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Home , Aleksandrs Antonenko, Camillo Boito, Emma Albani, Franco Faccio, Giulio Ricordi, Juan Francisco Gatell

Program

OnE HunDRED TwEn TIETH SEASOn Symphony Music Director Helen Regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, April 7, 2011, at 7:00 Saturday, April 9, 2011, at 7:00 Tuesday, April 12, 2011, at 7:00 Music by by , after Shakespeare’s riccardo muti Conductor Otello, a Moor, general of the Venetian forces ...... aleksandrs antonenko , his ensign ...... Nicola alaimo Cassio, a captain ...... Tenor , a Venetian gentleman ...... michael Spyres Tenor Lodovico, ambassador of the Venetian Republic ...... Eric owens Bass-baritone Montano, Otello’s predecessor as governor of ...... Paolo Battaglia Bass A Herald ...... David govertsen Bass , wife of Otello ...... Krassimira Stoyanova , wife of Iago ...... Barbara Di Castri Mezzo-soprano

Soldiers and sailors of the Venetian Republic; Venetian ladies and gentle- men; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; seamen Director Chicago Children’s Choir Josephine Lee Artistic Director

(continued) Otello Act 1 Act 2

INtErmISSIoN

Act 3 Act 4 Place: A seaport in Cyprus Time: The end of the fifteenth century

Musical preparation: Supertitles by Sonya Friedman These are the Chicago Symphony Orchestra’s first subscription concert performances of Verdi’s Otello.

Production of Otello is made possible with leadership support from Randy L. and Melvin R. Berlin and the following generous contributors: Julie and Roger Baskes ∙ Rhoda Lea and Henry S. Frank ∙ Gilchrist Foundation ∙ Mr. & Mrs. Thomas C. Heagy ∙ Mr. & Mrs. Sanfred Koltun ∙ Margot and Josef Lakonishok ∙ Mr. Richard J. Tribble ∙ and an Anonymous Donor. Maestro Muti’s 2011 Spring Residency is supported in part by a generous grant from the National Endowment for the Arts. CSO Tuesday series concerts are sponsored by United Airlines. Steinway is the official of the Chicago Symphony Orchestra.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.

2 CommENtS By PHILLIP HuSCHER

giuseppe Verdi Born October 9, 1813, Roncole, near Busseto, . Died January 27, 1901, , Italy.

Otello, in Four acts

erdi found his few idols— provoked criticism, Verdi VMichelangelo, Dante, Schiller, lashed out at the suggestion he did and most of all, Shakespeare—out- not know his Shakespeare: “. . . I side music. Today, visitors to Sant’ have had him in my hands from my Agata, the ochre-colored villa earliest youth, and I read and reread where Verdi lived nearly his entire him continually.” adult life, can still see, atop Verdi’s Macbeth was Verdi’s first setting bedside bookcase, two complete of Shakespeare, but it was not the Italian translations of the works first Shakespeare play to tempt of Shakespeare, worn by time him. As early as 1844— and constant handling, next to had recently given Verdi his the complete works of Dante and first taste of success—King Lear, the plays of Schiller. This was the , and The Tempest headed company he chose, these the men the list of favored subjects. Lear from whom he continued to learn would continue to taunt Verdi of life—for Verdi, the only true throughout his life; it was his one textbook on music. great, unfulfilled hope. He worked We do not know when Giuseppe closely with Antonio Somma on a Verdi—born into poverty and libretto, admitting to him that he raised simply—came to value the preferred Shakespeare to all other words of Shakespeare, but in 1865, dramatists, including the Greeks; when the revision of his opera whatever music he wrote for King

ComPoSED INStrumENtatIoN aPProxImatE March 1884–november 1886 three and piccolo, two PErFormaNCE tImE and english horn, two Acts 1 and 2: 69 minutes FIrSt PErFormaNCE and bass , Acts 3 and 4: 67 minutes February 5, 1887, Teatro all four , four horns, Scala, Milan two and two CSo rECorDINg , four , 1991. Sir , , tam-tam, ; with Kiri Te bass drums, harp, mando- Kanawa, , lