desdemona Jago Iago Jago, lo spero; Iago, I hope so; Meglio è tener su ciò la lingua muta. Better to keep my tongue dumb on that score. Sai se un verace affetto io porti a Cassio … You know that I am truly fond of Cassio …

35 SCENA VIII SCENE VIII (ad alta voce a tutti, senza più guardar Cassio) (loudly for all to hear, no longer looking at Cassio) … E le navi e il castello … And the ships and the castle Cassio seguito dall’ Araldo, e detti. Cassio followed by the Herald, and the above. Lascio in poter del nuovo Duce. I leave in the power of the new General.

Otello (che avrà sempre fissato la porta) Othello (who has been staring at the door) Lodovico (additando Desdemona che Lodovico (pointing to Desdemona, who Eccolo! È lui! Here he is! It is he! s’avvicina supplichevole) approaches pleadingly) Otello, per pietà la conforta o il cor le infrangi. Othello, have pity, comfort her or you will break Appare Cassio. Cassio is seen. her heart.

(avvicinandosi a Jago mentre Cassio è sulla soglia) (moving toward Iago as Cassio is about to enter) Otello (a Lodovico e Desdemona) Othello (to Lodovico and Desdemona) Nell’animo lo scruta. Stare into his soul. Noi salperem domani. We’ll sail tomorrow.

(ad alta voce a tutti) (in a loud voice, to all) Afferra Desdemona furiosamente. He seizes Desdemona furiously. 25 Messeri! Il Doge … 25 Gentlemen! The Doge … Desdemona cade. Desdemona falls.

(a parte a Desdemona) (harshly, but whispered, to Desdemona) (a Desdemona) (to Desdemona) … Ben tu fingi il pianto … … Pretend to weep … A terra! … e piangi! To the ground! … And weep!

(ad alta voce a tutti) (in a loud voice to all) Otello avrà, nel suo gesto terribile, gettata Othello, in a fearsome rage, has thrown the … Mi richiama a Venezia. … Recalls me to Venice. la pergamena al suolo, e Jago la raccoglie e parchment to the ground. Iago retrieves it and legge di nascosto. Emilia e Lodovico sollevano secretly reads it. Emilia and Lodovico run to Roderigo (e se stesso) Roderigo (to himself) pietosamente Desdemona. Desdemona’s aid, raising her gently. Infida sorte! Treacherous fortune! Desdemona Desdemona Otello (continuando ad alta voce Othello (continuing to speak loudly but in 26 A terra! … si … nel livido 26 To the ground! … yes … in the livid e dominandosi) control of himself) Fango…percossa…io giacio… Mire … beaten … I lie … E in Cipro elegge And elects as my successor Piango…m’agghiaccia il brivido I weep … and the shudder of my Mio successor colui che stava accanto In Cyprus the man who stood beside Dell’anima che muor. Dying soul chills me. Al mio vessillo, Cassio. My banner, Cassio. E un dì sul mio sorriso And one day in my smile Fioria la speme e il bacio, Hope and a kiss blossomed Jago (fieramente e sorpreso) Iago (fiercely, surprised) Ed or … l’angoscia in viso And now … anguish in my face Inferno e morte! Hell and death! E l’agonia nel cor. And agony in my heart. Quel Sol sereno e vivido The serene, bright Sun Otello (continuando e mostrando Othello (continuing as above, he displays Che allieta il cielo e il mare That gladdens sky and sea la pergamena) the parchment) Non può asciugar le amare Cannot dry the bitter La parola Ducale è nostra legge. The Doge’s word is our law. Stille del mio dolor. Drops of my grief.

Cassio (inchinandosi ad Otello) Cassio (bowing to Othello) Tutti (Emilia, Cassio, Roderigo, Lodovico, All (Emilia, Cassio, Roderigo, Lodovico, Obbedirò. I shall obey. Dame e Uomini) Ladies and Gentlemen)

Otello (rapidamente a Jago ed accennando a Cassio) Othello (quickly to Iago, indicating Cassio) Emilia Emilia Vedi? … Non par che esulti l’infame? You see? The villain doesn’t seem to rejoice. Quell‘ innocente un fremito That innocent one makes no gesture D’odio non ha nè un gesto, Or shudder of hatred, Jago Iago Trattiene in petto il gemito She checks the moan in her breast No. No. Con doloroso fren. With mournful restraint. La lagrima si frange Her tears start Otello (ancora ad alta voce a tutti) Othello (again in a loud voice to all) Muta sul volto mesto; Silently on her sad face; La ciurma e la coorte … The crew and the troops … No, chi per lei non piange No, whoever does not weep for her Non ha pietade in sen. Has no mercy in his breast. (a Desdemona sottovoce e rapidissimo) (speaking very rapidly in a low voice to Desdemona) Continua i tuoi singulti … Continue your sobbing …

36 Cassio Cassio Gli sguardi figge immoti al suol. His eyes are motionless, fixed on the ground. L’ora è fatal! un fulmine The hour is decisive! A thunderbolt Poi sfida il ciel coll’atre pugna, l’ispido Then with his grim fist he defies heaven, raising Sul mio cammin l’addita. On my path indicates it. Aspetto ergendo ai dardi alti del Sol. His rough visage to the high rays of the Sun. Già di mia sorte il culmine The climax of my fate S’offre all’inerte incalza Is offered to my inert hand. Jago (avvicinandosi a Otello che si sarà Iago (approaching Othello, who has slumped L’ebbra fortuna incalza Drunken fortune presses on accasciato su d’una sedia) on a chair) La fuga della vita. The race of life. Una parola. A word. Questa che al ciel m’innalza This wave that lifts me to heaven è un’onda d’uragan. Is a hurricane’s wave. Otello Othello E che? What? Roderigo Roderigo Per me s’oscura il mondo, The worId darkens for me, Jago Iago S’annuvola il destin, My destiny is clouded; T’affretta! Rapido slancia la tua vendetta! Il Make haste. Unleash your vengeance rapidly. L’angiol soave e biondo The blond, tender angel tempo vola. Time flies. Scompar dal mio cammin. Disappears from my path. Otello Othello Lodovico Lodovico Ben parli. You are right. Egli la man funerea He shakes his gloomy hand, Scuote anelando d’ira, Gasping with anger, Jago Iago Essa la faccia eterea She turns her ethereal face, È l’ira inutil ciancia. Scuotiti! Anger is idle chatter. Bestir yourself! Volge piangendo al ciel. Weeping, toward heaven. All’opra ergi tua mira! All’opra sola! Raise your eyes to the task! To the task only! Nel contemplar quel pianto Observing those tears, Io penso a Cassio. Ei le sue trame espia. I think of Cassio. Let him expiate his plots La carità sospira, Charity sighs, L’infame anima ria l’averno inghiotte! And the grave swallow his foul, guilty soul. E un tenero compianto And a tender compassion Stempra del core il gel. Melts the chill of the heart. Otello Othello Chi gliela svelle? Who is to tear it from him? Desdemona Desdemona E un dì sul mio sorriso And one day in my smile Jago Iago Fioria la speme e il bacio, Hope and a kiss blossomed Io! I! Ed or … l’angoscia in viso And now … anguish in my face E l’agonia nel cor. And agony in my heart. Otello Othello A terra … nel fango … The serene, bright Sun Tu? You? Percossa … io giacio … That gladdens sky and sea M’agghiaccia il brivido Cannot dry the bitter Jago Iago Dell’anima che muor. Drops of my grief. Giurai. I swore.

Dame Ladies Otello Othello Pietà! Pietà! Pietà! Mercy! Mercy! Mercy! Tal sia. So be it. Ansia mortale, bieca, Mortal, grim anxiety Ne ingombra, anime assorte in lungo orror. Obstructs them, souls long obsessed in horror. Jago Iago Vista crudel! Ei la colpi! Cruel sight! He struck her! Tu avrai le sue novelle questa notte. You will have news of him tonight. Quel viso santo, pallido, That sainted, pale, innocent Blando, si china e tace e piange e muor. Face is bent, silent; she weeps and dies. Abbandona Otello e si dirige verso Roderigo. He leaves Othello and moves toward Roderigo. Piangon così nel ciel lor pianto gli angeli So the angels in heaven weep their tears Quando perduto giace il peccator. When the sinner lies lost. Jago (ironicamente a Roderigo) Iago (ironically to Roderigo) I sogni tuoi saranno in mar domani Your dreams will be on the sea tomorrow, Uomini Gentlemen E tu sull’aspra terra. And you on the harsh land! Mistero! Mistero! Mistero! Mystery! Mystery! Mystery! Quell’uomo nero è sepolcrale, e cieca That black man is tomb-like, and in him Roderigo (a Jago) Roderigo (to Iago) Un’ombra è in lui di morte e di terror! There is a blind shadow of death and terror. Ahi triste! Ah, how sad I feel! Strazia coll’ugna l’orrido petto! With his nails he rends his fearful breast!

37 Jago Iago Ultima sorte, occulto mio destin. Ultimate fate, my hidden destiny. Ahi stolto! stolto! Ah, fool! Fool! Mi sprona amor, ma un avido, tremendo Love spurs me on, but an avid, terrible Se vuoi, tu puoi sperar; gli umani, If you wish, you can hope; come, Astro di morte infesta il mio cammin. Star of death infests my path. Orsù! cimenti afferra, e m’odi. Grasp human boldness, and listen to me. Otello (ergendosi e rivolto alla folla, Othello (rising and addressing the crowd, with Roderigo Roderigo terribilmente) a terrifying expression) T’ascolto. I am listening to you. Fuggite! Begone!

Jago Iago Tutti All Col primo albor salpa il vascello. The ship sails at the break of dawn. Ciel! Heaven! Or Cassio è il Duce. Now Cassio is the Commander. And yet, Eppur se avvien che a questi accada sventura If it should happen that misfortune befall him Otello (slanciandosi contro la folla) Othello (hurling himself at the crowd) Tutti fuggite Otello! Flee from Othello, all of you! (toccando la spada) (touching his sword) Allor qui resta Otello. Then Othello remains here. Fanfara fuggite. Off-stage fanfare.

Roderigo Roderigo Jago (a tutti) Iago (to the onlookers) Lugubre luce d’atro balen! Doleful light of a grim lightning! Lo assale una malia A spell attacks him che d’ogni senso il priva. That robs him of all feeling. Jago Iago Mano alla spada! Hand on your sword! Otello (con forza) Othello (vigorously) A notte folta io la sua traccia vigilo, At dead of night I will watch his path, Chi non si scosta è contro me rubello. He who does not leave is a rebel against me. E il varco e l’ora scruto; I’ll observe the place and the hour; Il resto a te. The rest is up to you. Lodovico (fa per trascinare lontano Desdemona) Lodovico (starts to draw Desdemona away) Sarò tuo scolta. I will be your sentry. Mi segui … Follow me … A caccia! a caccia! To the hunt! to the hunt! Cingiti l’arco! Take up your bow! Voci (dal di fuori) Voices (from outside) Evviva! Hurrah! Roderigo Roderigo Si! t’ho venduto onore e fè. Yes! I have sold you my honour and loyalty. Desdemona (sciogliendosi da Lodovico e Desdemona (freeing herself from Lodovico and accorendo verso Otello) running toward Othello) Dame Ladies Mio sposo! My husband! Quel viso santo, pallido, That sainted, pale, innocent Blando, si china e tace e piange e muor. Face is bent, silent; she weeps and dies. Otello (terribile a Desdemona) Othello (in a terrible voice, to Desdemona) Piangon così nel ciel lor pianto gli angeli So the angels in heaven weep their tears Anima mia, ti maledico! My soul, I curse you! Quando perduto giace il peccator. When the sinner lies lost. Tutti All Uomini Gentlemen Orror! Horror! Quell’uomo nero è sepolcrale That black man is tomb-like Figge gli sguardi immoti al suol. His eyes are motionless, fixed on the ground. Desdemona, fra Emilia e Lodovico, esce. Tutti Desdemona is led away by Emilia and Lodovico. Poi sfida il ciel coll’atre pugna, l’ispido Then with his grim fist he defies heaven, raising escono inorriditi. All go out, horrified. Aspetto ergendo ai dardi alti del Sol. His rough visage to the high rays of the Sun.

Jago Iago SCENA IX SCENE IX Corri al miraggio! Il fragile tuo senno Hasten to your mirage! Your fragile intelligence Ha già confuso un sogno menzogner. Has already confused a false dream. Restano Otello e Jago soli. Othello and Iago alone remain. Segui l’astuto ed agile mio cenno, Follow my sly and quick indication, Amante illuso, io seguo il mio pensier. Deluded lover, I follow my thought. Otello Othello Fuggirmi io sol non so! Sangue! Only I cannot flee from myself! Blood! Roderigo (a stesso) Roderigo (to himself) Il dado è tratto! Impavido t’attendo, The die is cast! Fearless, I await you,

38 (sempre più affannoso) (more and more excited) ATTO QUARTO ACT FOUR Ah! l’abbietto pensiero! Ciò m’accora! Ah! the despicable thought! … That distresses me! La Camera di Desdemona. Letto, inginocchiatoio, Desdemona’s bedroom. Bed, prie-Dieu, table, (convulsivamente, delirando) (convulsively, raving) tavolo, specchio, sedie. Una lampada arde looking-glass, chairs. A lamp is burning, hanging Vederli insieme avvinti … To see them together, embracing … appesa davanti all’immagine della Madonna in front of the image of the Madonna that Il fazzoletto! Il fazzoletto! The handkerchief! The handkerchief! che sta al disopra dell’inginocchiatoio. Porta a stands above the prie-Dieu. A door at right. Il fazzoletto! Ah! Ah! Ah! The handkerchief! Ah! Ah! Ah! destra. Un lume acceso sul tavolo. È notte. A lighted lamp on the table. It is night.

Sviene. He faints. SCENA I SCENE I Jago Iago Il mio valen lavora. My poison is working. Emilia Emilia 27 Era più calmo? 27 Was he calmer? Fanfare e Voci dal di fuori. Fanfares and Voices from outside. Desdemona Desdemona Voci (interno) Voices (from afar) Mi parea. M’ingiunse He seemed so to me. He bade me Viva Otello! Hail Othello! Di coricarmi e d’attenderlo. Emilia, Go to bed and await him. Emilia, Te ne prego, distendi sul mio letto Please spread out on my bed Jago (ascoltando le grida) Iago (listening to the shouts) La mia candida veste nuziale. My white nuptial gown. L’eco della vittoria … The echo of victory … Emilia eseguisce. Emilia obeys. Cipriotti Cypriots Evviva, evviva! Hail! hail! Senti. Se pria di te morir dovessi Listen. If I should die before you, Mi seppellisci con un di quei veli. Bury me with one of those veils. Jago (osserva Otello disteso Iago (looking at Othello prostrate and senseless a terra tramortito) on the ground) Emilia Emilia … Porge sua laude estrema. … Offers its last praise. Scacciate queste idee. Banish these ideas.

Cipriotti (interno) Cypriots (from afar) Desdemona Desdemona Evviva! Hail! Son mesta, tanto, tanto. I am sad, very sad.

Dopo una pausa. After a pause. (sedendo macchinalmente davanti allo specchio) (sitting down mechanically before the looking-glass) Mia madre aveva una povera ancella, My mother had a poor maidservant, Jago Iago Innamorata e bella; Beautiful and in love; Chi può vietar che questa fronte prema col Who can prevent me from pressing my heel on Era il suo nome Barbara. Her name was Barbara. mio tallone? that forehead? Amava un uom che poi l’abbandonò; She loved a man who later abandoned her; Cantava una canzone: la canzon del Salice. She used to sing a song: “The Willow Song.” Cipriotti (interno e più vicino) Cypriots (behind, coming nearer) Evviva! Evviva Otello! Hail! Long live Othello! (ad Emilia) (to Emilia) Gloria al Leon di Venezia! Glory to the Lion of Venice! Mi disciogli le chiome … Loosen my hair: Io questa sera ho la memoria piena This evening my memory is filled Jago (ritto e con gesto d’orrendo trionfo, Iago (standing, with a gesture of gloating triumph, Di quella cantilena … With that dirge: indicando il corpo inerte d’Otello) pointing to Othello, inert on the ground) 28 “Piangea cantando 28 “She wept, singing, Ecco il Leone! There is the Lion! Nell’erma landa, On the lonely heath, Piangea la mesta … The sad girl wept. Cipriotti Cypriots O Salce! Salce! Salce! O Willow! Willow! Willow! Viva! Viva! Viva Otello! Hail! Hail! Hail Othello! Sedea chinando She sat, hanging Sul sen la testa! Her head on her breast! Fine dell’Atto terzo. End of Act Three. Salce! Salce! Salce! O Willow! Willow! Willow! Cantiamo! Cantiamo! Il Salce funebre Let us sing! The funereal willow Sarà la mia ghirlanda.” Shall be my garland.”

39 (ad Emilia) (to Emilia) SCENA II SCENE II Affrettati; fra poco giunge Otello. Hurry; Othello is coming shortly. “Scorreano i rivi fra le zolle in fior, “The brooks flowed among the flowering fields, Desdemona (all’inginocchiatoio) Desdemona (before the prie-Dieu) Gemea quel core affranto, That broken heart moaned, 29 Ave Maria, piena di grazia, eletta 29 Hail Mary, full of grace, chosen E dalle ciglia le sgorgava il cor And her heart released from her eyelids Fra le spose e le vergini sei tu, Are you among brides and maidens; L’amara onda del pianto. The bitter wave of tears. Sia benedetto il frutto, o benedetta, O blessed one, may the fruit be blessed Salce! Salce! Salce! O Willow! Willow! Willow! Di tue materne viscere, Gesù. Of your maternal womb, Jesus. Cantiamo! Cantiamo! Il Salce funebre Let us sing! The funereal willow Sarà la mia ghirlanda.” Shall be my garland.” Prega per chi adorando a te, Pray for those who prostrate themselves si prostra, before you, adoring, “Scendean l‘augelli a vol dai rami cupi “The birds came flying down from the dark branches Prega pel peccator, per l’innocente, Pray for the sinner, for the innocent, Verso quel dolce canto. Toward that sweet song, E pel debole oppresso e pel possente, For the weak and oppressed and for the mighty, E gli occhi suoi piangean tanto, tanto, And her eyes wept so much, so much Misero anch’esso, tua pietà dimostra. Also for the wretched, display your mercy. Da impietosir le rupi.” They would have moved stones to pity.” Prega per chi sotto l’oltraggio piega Pray for those who bow their heads beneath La fronte e sotto la malvagia sorte; Outrage and evil destiny; (a Emilia, levandosi un anello dal dito) (to Emilia, taking a ring from her finger) Per noi, per noi tu prega, prega For us, pray for us, Riponi quest’anello. Guard this ring. Sempre e nell’ora della morte nostra, Always and in the hour of our death, Prega per noi, prega per noi, prega. Pray for us, pray for us, I pray. (alzandosi) (rising) Povera Barbara! Poor Barbara! Resta ancora inginocchiata e appoggiando la She remains still kneeling, resting her forehead Solea la storia con questo semplice suono finir: The story used to end with this simple tune: fronte sull’inginocchiatoio ripete mentalmente against the prie-Dieu, mentally repeats the “Egli era nato per la sua gloria, io per amar … ” “He was born for his glory, I to love … ” l’orazione di cui non s’odono che le prime e le prayer, of which we hear only the first and ultime parole. last words. (ad Emilia, parlante) (to Emilia) Ascolta. Odo un lamento. Listen. I hear a moan. Ave Maria … Hail Mary … Nell’ora della morte. At the hour of death. Emilia fa qualche passo. Emilia goes towards the window. Ave! … Amen! Ave! … Amen!

Desdemona Desdemona Si alza e va a coricasi. She rises and goes to bed. Taci. Chi batte a quella porta? Be silent. Who is knocking at that door?

Emilia Emilia SCENA III SCENE III È il vento. It is the wind. Otello entra da una porta segreta, depone una Othello enters by a secret door, places a scimitar Desdemona Desdemona scimitarra sul tavolo, s’arresta davanti alla face, on the table, and pauses before the light, “Io per amarlo e per morir … “I to love him and to die. titubante se spegnerla o no. Guarda Desdemona. undecided whether to extinguish it. He looks at Cantiamo! Cantiamo! Salce! Salce! Salce!” Let us sing! Willow! Willow! Willow!” Spegne la face. La scena resta rischiarata dal Desdemona. He puts out the light. The scene is solo lume dell’ inginocchiatoio. Otello spinto da illuminated only by the light from the prie-Dieu. Emilia, addio. Come m’ardon le ciglia! Emilia, goodbye. How my eyelids burn! un impeto di furore, s’avvicina al letto; ma là Othello, driven by a sudden burst of fury, approaches È presagio di pianto. Buona notte. It is a presentiment of weeping. Good night. s’arresta. Contempla lungamente Desdemona the bed; there he pauses. He gazes at Desdemona che dorme. La bacia tre volte. All’ ultimo bacia who is sleeping. He kisses her three times. At Emilia si volge per partire. Emilia turns to leave. Desdemona si desta. the third kiss, Desdemona awakens.

Ah! Emilia, Emilia, addio, Ah! Emilia, Emilia, goodbye, Desdemona (si alza) Desdemona (she raises herself) 30 Chi è là? Otello? 30 Who is there? Othello? Emilia ritorna e Desdemona l’abbraccia. Emilia comes back to Desdemona and embraces her. Otello Othello Sì! Yes! Emilia, addio! Emilia, goodbye! 31 Diceste questa sera le vostre preci? 31 Did you say your prayers this evening?

Emilia esce. Emilia exits.

40 Desdemona Desdemona Desdemona Desdemona Orai … I prayed. Non è vero! That is not true!

Otello Othello Otello Othello Se vi sovviene If you remember Nella sua man lo vidi. I saw it in his hand. Di qualche colpa commessa che attenda Some sin you have committed that awaits Grazia dal ciel, imploratela tosto. Forgiveness from heaven, implore it at once. Desdemona Desdemona Io rea non sono! I am not guilty! Desdemona Desdemona Perchè? Why? Otello Othello Confessa! Confess! Otello Othello T’affretta! Uccidere non voglio l’anima tua. Make haste! I don’t want to kill your soul. Desdemona Desdemona Giuro! I swear! Desdemona Desdemona D’uccider parli? You speak of killing? Otello Othello Bada allo spergiuro … Beware of your perjury … Otello Othello Pensa che sei sul tuo letto di morte. Think, you are on your deathbed. Sì. Yes. Desdemona Desdemona Desdemona Desdemona Non per morir. Not to die. Pietà di me, mio Dio! Have pity on me, God. Otello Othello Otello Othello Per morir tosto. To die at once. Amen. Amen. Desdemona Desdemona Desdemona Desdemona Aita! Cassio non amo … Help! I do not love Cassio … E abbiate pietà voi pure. And you too have pity. Ch’ei qui venga … ei parli. Let him come here … let him speak.

Otello Othello Otello Othello Pensa ai tuoi peccati. Think of your sins. Muto è per sempre. He is silent forever.

Desdemona Desdemona Desdemona Desdemona Mio peccato è l’amor. My sin is love. Cielo! Morto? Heaven! Dead?

Otello Othello Otello (freddo) Othello (coldly) Perciò tu muori. For that you die. Morto. Dead.

Desdemona Desdemona Desdemona Desdemona E perchè t’amo m’uccidi? You kill me because I love you? Son perduta! Ei tradito! I am lost! He, betrayed!

Otello Othello Otello (con forza) Othello (fiercely) Ami Cassio. You love Cassio. E pianger l’osi? And you dare weep for him?

Desdemona Desdemona Desdemona Desdemona No! Sull’anima mia! No! On my soul! Otello … non uccidermi … Othello … do not kill me …

Otello Othello Otello Othello Quel fazzoletto ch’io ti donai gli desti. You gave him that handkerchief I gave you. Tu invano ti difendi. You defend yourself in vain.

41 Desdemona (con disperazione) Desdemona (in desperation) Otello (trabalzando) Othello (faltering) Ch’io viva ancor … ch’io viva ancor … Let me still live … let me still live … Chi è là? Who is there? Ch’io viva ancor … Let me still live … Picchia ancora. Another knock. Otello Othello Giù! cadi, giù, cadi, prostituta … Fall down! Fall down! Prostitute! … Otello Othello Chi batte? Who knocks? Desdemona Desdemona Pietà! Pity! Emilia Emilia Signor mio … ven prego, lasciate My Lord … I beseech you, Otello Othello ch’io vi parli … Aprite! Let me speak to you … Open! Muori!! Die!! Otello (aprendo) Othello (opening the door) Desdemona Desdemona Emilia! che avvenne? Emilia! What is happening? Ch’io viva questa notte … Let me live this night … Emilia (entrando) Emilia (entering) Otello Othello Un gran delitto! Cassio uccise Roderigo. A great crime! Cassio killed Roderigo. No! No! Otello Othello Desdemona Desdemona E Cassio? And Cassio? Un’ora … An hour. Emilia Emilia Otello Othello Vive. He lives. No! No! Otello Othello Desdemona Desdemona Cassio vive!! Cassio lives!! Un istante … A moment. Desdemona (dal letto) Desdemona (from the bed) Otello Othello Ingiustamente … uccisa ingiustamente … Unjustly … killed unjustly … No! No! Muoio innocente … I die innocent …

Desdemona Desdemona Emilia (accorrendo al letto) Emilia (running to the bed) Sol ch’io dica un’Ave. Let me say only a prayer. Chi geme là? … Orror! Who is moaning there? … Horror!

Otello Othello Desdemona Desdemona È tardi! It is too late! Muoio innocente … I die innocent …

La soffoca. Un grido di Desdemona. He smothers her. Desdemona cries out. Emilia Emilia Gran Dio! … Chi fu? chi fu? Great God! … Who was it? Desdemona (grido) Desdemona (shrieking) Ah! Ah! Desdemona Desdemona Nessuno … io stessa … Al mio No one … I myself … Commend me Dal di fuori, bussa alla porta. A knocking at the door is heard. Signor mi raccomanda … muoio innocente … To my lord … I die innocent … Addio. Farewell … Otello (contemplando il corpo di Desdemona Othello (contemplating the motionless body of inerte) Desdemona) Muore. She dies. Calma come la tomba. Still as a tomb. Otello Othello Emilia (picchia di nuovo) Emilia (again beating at the door) 32 O mentitrice! io l’uccisi. 32 O liar! I killed her. Aprite! Aprite! Open! Open!

42 Emilia Emilia Emilia Emilia Assassino! Murderer! O potenza divina! O divine powers!

Otello Othello Jago (ad Emilia) Iago (to Emilia) Fu di Cassio la druda. A Jago il chiedi. She was Cassio’s mistress. Ask Iago. Taci! Be silent!

Emilia Emilia Emilia Emilia A Jago?! Iago?! No, tutto rivelo! No! I will reveal everything!

Otello Othello Jago Iago A Jago. Iago. Taci! Be silent!

Emilia Emilia Emilia Emilia Stolto!! e tu il credesti? Fool! And you believed him? No! Costui dalla mia man quel fazzoletto No! He tore that handkerchief Svelse a viva forza. From my hand by force. Otello (fa per avventarsi contro Emilia) Othello (threatening Emilia) Negarlo ardisci? You dare deny it?! Cassio Cassio E nella mia dimora And I found that handkerchief Emilia Emilia Trovai quel vel. In my house. Non ti temo. I do not fear you. Montàno (entrando ed indicando Jago) Montano (entering with armed men and Otello (la afferra) Othello (he seizes her) Rodrigo morente mi svelò pointing to Iago) Bada! Beware! di quest’uom l’arti nefande. Dying, Roderigo revealed this man’s vile plottings to me. Emilia (si vincola e corre verso la porta, Emilia (frees herself and runs toward the door, gridando disperatamente) shouting desperately) Otello (a Jago) Othello (to Iago) Olà! Soccorso! Aiuto! Hey! Help! Help! Ah! discolpati! Ah! Prove your innocence! Otello uccise Desdemona! Othello has killed Desdemona! Jago (fuggendo) Iago (fleeing) No! No! SCENA IV SCENE IV Lodovico Lodovico Entrano Lodovico, Cassio e Jago, più tardi Lodovico, Cassio and Iago enter, then Montano Ferma! Stop him! Montàno con gente armata. and armed soldiers. Montàno Montano Cassio, Jago e Lodovico Cassio, Iago and Lodovico S’insegua. Pursue him. Quai grida! What are these shouts! Cassio e Lodovico Cassio and Lodovico (vedendo Desdemona) (seeing Othello and Desdemona) Afferratelo! Seize him! Orrore! Orror! Horror! Horror! Alcuni escono inseguendo Jago. Some men go out, pursuing lago. Emilia (a Jago) Emilia (to Iago) Jago, smentisci quel vile assassino. Iago, contradict that base murderer. Otello (slanciandosi per afferrar la spada) Othello (rushing forward to seize his sword) Hai tu creduto Desdemona infida? Parla! Did you believe Desdemona unfaithful? Speak! E il ciel non ha più fulmini? Has heaven no more thunderbolts?!

Jago Iago Lodovico Lodovico Tal la credea. So I believed her. La spada a me! Give me that sword!

Otello Othello Otello Othello Quel fazzoletto che un dì le diedi, That handkerchief that I once gave her, Tant’osi? You dare? A Cassio essa donava. She gave to Cassio. 33 Niun mi tema 33 Let no one fear me

43 S’anco armato mi vede. Even seeing me armed. Ecco la fine This is the end Del mio camin … Of my road … Oh! Gloria! Otello fu. Oh! Glory! Othello is dead.

Lascia cadere la spada e va presso al letto, He drops the sword, goes to the bed, and contemplando Desdemona. contemplates Desdemona.

Otello Othello E tu … come sei pallida! And you … how pale you are! E stanca, e muta, e bella, And weary, and silent, and beautiful, Pia creatura nata sotto maligna stella. Sainted creature born under a malign star. Fredda come la casta tua vita … Cold as your chaste life … E in cielo assorta. And borne up to heaven. Desdemona! Desdemona! … Desdemona! Desdemona! … Ah! … Morta! morta! morta! Ah! … Dead! … Dead! … Dead! …

Estraendo furtivamente dalle vesti un pugnale. He furtively draws a dagger from his garment.

Otello Othello Ho un’arma ancor! I still have a weapon!

Si ferisce. He stabs himself.

Cassio Cassio Ah! ferma! Ah! Stop!

Lodovico e Montàno Lodovico and Montano Sciagurato! Wretched man!

Otello Othello Pria d’ucciderti … Before killing you … Sposa … ti baciai. Wife … I kissed you. Or morendo … Now, dying … Nell’ombra … in cui mi giacio … In the darkness … where I lie … Un bacio … un bacio ancora … A kiss … a kiss again … Ah! … un altro bacio … Ah! … another kiss …

Muore. He dies.

Fine dell’Opera. End of the Opera.

44 Sir Colin Davis conductor

Sir Colin Davis is the London Symphony Orchestra’s President Sir Colin Davis ist Präsident des London Symphony Orchestras and was the Orchestra’s Principal Conductor between 1995 and und war zwischen 1995 und 2006 dessen Chefdirigent. Er nahm 2006. He has recorded widely with Philips, BMG and Erato as well umfangreich bei Philips, BMG, Erato und beim LSO Live-Label as LSO Live. His releases on LSO Live have won numerous prizes auf. Seine Einspielungen beim LSO Live-Label wurden häufig including Grammy and Gramophone Awards and have covered ausgezeichnet, zum Beispiel mit Grammy- und Gramophone- music by Berlioz, Verdi, Beethoven and Sibelius among others. Preisen. Zu diesen Aufnahmen gehören Interpretationen von Sir Colin has been awarded international honours by Italy, France, unter anderem Berlioz, Verdi, Beethoven und Sibelius. Sir Colin Germany and Finland and, in the Queen‘s Birthday Honours erhielt internationale Auszeichnungen in Italien, Frankreich, 2002, he was named a Member of the Order of the Companions Deutschland und Finnland, und während der Titelverleihung zum of Honour. In 2002 Sir Colin received the Classical BRIT award Geburtstag der britischen Königin Elizabeth II. 2002 wurde er for Best Male Artist and in 2003 was given the Yehudi Menuhin zum Mitglied des Ordens der Companions of Honour ernannt. Prize by the Queen of Spain for his work with young people. Sir Sir Colin sicherte sich diverse BRIT-Awards, und im Jahre 2003 Colin began his career at the BBC Scottish Orchestra, moving to erhielt er den Yehudi-Menuhin-Preis von der spanischen Königin Sadler‘s Wells in 1959. Following four years as Chief Conductor für seine Arbeit mit jungen Menschen. Sir Colin begann seine of the BBC Symphony Orchestra, he became Music Director of Laufbahn beim BBC Scottish Orchestra. 1959 wechselte er zur the Royal Opera House, Covent Garden in 1971 and Principal Sadler‘s Wells Opera Company nach London. Nach vier Jahren als Guest Conductor of the Boston Symphony Orchestra in 1972. Chefdirigent des BBC Symphony Orchestra wurde er 1971 zum Between 1983 and 1992 he worked with the Bavarian Radio Musikdirektor des Royal Opera Houses Covent Garden ernannt Symphony Orchestra. He was Principal Guest Conductor of the und 1972 zum ersten Gastdirigenten des Boston Symphony New York Philharmonic from 1998 through to the 2002/2003 Orchestra. Zwischen 1983–1992 arbeitete Sir Colin mit dem season, and has been Honorary Conductor of the Dresden Symhonieorchester des Bayerischen Rundfunks, und von 1998 bis Staatskapelle since 1990. zur Spielzeit 2002/2003 war er erster Gastdirigent des New York Philharmonic Orchestra. Ehrendirigent der Dresdner Staatskapelle ist er seit 1990.

Sir Colin Davis est le président du London Symphony Orchestra et a été son chef principal de 1995 à 2006. Il a réalisé de nombreux enregistrements chez Philips, BMG et Erato, ainsi que chez LSO Live. Ses disques publiés chez LSO Live ont remporté de nombreuses distinctions, notamment des Grammy et Gramophone Awards, et l’on peut y entendre, entre autres, des ouvres de Berlioz, Verdi, Beethoven et Sibelius. Sir Colin a reçu des distinctions internationales en Italie, en France, en Allemagne et en Finlande et, l‘occasion des Queen‘s Birthday Honours 2002, il a été nommé membre de l‘ordre des Companions of Honour. Sir Colin a été récompensé par les BRIT awards et, en 2003 la reine d‘Espagne lui a remis le Prix Yehudi Menuhin pour son travail avec les enfants. Sir Colin a débuté au BBC Scottish Orchestra, passant en 1959 au Théâtre de Sadler‘s Wells, Londres. Après avoir été pendant quatre ans le Premier Chef du BBC Symphony Orchestra, il est devenu Directeur musical du Royal Opera House de Covent Garden en 1971 et Premier Chef invité du Boston Symphony Orchestra l‘année suivante. De 1983 et 1992, il a travaillé avec l‘Orchestre symphonique de la Radio Bavaroise et il a été Premier Chef invité du New York Philharmonic de 1998 la saison 2002/2003 et il est chef honoraire de la Staatskapelle de Dresde depuis 1990.

45 © Lisa Kohler

Simon O’Neill tenor – Otello

New Zealander Simon O’Neill has rapidly established himself as Le Néo-Zélandais Simon O’Neill s’est rapidement imposé comme Der Neuseeländer Simon O’Neill hat sich äußerst schnell den Ruf one of the finest young heldentenors on the international stage. l’un des meilleurs ténors héroïques de la scène internationale. Il als einen der besten jungen Heldentenöre auf internationaler He is a principal artist with the Metropolitan Opera (New York), tient des premiers rôles au Metropolitan Opera (New York), à l’Opéra Ebene erobert. Er tritt häufig an der Metropolitan Opera (New York), the Royal Opera House (Covent Garden, London), and the Salzburg royal de Covent Garden (Londres) et au Festival de Salzbourg. A dem Royal Opera House Covent Garden (London) und bei den Festival. Simon has performed many roles including the title role son large répertoire figurent notamment le rôle titre de Lohengrin, Salzburger Festspielen auf. Zu seinen zahlreichen Rollen gehörten in Lohengrin, Max (Der Freischütz), Jeník (The Bartered Bride), Gran Max (Der Freischütz), Jeník (La Fiancée vendue), le Grand Prêtre die Titelrolle im Lohengrin, der Max (Der Freischütz), der Hans Sacerdote (Idomeneo), Die Zauberflöte, Parsifal, Janaček’s Glagolitic (Idomeneo) ; il a chanté également La Flûte enchantée, Parsifal, (Prodaná nevěsta [Die verkaufte Braut]) und der Oberpriester Mass, Mahler’s Eighth Symphony, Das Lied von der Erde with la Messe glagolitique de Janáček, la Huitième Symphonie de des Poseidon/Gran Sacerdote di Nettuno (Idomeneo). Zudem Pappano, and Beethoven’s Fidelio and Symphony No 9. His debut Mahler ainsi que son Chant de la terre avec Pappano, et Fidelio war er in der Zauberflöte, im Parsifal, in Janáčeks Glagolská EMI CD of Wagner scenes and arias has recently been released. et la Neuvième Symphonie de Beethoven. Son premier CD chez mše [Glagolitischer Messe], in Beethovens Fidelio und dessen 9. EMI, avec des airs et des scènes de Wagner, est sorti récemment. Sinfonie zu hören. Simon O‘Neills erste CD, mit Szenen und Arien Simon will sing in Die Walküre at La Scala during 2010 and in aus Wagners Opern, wurde vor kurzem von EMI veröffentlicht. Boris Godunov in 2012. Other forthcoming engagements include Simon O’Neill chantera La Walkyrie à la Scala de Milan en 2010 et Siegfried in Götterdämmerung, Parsifal (Vienna, Barcelona and Boris Godounov en 2012. Parmi ses autres engagements à venir, Für die Zukunft sind Auftritte in der Walküre an der La Scala für London), the Bayreuth Festival, Samson in Samson et Delilah citons Siegfried dans Le Crépuscule des dieux, Parsifal (Vienne, 2010 und im Boris Godunow für 2012 geplant. Darüber hinaus (Concertgebouw), Cavaradossi in Tosca (Deutsche Oper Berlin Barcelone et Londres), le Festival de Bayreuth, Samson dans wurde Simon O’Neill für den Siegfried in der Götterdämmerung, and Hamburg State Opera), and Die Meistersinger at Covent Garden. Samson et Dalila (Concertgebouw), Cavaradossi dans Tosca Auftritte im Parsifal (Wien, Barcelona und London) und bei (Deutsche Oper de Berlin et Staatsoper de Hambourg) et Les den Bayreuther Festspielen, den Samson in Samson et Dalila Simon O’Neill is a graduate of the University of Otago, Victoria Maîtres chanteurs à Covent Garden. (Concertgebouw), den Cavaradossi in der Tosca (Deutsche Oper University of Wellington, and the Manhattan School of Music, Berlin und Hamburger Staatsoper) sowie für Die Meistersinger and studied at the Juilliard Opera Center. Simon O’Neill est diplômé de l’université d’Otago, de l’université von Nürnberg am Royal Opera House, Covent Garden engagiert. du Victoria à Wellington et de la Manhattan School of Music ; il a aussi étudié au Juilliard Opera Center. Simon O’Neill hat Studienabschlüsse von der University of Otago, Victoria University of Wellington und der Manhattan School of Music und studierte am Juilliard Opera Center.

46 © Sim Canetty-Clarke

Gerald Finley bass-baritone – Jago

Canadian baritone Gerald Finley began singing as a chorister in Le baryton canadien Gerald Finley a commencé à chanter comme Der kanadische Baritonsänger Gerald Finley begann seine Ottawa before completing his musical studies in the UK at the choriste à Ottawa avant de parfaire ses études musicales au Gesangslaufbahn als Chorknabe in Ottawa, bevor er in Royal College of Music, King’s College, Cambridge, and the National Royaume-Uni, au Royal College of Music de Londres, au King’s Großbritannien am Royal College of Music in London, King’s Opera Studio. College de Cambridge et au National Opera Studio. College in Cambridge und am National Opera Studio in London seine musikalische Ausbildung abschloss. After early appearances at Glyndebourne in Mozart’s baritone Engagé très vite à Glyndebourne dans des rôles de barytons roles, he has since appeared in leading roles at the world’s opera mozartiens, il s’est produit ensuite sur les scènes lyriques du Nach den ersten Auftritten in Glyndebourne in Baritonrollen von houses including London, Berlin, Paris, Amsterdam, Salzburg, monde entier, notamment à Londres, Berlin, Paris, Amsterdam, Mozart sang er gewichtige Rollen an den großen Opernhäusern New York, Chicago, and San Francisco. He created the lead roles Salzbourg, New York, Chicago et San Francisco. Il a incarné les der Welt wie z. B. in London, Berlin, Paris, Amsterdam, Salzburg, in major premières, including J Robert Oppenheimer (Doctor rôles principaux dans des créations mondiales importantes, New York, Chicago und San Francisco. Er schuf die führenden Atomic), Harry Heegan (The Silver Tassie), Mr Fox (Fantastic Mr notamment J. Robert Oppenheimer (Doctor Atomic), Harry Rollen in bedeutsamen Uraufführungen wie z. B. den J. Robert Fox) and Jaufre Rudel (L’amour de loin), and he played Owen Heegan (The Silver Tassie), Mr Fox (Fantastic Mr Fox) et Jaufré Oppenheimer (Doctor Atomic), Harry Heegan (The Silver Tassie), Wingrave in the Channel 4 (UK) film of Britten’s opera. Rudel (L’Amour de loin), et il a chanté Owen Wingrave dans Mr. Fox (Fantastic Mr Fox) und Jaufre Rudel (L’amour de loin). l’opéra de Britten pour un film de Channel 4 (Royaume-Uni). Er sang auch den Owen Wingrave in der beim britischen His discography includes work with Sir Simon Rattle, Bernard Fernsehsender Channel 4 geschaffenen Produktion von Brittens Haitink, Nikolaus Harnoncourt, Kurt Masur and Vladimir Jurowski. Sa discographie comprend des collaborations avec Sir Simon gleichnamiger Fernsehoper. His releases on Hyperion Records include a highly acclaimed disc Rattle, Bernard Haitink, Nikolaus Harnoncourt, Kurt Masur et of Schumann’s Dichterliebe, and he won a Gramophone award Vladimir Jurowski. Parmi ses publications chez Hyperion Records, Zu Gerald Finleys Einspielungen gehören Aufnahmen unter for Songs by Samuel Barber with Julius Drake. He has been twice on remarque un enregistrement très bien accueilli des Amours Sir Simon Rattle, Bernard Haitink, Nikolaus Harnoncourt, Kurt nominated as Gramophone’s Artist of the Year in 2006 and 2009. du poète de Schumann, et il a obtenu un Gramophone Award Masur und Wladimir Jurowski. Bei Hyperion Records nahm er die pour son disque de mélodies de Samuel Barber avec Julius Drake. hochgepriesene CD mit Schumanns Dichterliebe auf, und für die Il a été nommé à deux reprises Artiste de l’année par le magazine CD Lieder von Samuel Barber gewann er zusammen mit Julius Gramophone, en 2006 et 2009. Drake einen Preis der britischen Musikzeitschrift Gramophone. Für diese Preisverleihungen bei Gramophone wurde er auch zweimal, nämlich 2006 und 2009, zum Künstler des Jahres nominiert.

47 Anne Schwanewilms soprano – Desdemona

Anne Schwanewilms was born into a musical family in Anne Schwanewilms est née au sein d’une famille de musiciens Anne Schwanewilms wurde in eine musikalische Familie in Gelsenkirchen in Germany, but studied gardening before training à Gelsenkirchen, en Allemagne, mais a étudié le jardinage avant Gelsenkirchen geboren, studierte jedoch zuerst Gartenbau, bevor as a singer with the great German bass Hans Sotin in Cologne. d’apprendre le chant auprès de la grande basse allemande Hans sie sich bei dem großartigen deutschen Bassisten Hans Sotin Her first soprano role was Gutrune in Götterdämmerung for the Sotin à Cologne. Son premier rôle de soprano a été Gutrune dans in Köln zur Sängerin ausbildete. Ihre erste Sopranrolle war die 1996 Bayreuth Festival, and she quickly came to specialise in the Le Crépuscule des dieux au Festival de Bayreuth 1996, et elle s’est Gutrune in der Götterdämmerung für die Bayreuther Festspiele German Romantic soprano repertory, performing at Glyndebourne rapidement spécialisée dans le répertoire romantique allemand 1996. Schnell spezialisierte sie sich auf das deutschromantische in the title role of Weber’s Euryanthe (2002), and as Elettra in pour soprano, se produisant à Glyndebourne dans le rôle titre Sopranrepertoire, trat in Glyndebourne in der Titelrolle von Webers Idomeneo (2003) under Simon Rattle. d’Euryanthe de Weber (2002) et en Elettra dans Idomeneo (2003) Euryanthe (2002) auf und sang auch die Elektra in Idomeneo (2003) sous la direction de Simon Rattle. unter Sir Simon Rattle. She has recently sung Roxana in Szymanowski’s King Roger in Barcelona, and the Countess in The Marriage of Figaro at the Elle a incarné récemment Roxana dans Le Roi Roger de Vor kurzem war sie als Roxana in Szymanowskis Król Roger Lyric Opera of Chicago. She has sung in concert with the Berlin Szymanowski à Barcelone, et la Comtesse des Noces de Figaro [König Roger] in Barcelona und als Gräfin in Le nozze di Figaro Philharmonic, Leipzig Gewandhaus, Concertgebouw, French au Lyric Opera de Chicago. Elle a chanté en concert avec des [Figaros Hochzeit] an der Lyric Opera of Chicago zu hören. Im National and Hallé orchestras, and with conductors including Sir orchestres comme le Philharmonique de Berlin, le Gewandhaus Konzert sang sie mit den Berliner Philharmonikern, dem Leipziger Colin Davis, Sir Simon Rattle, Daniel Barenboim, Riccardo Chailly de Leipzig, le Concertgebouw d’Amsterdam, le National de Gewandhausorchester, Koninklijk Concertgebouworkest, Orchestre and Christoph von Dohnányi amongst others. France et le Hallé de Manchester, et sous la direction de chefs National de France und dem Hallé Symphony Orchestra unter tels Sir Colin Davis, Sir Simon Rattle, Daniel Barenboim, Riccardo anderem unter solchen Dirigenten wie Sir Colin Davis, Sir Simon Anne Schwanewilms works with British accompanists Malcolm Chailly et Christoph von Dohnányi, entre autres. Rattle, Daniel Barenboim, Riccardo Chailly und Christoph von Dohnányi. Martineau and Roger Vignoles, with whom she has recorded a Strauss collection which was nominated as Vocal Recording of Anne Schwanewilms travaille avec les accompagnateurs Anne Schwanewilms arbeitet mit den britischen Pianisten Malcolm 2008 by BBC Music Magazine. In 2002 she was named Singer of britanniques Malcolm Martineau et Roger Vignoles ; avec ce Martineau und Roger Vignoles zusammen, mit denen sie eine the Year by the German magazine Opernwelt. dernier, elle a enregistré une anthologie Strauss nommée comme Strauss-CD eingespielt hat, die 2008 vom BBC Music Magazine in Enregistrement vocal en 2008 par le BBC Music Magazine. En der Kategorie Gesang als beste Aufnahme des Jahres nominiert 2002, elle a été désignée comme Chanteuse de l’année par le wurde. 2002 zeichnete die Zeitschrift Opernwelt Anne Schwanewilms magazine allemand Opernwelt. zur besten GesangsinterpretIn des Jahres aus.

48 © Jack Liebeck

Allan Clayton tenor – Cassio

Allan Clayton was a chorister at Worcester Cathedral and studied Allan Clayton a été choriste à la cathédrale de Worcester et a étudié Allan Clayton war Chorknabe an der Kathedrale in Worcester und at St John’s College, Cambridge (on a choral scholarship) and au St John’s College de Cambridge (bénéficiant d’une bourse) et studierte sowohl am St John’s College, Cambridge (mit einem at the Royal Academy of Music, where he was awarded an à la Royal Academy of Music de Londres, où il a obtenu l’une des Chorstipendium) als auch an der Royal Academy of Music, London, inaugural Sir Elton John Scholarship and a John Lewis Award. premières bourses Sir-Elton-John et le prix John-Lewis. wo er das erste Sir-Elton-John-Stipendium sowie einen John-Lewis- Preis erhielt. He was a member of the BBC Radio 3 New Generation Artists Il a fait partie du programme Artistes de la Nouvelle Génération scheme between 2007–2009, and was awarded a Borletti-Buitoni de la BBC Radio 3 de 2007 à 2009, et en 2008 a reçu une bourse Er nahm zwischen 2007 und 2009 am Förderprogramm des Trust Fellowship in 2008, and the John Christie Award at the du Borletti-Buitoni Trust et le prix John-Christie au Festival de Radiosenders BBC Radio 3 für junge Künstler New Generation 2008 Glyndebourne Festival. He was also nominated for both Glyndebourne. Il a également été nommé à la fois au prix RPS Artists teil, erhielt 2008 ein Förderstipendium für angehende the 2009 RPS Young Artist award and the 2009 South Bank Show Young Artist 2009 et au prix South Bank Show Breakthrough 2009. Musiker (Fellowship) des Borletti-Buitoni-Trusts und wurde Breakthrough Award. beim Glyndebourne Festival 2008 mit dem John-Christie-Preis A la scène, il a chanté le rôle titre d’Albert Herring à l’Opéra- ausgezeichnet. Er war 2009 auch für den Preis der britischen His stage roles have included the title role in Albert Herring for Comique (Paris), au Festival de Glyndebourne et à la Britten Pears Royal Philharmonic Society in der Kategorie Junge Künstler sowie Opéra Comique in Paris, the Glyndebourne Festival and the Britten School ; le rôle titre de Peter Grimes ; Tamino (La Flûte enchantée) 2009 für den Förderpreis Breakthrough Award der Londoner Pears School; the title role in Peter Grimes; Tamino (The Magic et le Comte Vandemont (Iolanta). Parmi ses engagements au South Bank Show nominiert. Flute); and Count Vandemont (Iolanta). Concert engagements concert, citons les Passions selon saint Matthieu et saint Jean, le have included Bach’s St Matthew Passion and St John Passion, Te Deum de Bruckner, The Dream of Gerontius d’Elgar et le War Zu seinen Bühnenrollen gehörten unter anderem die Titelrolle in Bruckner’s Te Deum, Elgar’s The Dream of Gerontius and Britten’s Requiem de Britten. Allan Clayton a donné des récitals au Festival Albert Herring für die Opéra Comique in Paris, das Glyndebourne War Requiem. Allan Clayton has given recitals at the Cheltenham de musique de Cheltenham, au Festival de la Ville de Londres, Festival und die Britten Pears School, die Titelrolle in Peter Grimes, Music Festival, the City of London Festival, Aldeburgh Festival, au Festival d’Aldeburgh, au Wigmore Hall et à St John’s, Smith Tamino (Die Zauberflöte) und der Graf von Vaudemont (Jolanthe). Wigmore Hall, St John’s Smith Square, and Kettle’s Yard in Cambridge. Square (Londres), et à Kettle’s Yard (Cambridge). Im Konzert war Allan Clayton in Bachs Matthäuspassion und Johannespassion, Bruckners Te Deum, Elgars Dream of Gerontius und Brittens War Requiem zu hören. Allan Clayton gab Solokonzerte beim Cheltenham Music Festival, City of London Festival, Aldeburgh Festival, in der Wigmore Hall in London, in der Londoner Konzertkirche im St John’s Smith Square und im Kettle’s Yard in Cambridge.

49 © Chris Gloag

Ben Johnson tenor – Roderigo

Ben Johnson studied at the Royal College of Music and at the Ben Johnson a étudié au Royal College of Music et à la Benjamin Ben Johnson studierte am Royal College of Music in London Benjamin Britten International Opera School. Britten International Opera School à Londres. und an dem mit dieser Einrichtung verbundenen postgradualen Operninstitut Benjamin Britten International Opera School. He won the First Prize at the 2008 Kathleen Ferrier awards, and Il a remporté en 2008 le premier prix aux Kathleen Ferrier Awards, is increasingly in demand as an oratorio soloist around the UK et c’est un chanteur d’oratorio de plus en plus recherché au Seitdem er 2008 bei den Kathleen-Ferrier-Preisverleihungen mit and Europe. He has worked with such conductors as Sir Charles Royaume-Uni et en Europe. Il a collaboré avec des chefs comme dem Ersten Preis ausgezeichnet wurde, möchten ihn immer mehr Mackerras and Harry Bicket, with whom he made his BBC Proms Sir Charles Mackerras et Harry Bicket, avec lequel il a fait ses débuts Ensembles in Großbritannien und Europa als Oratoriensolisten debut singing Handel’s Samson in 2009. He has recently debuted aux BBC Proms dans Samson de Haendel en 2009. Récemment, engagieren. Er arbeitete mit solchen Dirigenten wie z. B. Sir with Scottish Opera, the Classical Opera Company, English National il a fait ses débuts au Scottish Opera, à la Classical Opera Company, Charles Mackerras und Harry Bicket zusammen. Mit Letztgenantem Opera and the Glyndebourne Festival Opera. à l’English National Opera et à l’Opéra du Festival de Glyndebourne. bestritt er 2009 sein BBC Proms-Debüt, wo er in Händels Samson sang. In jüngster Zeit war er an der Scottish Opera, mit der Engagements in 2009 and 2010 include Wozzeck in concert with Ses engagements en 2009 et 2010 incluent Wozzeck en concert Classical Opera Company, an der English National Opera und Esa-Pekka Salonen at the Royal Festival Hall and the Théâtre des avec Esa-Pekka Salonen au Royal Festival Hall (Londres) et au der Glyndebourne Festival Opera zu hören. Champs-Elysées, Britten’s Les Illuminations with the Orchestra of Théâtre des Champs-Elysées (Paris), Les Illuminations de Britten Scottish Opera under Francesco Corti, a return to Scottish Opera avec l’Orchestre du Scottish Opera sous la direction de Francesco Zu seinen Verpflichtungen 2009 und 2010 gehören der Wozzeck to cover Nemorino (The Elixir of Love), Novice (Billy Budd) in a new Corti, un retour au Scottish Opera en Nemorino (L’Elixir d’amour), am Théâtre des Champs-Élysées und in einer Konzertaufführung Glyndebourne production conducted by Sir Mark Elder, his debut le Novice (Billy Budd) dans une nouvelle production à Glyndebourne unter Esa-Pekka Salonen in der Royal Festival Hall in London, with Opéra de Lyon, and recitals at the Gergiev Festival in Rotterdam, dirigée par Sir Mark Elder, ses débuts à l’Opéra de Lyon, des récitals Brittens Les Illuminations mit dem Orchester der Scottish the Chelsea Schubert and Oxford Lieder festivals, and a recording au Festival Gergiev de Rotterdam, au Festival Schubert de Chelsea Opera unter Francesco Corti, eine Rückkehr zur Scottish Opera of Britten’s John Donne Sonnets with Malcolm Martineau. et au Festival de lieder d’Oxford, et un enregistrement des Sonnets als Ersatzbesetzung für den Nemorino (L’elisir d’amore [Der de John Donne de Britten avec Malcolm Martineau. Liebestrank]), der Neuling (Billy Budd) in einer neuen Inszenierung in Glyndebourne unter der musikalischen Leitung von Sir Mark Elder, das Debüt an der Opéra de Lyon und Solokonzerte beim Gergiev Festival in Rotterdam, dem Chelsea Schubert Festival und dem Oxford Lieder Festival sowie eine Aufnahme von Brittens John-Donne-Sonetten mit Malcolm Martineau.

50 Alexander Tsymbalyuk bass – Lodovico

Born in the Ukraine in 1976, Alexander Tsymbalyuk studied at the Né en Ukraine en 1976, Alexander Tsymbalyuk a étudié au Alexandr Zymbaljuk wurde 1976 in der Ukraine geboren und Odessa Conservatory. He was a member of the International Opera Conservatoire d’Odessa. Membre de l’Opéra-Studio à Hambourg de studierte am Konservatorium in Odessa. Er war Mitglied des Studio in Hamburg (2001–03) and is currently a member of the 2001 à 2003, il fait partie actuellement de la troupe de la Staatsoper Internationalen Opernstudios in Hamburg (2001-2003) und ist Hamburg State Opera, with whom he has performed La traviata, de Hambourg, avec laquelle il a interprété La Traviata, La Femme zurzeit festes Ensemblemitglied an der Hamburgischen Staatsoper, Die Frau ohne Schatten, Rigoletto, La bohème, Tannhäuser, Billy sans ombre, Rigoletto, La Bohème, Tannhäuser, Billy Budd, Lucia wo er in La Traviata, Die Frau ohne Schatten, Rigoletto, La Bohème, Budd, Donizetti’s Lucia di Lammermoor, and Gounod’s Faust. He di Lammermoor de Donizetti et Faust de Gounod. Il a récemment Tannhäuser, Billy Budd, Donizettis Lucia di Lammermoor und has recently performed in a new production of The Tales of Hoffman participé à une nouvelle production des Contes d’Hoffmann et Gounods Faust auftrat. In letzter Zeit war er in neuen Inszenierungen and Rheingold at Hamburg, toured in Japan, and debuted at the de L’Or du Rhin à Hambourg, fait une tournée au Japon et débuté von Les Contes d’Hoffmann [Hoffmanns Erzählungen] und Das Palau de les Arts ‘Reina Sofia’ in Valencia in Turandot. au Palau de les Arts « Reina Sofia » à Valence dans Turandot. Rheingold in Hamburg zu hören und auf Konzertreise in Japan. Zudem bestritt er in Turandot sein Debüt am Palau de les Arts Alexander Tsymbalyuk’s repertoire also includes The Marriage Alexander Tsymbalyuk a également à son répertoire Les Noces „Reina Sofia“ in Valencia. of Figaro, A Masked Ball, Die Meistersinger, Falstaff, The Barber de Figaro, Un bal masqué, Les Maîtres chanteurs, Falstaff, Le of Seville and Verdi’s Attila. In concert he has appeared at the Barbier de Séville et Attila de Verdi. En concert, il s’est produit Alexandr Zymbaljuks hat auch Le nozze di Figaro [Figaros Hochzeit], Maggio Musicale Fiorentino under the baton of Zubin Mehta, as au Mai musical florentin sous la direction de Zubin Mehta, ainsi Un ballo in maschera [Ein Maskenball], Die Meistersinger von well as the Prologue in Boito’s Mefistofeles with the Accademia que dans le rôle du Prologue in dans Mefistofele de Boito avec Nürnberg, Falstaff, Il barbiere di Seviglia [Der Barbier von Sevilla] Santa Cecilia conducted by Antonio Pappano. Future highlights l’Académie Sainte-Cécile dirigée par Antonio Pappano. Parmi les und Verdis Attila in seinem Repertoire. Im Konzert trat er bei den include debuts at the Metropolitan Opera (New York), Bayerische faits marquants à venir, citons ses débuts au Metropolitan Opera Festspielen Maggio Musicale Fiorentino unter der Leitung von Staatsoper (Munich) and Royal Danish Opera (Copenhagen). (New York), à la Staatsoper de Bavière (Munich) et à l’Opéra royal Zubin Mehta sowie im Prolog von Boitos Mefistofeles mit der danois (Copenhague). Accademia Nazionale di Santa Cecilia unter der Leitung von Antonio He has won numerous awards including most recently at the Pappano auf. Zu den zukünftigen Höhepunkten zählen seine 2007 International Tchaikovsky Competition in Moscow. Il a remporté de nombreux prix, notamment au Concours Debüts an der Metropolitan Opera (New York), Bayerischen international Tchaïkovski de Moscou en 2007. Staatsoper (München) und dem Kongelige Teater (Kopenhagen).

Alexandr Zymbaljuk gewann zahlreiche Preise wie z. B. unlängst den Internationalen Tschaikowski-Wettbewerb in Moskau 2007.

51 Matthew Rose bass – Montàno

British bass Matthew Rose studied at the Curtis Institute of Music La basse britannique Matthew Rose a étudié au Curtis Institute of Der britische Bassist Matthew Rose studierte am Curtis Institute in the USA, and has sung with many of the world’s opera companies Music (USA) et a chanté sur les plus grandes scènes mondiales, of Music in den USA und hat an vielen führenden Opernhäusern including La Scala, the Royal Opera House (Covent Garden, UK), tels l’Opéra royal de Covent Garden et l’English National Opera der Welt gesungen einschließlich der La Scala, dem Royal Opera Glyndebourne Festival, English National, Welsh National, and (Londres), le Festival de Glyndebourne, l’Opéra national gallois, House Covent Garden, der Glyndebourne Festival Opera, English Houston Grand Opera, Teatro Réal, and Opéra National de Lyon. le Grand Opera de Houston, le Teatro Real de Madrid et l’Opéra National Opera, Welsh National Opera, Houston Grand Opera, dem His roles have included Polyphemus (Acis and Galatea), Colline national de Lyon. Parmi ses rôles, citons Polyphème (Acis et Galatée), Teatro Real und der Opéra National de Lyon. Zu seinen Rollen (La bohème), Masetto (Don Giovanni), Mozart’s Figaro, Leporello Colline (La Bohème), Masetto (Don Giovanni), le Figaro de Mozart, gehörten der Polyphemus (Acis and Galatea), Colline (La Bohème), (Don Giovanni), and Speaker (The Magic Flute). Leporello (Don Giovanni) et l’Orateur (La Flûte enchantée). Masetto (Don Giovanni), Mozarts Figaro, Leporello (Don Giovanni) und der Sprecher (Die Zauberflöte). He has appeared at the Edinburgh, Chester and Cheltenham Il s’est produit aux Festivals internationaux d’Edimbourg, Chester International festivals and at St John’s, Smith Square, in London, et Cheltenham et à St John’s, Smith Square (Londres), chantant Er trat bei den internationalen Festivals in Edinburgh, Chester und and alongside performers including the London Symphony avec le London Symphony Orchestra (Sir Colin Davis, Daniel Harding Cheltenham auf und war auch in der Londoner Konzertkirche im Orchestra (Sir Colin Davis, Daniel Harding, and Michael Tilson et Michael Tilson Thomas), la Staatskapelle de Dresde (Sir Charles St John’s Smith Square zu hören. Er arbeitete u. a. mit solchen Thomas), the Dresden Staatskapelle (Sir Charles Mackerras), Mackerras) et l’Orchestre de la Tonhalle de Zurich (Charles Dutoit). Orchestern und Dirigenten zusammen wie dem London Symphony and the Zurich Tonhalle Orchestra (Charles Dutoit). Orchestra (Sir Colin Davis, Daniel Harding und Michael Tilson Parmi ses engagements à venir, on remarque ses débuts au Thomas), der Sächsischen Staatskapelle Dresden (Sir Charles Future engagements include his debut at the Metropolitan Opera Metropolitan Opera (New York), une nouvelle invitation à Covent Mackerras) und dem Tonhalle-Orchester Zürich (Charles Dutoit). (New York), a return to Covent Garden for The Cunning Little Garden pour La Petite Renarde rusée et une autre au Festival de Vixen and the Glyndebourne Festival for The Rake’s Progress, Glyndebourne pour The Rake’s Progress, la Neuvième Symphonie Für die Zukunft sind Matthew Roses Debüt an der Metropolitan Beethoven’s Symphony No 9 with the Los Angeles Philharmonic avec le Los Angeles Philharmonic (Gustavo Dudamel), et La Création Opera (New York) geplant, eine Rückkehr an das Royal Opera House, (Gustavo Dudamel), and Haydn’s The Creation and The Seasons et Les Saisons de Haendel avec le Monteverdi Choir (Sir John Covent Garden für Přihody lišky bystroušky [Das listige Füchslein] with the Monteverdi Choir (Sir John Eliot Gardiner) at Carnegie Eliot Gardiner) au Carnegie Hall (New York). und zur Glyndebourne Festival Opera für den Rake’s Progress Hall (New York). [Der Wüstling]. Zudem stehen Beethovens 9. Sinfonie mit der Los Angeles Philharmonic (Gustavo Dudamel) und von Haydn sowohl Die Schöpfung und Die Jahreszeiten mit dem Monteverdi Choir (Sir John Eliot Gardiner) in der Carnegie Hall (New York) auf dem Plan.

52 Lukas Jakobski bass – Araldo (Herald)

Polish born Lukas Jakobski recently joined the Jette Parker Young D’origine polonaise, Lukas Jakobski a récemment rejoint le Programme Der in Polen geborene Lukas Jakobski begann unlängst mit dem Artists Programme at the Royal Opera House (Covent Garden, pour jeunes artistes Jette Parker de l’Opéra royal de Covent Garden Förderprogramm des Royal Opera House, Covent Garden (London), London). In his first season he sang roles in Verdi’s Don Carlo, (Londres). Au cours de sa première saison, il a chanté dans Don dem Jette Parker Young Artists Programme. In seiner ersten Spielzeit Prokofiev’s The Gambler and Verdi’s Simon Boccanegra. Carlo de Verdi, Le Joueur de Prokofiev et Simon Boccanegra de Verdi. sang er Rollen in Verdis Don Carlos, Prokofjews Die Spieler und Verdis Simon Boccanegra. He studied singing at the Academy of Music in Poznań, performing Il a étudié le chant à l’Académie de musique de Poznań, se in various roles, culminating in a critically acclaimed performance produisant dans plusieurs rôles, avec comme prestation la plus Lukas Jakobski studierte Gesang an der Akademia Muzyczna in as Leporello in Mozart’s Don Giovanni. In 2004 he moved to London marquante un Leporello, dans Don Giovanni de Mozart, acclamé Posen [Poznań] und trat dort in diversen Rollen auf, die in einer to study at the Royal College of Music with Graeme Broadbent, par la critique. En 2004, il s’est installé à Londres afin d’étudier hochgepriesenen Interpretation des Leporellos in Mozarts Don and was awarded the Kathleen Ferrier Bursary and the Concordia avec Graeme Broadbent au Royal College of Music, et a obtenu Giovanni kulminierten. 2004 zog er nach London, um bei Graeme Serena Nevill Award. la Bourse Kathleen-Ferrier et le prix Concordia-Serena-Nevill. Broadbent am Royal College of Music zu studieren. Luka Jakobski erhielt ein Kathleen-Ferrier-Stipendium [Busary] und den Serena- Lukas Jakobski recently sang in The Magic Flute and Carmen for Lukas Jakobski a chanté récemment dans La Flûte enchantée et Nevill-Preis der britischen Concordia-Stiftung. Glyndebourne Touring Opera, as well as Bach’s St Matthew Passion Carmen avec le Glyndebourne Touring Opera, ainsi que dans la for Glyndebourne Festival Opera, The Barber of Seville (Grange Passion selon saint Matthieu de Bach à l’Opéra du Festival de Lukas Jakobski sang vor kurzem in der Zauberflöte und Carmen für Park Opera), The Magic Flute (Dartington Opera Festival) and Orfeo Glyndebourne, Le Barbier de Séville (Grange Park Opera), La Flûte die Glyndebourne Touring Opera sowie in Bachs Matthäuspassion (English Bach Festival). Concerts have included Bach’s St John enchantée (Festival d’opéra de Dartington) et Orfeo (English Bach für die Glyndebourne Festival Opera, im Barbiere di Seviglia Passion with Stephen Layton and Polyphony, Acis and Galatea at Festival). Au concert, il a chanté la Passion selon saint Jean de [Der Barbier von Sevilla] (Grange Park Opera), in der Zauberflöte the London Handel Festival, and Bach’s St Matthew Passion with Bach avec Stephen Layton et Polyphony, Acis et Galatée au Festival (Dartington Opera Festival) und im Orfeo (English Bach Festival). Zu the Dunedin Consort. His repertoire also includes Verdi’s Requiem, Haendel de Londres et la Passion selon saint Matthieu de Bach Konzertauftritten gehörten Bachs Johannespassion mit Polyphony Beethoven’s Symphony No 9, Mozart’s Coronation Mass and avec le Dunedin Consort. Son répertoire compte également le unter Stephen Layton, Acis and Galatea beim London Handel Requiem, and Handel’s The Resurrection and Messiah. Requiem de Verdi, la Neuvième Symphonie de Beethoven, la Messe Festival und Bachs Matthäuspassion mit dem Dunedin Consort. du couronnement et le Requiem de Mozart, et La Résurrection et Sein Repertoire umfasst auch Verdis Requiem, Beethovens Le Messie de Haendel. Sinfonie Nr. 9, Mozarts Krönungsmesse und Requiem sowie Händels Oratorien La ressurezione und Messiah.

53 © Studio Aragona

Eufemia Tufano mezzo-soprano – Emilia

Italian mezzo-soprano Eufemia Tufano was born in Naples, and La mezzo-soprano italienne Eufemia Tufano est née à Naples et a Die italienische Altistin Eufemia Tufano wurde in Neapel geboren studied at the Conservatory of Salerno, the Conservatorio San étudié au Conservatoire de Salerne, au Conservatoire San Pietro und studierte in Italien am Conservatorio San Pietro a Maiella in Pietro a Maiella, and the Academy of Martina Franca in Italy. She a Maiella de Naples et à l’Académie de Martina Franca en Italie. Salerno und an der Accademia Paolo Grassi in Martina Franca. Ihre made her opera debut in 2000, performing in Rossini’s Cenerentola Elle a fait ses débuts scéniques en 2000, dans La Cenerentola de ersten großen Opernauftritte bestritt sie 2000, wo sie in Rossinis at the Siena Theatre and at Le Jongleur de Notre Dame, both Rossini, au Théâtre de Sienne et dans Le Jongleur de Notre Dame, Cenerentola [Aschenbrödel] am Teatro dei Rinnovati in Siena und under Gianluigi Gelmetti, and in Carmen at the Ravenna Festival. ces deux ouvrages sous la direction de Gianluigi Gelmetti, et dans in Massenets Le Jongleur de Notre Dame [Der Gaukler unserer Carmen au Festival de Ravenne. Lieben Frau] – beide unter Gianluigi Gelmetti – sowie in Carmen In 2004 she sang Flora (La traviata) conducted by Lorin Maazel beim Ravenna Festival zu hören war. in the production that officially re-opened La Fenice in Venice En 2004, elle a chanté Flora (La Traviata) sous la direction de Lorin after a fire in 1996. In 2007 she sang Meg (Falstaff) conducted by Maazel dans la production qui a marqué la réouverture officielle 2004 sang sie die Flora (La Traviata) unter Lorin Maazel in der Jeffrey Tate at the opening season of the theatre of San Carlo in de la Fenice de Venise après l’incendie de 1996. En 2007, elle a Inszenierung, die zur offiziellen Wiedereröffnung des Teatro La Naples, and in 2008 she was Fenena in Nabucco at the Arena of incarné Meg (Falstaff) sous la direction de Jeffrey Tate lors de la Fenice in Venedig nach dem Brand von 1996 gespielt wurde. 2007 Verona, conducted by Daniel Oren. Recent engagements include saison d’ouverture du Théâtre San Carlo de Naples et, en 2008, elle war sie unter Jeffrey Tate als Mrs. Meg Page bei der ersten Stagione Vivaldi’s Stabat Mater with Antonio Florio, Adalgisa in Norma at était Fenena dans Nabucco aux Arènes de Vérone, sous la baguette des Teatro di San Carlo in Neapel zu hören. 2008 trat sie in der the Teatro Politeama Greco in Lecce, and Regan in Cagnoni’s de Daniel Oren. Parmi ses engagements récents, on remarque le Arena von Verona als Fenena im Nabucco [Nebukadnezar] unter King Lear in the Martina Franca Festival. Stabat Mater de Vivaldi avec Antonio Florio, Adalgisa dans Norma der musikalischen Leitung von Daniel Oren auf. In jüngster Zeit au Teatro Politeama Greco de Lecce et Regan dans Le Roi Lear wurde Eufemia Tufano für Vivaldis Stabat mater unter Antonio Eufemia Tufano is also a committed performer of lieder and de Cagnoni au Festival de Martina Franca. Florio, als Adalgisa in Norma am Teatro Politeama Greco in Lecce oratorio, in a repertoire ranging from Bach, Purcell and Scarlatti und als Regan in Cagnonis Re Lear [König Lear] beim Festival della to Stravinsky, de Falla and Weill. Eufemia Tufano consacre une part importante de sa carrière au Valle d’Itria in Martina Franca engagiert. lied et à l’oratorio, dans un répertoire allant de Bach, Purcell et Scarlatti à Stravinsky, Falla et Weill. Eufemia Tufano ist auch eine fleißige Interpretin von Liedern und Oratorien, und ihr Repertoire erstreckt sich von Bach, Purcell und Scarlatti bis zu Strawinsky, Falla und Weill.

54 London Symphony Chorus

President President Emeritus Sopranos Sir Colin Davis CH André Previn KBE Kerry Baker, Ann Cole, Debra Colvin, Lucy Craig, Emma Craven, Anna Daventry, Gabrielle Edwards, Sophie Fetocacis, Eileen Fox, Kate Gardner, Joanna Gueritz, Vice Presidents Chorus Director Helen Gilheany, Irene Gough, Judith Harris, Jessica Harris, Carolin Harvey, Claudio Abbado Joseph Cullen Emily Hoffnung*, Gladys Hosken, Claire Hussey, Debbie Jones*, Helen Lawford*, Michael Tilson Thomas Cinde Lee, Priscilla Macpherson, Meg Makower, Alison Marshall, Jane Morley, Dorothy Nesbit, Jennifer Norman, Emily Norton, Andra Patterson, Ann Pfeiffer, Chairman Accompanist Sue Pollard, Maria Simoes, Jenny Thomas, Julia Warner James Warbis Roger Sayer Altos Mary Baker, Sarah Biggs, Katrina Bishop, Elizabeth Boyden, Jo Buchan*, Since its formation in 1966 the London Symphony Chorus Alexis Calice, Lizzy Campbell, Sarah Castleton, Rosemary Chute, Yvonne Cohen, has consolidated a broad repertoire and has commissioned Liz Cole, Genevieve Cope, Janette Daines, Maggie Donnelly, Diane Dwyer, works from Sir John Tavener, Sir Peter Maxwell Davies, Michael Linda Evans, Lydia Frankenburg*, Christina Gibbs, Yoko Harada, Amanda Holden, Berkeley and Jonathan Dove. In 2008 the Chorus also took part Dee Home, Jo Houston, Elisabeth Iles, Sue Jones, Vanessa Knapp, Gillian Lawson, in the world première of James MacMillan’s St John Passion with Susan Lee, Selena Lemalu, Catherine Lenson, Belinda Liao, Etsuko Makita, the London Symphony Orchestra and Sir Colin Davis. Barbara Marchbank, Aoife McInerney, Caroline Mustill, Helen Palmer, Susannah Priede, Lucy Reay, Clare Rowe, Nesta Scott, Lis Smith, Jane Steele, As well as appearing regularly in the major London venues, the Claire Trocmé, Agnes Vigh, Mimi Zadeh LSC tours extensively throughout Europe and has visited North America, Israel, Australia and the Far East. Tours in 2009 included Tenors Luxembourg, Eire, Rome and Valencia. Paul Allatt, Robin Anderson, Lorne Cuthbert, John Farrington, Matthew Flood, Stephen Hogg, Anthony Instrall, Francis Letschka, John Marks, Alastair Mathews, The Chorus has an extensive discography of over 140 recordings, John Moses, Malcolm Nightingale, Panos Ntourntoufis, Daniel Owers, Harold Raitt, more than 20 of them on LSO Live. Recent releases include the John Slade, Richard Street, Anthony Stutchbury, Malcolm Taylor, Owen Toller, world première recording of MacMillan’s St John Passion, Haydn’s James Warbis*, Brad Warburton, Robert Ward*, Paul Willams-Burton The Creation, and Verdi’s Requiem under Sir Colin Davis. The Chorus also appears with the LSO on Valery Gergiev’s recordings Basses of Mahler’s Symphonies Nos 2, 3 and 8. David Armour, Bruce Boyd, Andy Chan, Steve Chevis, James Chute, Damian Day, Alastair Forbes, Robert Garbolinski*, John Graham, Robin Hall, Owen Hanmer*, While maintaining special links with the LSO, the Chorus has Christopher Harvey, Derrick Hogermeer, Anthony Howick*, Alex Kidney, partnered all the principal UK orchestras including the Philharmonia, Gregor Kowalski, Geoffrey Newman, William Nicholson, Peter Niven, Montague Ring, the Royal Philharmonic, the Orchestra of the Age of Enlightenment, Malcolm Rowat, Nicholas Seager, Edwin Smith*, Gordon Thomson, Paul Warburton, the City of Birmingham Symphony Orchestra, the BBC Symphony Jez Wareing, Nicholas Weekes, Paul Wright Orchestra, the Hallé and the BBC National Orchestra of Wales. Internationally the Chorus has worked with many of the world‘s * Denotes council member leading orchestras including the Berlin Philharmonic, Boston Symphony Orchestra, European Union Youth Orchestra and the Vienna Philharmonic.

The London Symphony Chorus is always interested in recruiting new members, welcoming applications from singers of all backgrounds, subject to an audition. Visit www.lsc.org.uk

55 Orchestra featured on this recording:

First Violins Violas Flutes Horns Timpani Gordan Nikolitch LEADER Paul Silverthorne * Gareth Davies * Timothy Jones * Nigel Thomas * Carmine Lauri Gillianne Haddow Siobhan Grealy Angela Barnes Lennox Mackenzie Malcolm Johnston Sharon Williams Antonio Geremia Iezzi Percussion Nicholas Wright German Clavijo Jonathan Lipton Neil Percy * Nigel Broadbent Richard Holttum Piccolo Tim Ball David Jackson Michael Humphrey Robert Turner Sharon Williams * Adam Clifford Ginette Decuyper Jonathan Welch Trumpets Jeremy Cornes Jörg Hammann Michelle Bruil Oboes Roderick Franks * Maxine Kwok-Adams Melanie Martin Emanuel Abbühl * Gerald Ruddock Harp Claire Parfitt Caroline O’Neill Alice Pullen Nigel Gomm * # Karen Vaughan * Laurent Quenelle Fiona Opie Joseph Sanders ** ^ Christopher Evans # Harriet Rayfield Heather Wallington John Lawley ^ Robin Totterdell # Guitars Colin Renwick Joe Sharp # Colin Downs ** ^ Ian Rhodes Cellos Cor Anglais Ruth Ross # Daniel Thomas ** ^ Sylvain Vasseur Rebecca Gilliver * Christine Pendrill * Andrew Hendrie # Rhys Watkins Alastair Blayden Mandolins Jennifer Brown Clarinets Cornets James Ellis ** ^ Second Violins Minat Lyons Richard Hosford ** Philip Cobb * NIgel Woodhouse ** ^ Evgeny Grach * Mary Bergin Jane Calderbank Edward Hobart Sarah Quinn Daniel Gardner Miya Ichinose Keith Glossop Bass Clarinet Trombones * Principal David Ballesteros Hilary Jones Lorenzo Iosco * Dudley Bright * ** Guest Principal Matthew Gardner Amanda Truelove James Maynard ^ On-stage band Belinda McFarlane Kim Mackrell Bassoons # Off-stage players Iwona Muszynska Rachel Gough * Bass Trombone Philip Nolte Double Basses Joost Bosdijk Paul Milner * Paul Robson Rinat Ibragimov * Dominic Morgan Stephen Rowlinson Colin Paris Susan Frankel Cimbasso Louise Shackelton Nicholas Worters Patrick Harrild * Eleanor Fagg Patrick Laurence Hazel Mulligan Matthew Gibson Alina Petrenko Thomas Goodman Jani Pensola Benjamin Griffiths

56 London Symphony Orchestra le monde, tout en se produisant plus Also available on LSO Live souvent à Londres que n’importe quel autre orchestre. C’est l’orchestre au monde qui a Patron le plus enregistré, et on le retrouve sur Her Majesty The Queen des enregistrements devenus de grands President classiques, ainsi que sur les bandes son Verdi Falstaff Sir Colin Davis, Michele Pertusi, Carlos Alvarez, Ana Ibarra, Maria Josè Moreno Sir Colin Davis CH des films les plus célèbres. Grâce à LSO 2SACD (LSO0528) or download Principal Conductor Discovery, l’Orchestre est également un Best Opera Grammy Awards (US) Valery Gergiev pionnier en matière de pédagogie; ce Editor’s Choice Gramophone (UK) programme s’attache à faire découvrir les CD of the Week BBC Radio 3 CD Review (UK) Principal Guest Conductors plus belles pages du répertoire aux enfants ‘ Here’s a conductor at the height of his powers with an orchestra on top form ... Daniel Harding comme aux adultes, et à permettre à chacun Pertusi is simply stunning as the Fat Knight ... A must-hear’ Michael Tilson Thomas Classic FM Magazine (UK) de s’enrichir au contact des musiciens de Conductor Laureate l’Orchestre. Pour plus d’informations, rendez André Previn KBE vous sur le site lso.co.uk Berlioz Les Troyens Sir Colin Davis, Ben Heppner, Michelle DeYoung, Petra Lang, Sara Mingardo, LSC Das LSO wurde 1904 als erstes 4CD (LSO0010) or download The LSO was formed in 1904 as London’s selbstverwaltetes Orchester in London Best Classical Album & Best Opera Grammy Awards (US) first self-governing orchestra and has been gegründet und ist seit 1982 im dortigen Best Opera Gramophone Awards (UK) Critics’ Choice Classical Brit Awards (UK) resident orchestra at the Barbican since Barbican beheimatet. Valery Gergiev wurde Grand Prix du Disc Académie Charles Cros (France) 1982. Valery Gergiev became Principal 2007 zum Chefdirigenten ernannt und trat Orphée d’Or Académie du disque Lyrique (France) Conductor in 2007 following in the footsteps damit in die Fußstapfen von Hans Richter, of Hans Richter, Sir Edward Elgar, Sir Thomas Sir Edward Elgar, Sir Thomas Beecham, Beecham, André Previn, Claudio Abbado André Previn, Claudio Abbado, Michael and Michael Tilson Thomas among others. Tilson Thomas und anderen. Sir Colin Berlioz Benvenuto Cellini Sir Colin Davis had previously held the Davis hatte diese Position seit 1995 inne Sir Colin Davis, Gregory Kunde, Laura Claycomb, Darren Jeffery, John Relyea 2SACD (LSO0623) or download position since 1995 and from 2007 became und wurde 2007 zum ersten Präsidenten LSO Live the LSO’s first President since Leonard des London Symphony Orchestra seit CDs of the Year Opera News (US) CDs of the Year ***** Classic FM Magazine (UK) Bernstein. The Orchestra gives numerous Leonard Bernstein erkoren. Das Orchester Berlioz Benvenuto Cellini Editor’s Choice Gramophone (UK) gibt jedes Jahr zahlreiche Konzerte in aller Sir Colin Davis Choc Le Monde de la Musique (France) concerts around the world each year, Gregory Kunde Laura Claycomb Welt und tritt darüber hinaus häufiger in Darren Jeffery plus more performances in London than Peter Coleman–Wright ‘ Conductor and tenor are the joint heroes of this exhilarating release’ John Relyea Isabelle Cals Sunday Times (UK) any other orchestra. It is the world’s most London auf als jedes andere Orchester. London Symphony Chorus recorded symphony orchestra and has Es ist das meistaufgenommene Orchester London Symphony Orchestra appeared on some of the greatest classical der Welt und hat einige der bedeutendsten recordings and film soundtracks. The LSO klassischen Schallplattenaufnahmen und Berlioz La damnation de Faust also runs LSO Discovery, its ground-breaking Filmmusiken eingespielt. Daneben zeichnet Sir Colin Davis, Giuseppe Sabbatini, Michele Pertusi, Enkelejda Shkosa 2CD (LSO0008) or download education programme that is dedicated to das LSO verantwortlich für LSO Discovery, ein bahnbrechendes pädagogisches Programm Editor’s Choice ‘outshines previous sets. Davis is given wonderfully refined sound’ introducing the finest music to young and old Gramophone (UK) alike and lets everyone learn more from the mit dem Ziel, Jung und Alt die schönste Recommendé Classica (France) Orchestra’s players. For more information Musik nahe zu bringen und mehr von den ‘ a triumphant benchmark recording’ visit lso.co.uk Musikern des Orchesters zu lernen. Wenn Sie The Guardian (UK) mehr erfahren möchten, schauen Sie bei uns Premier orchestre autogéré de Londres, herein: lso.co.uk le LSO fut fondé en 1904. Il est en résidence au Barbican depuis 1982. Valery Gergiev a Verdi Requiem Sir Colin Davis, Christine Brewer, Karen Cargill, Stuart Neill, John Relyea, LSC été nommé premier chef en 2007, succédant 2SACD (LSO0683) or download For further information and licensing LSO Live à Hans Richter, Sir Edward Elgar, Sir Thomas ‘ One of the finest recordings the piece has ever received’ enquiries please contact: Verdi Beecham, André Previn, Claudio Abbado Requiem Opera News (US) Sir Colin Davis LSO Live Christine Brewer et Michael Tilson Thomas, entre autres. Karen Cargill ‘ The greatest interpretations are often those where you are most conscious of the music Stuart Neill John Relyea Sir Colin Davis occupait auparavant le London Symphony Orchestra London Symphony Chorus and least aware of the conductor’s will imposed on it’ London Symphony Orchestra poste depuis 1995 et, en 2007, il devint Barbican Centre, The Guardian (UK) le premier président du LSO depuis London EC2Y 8DS Leonard Bernstein.Chaque année, l’Orchestre T 44 (0)20 7588 1116 donne de nombreux concerts à travers E [email protected] 57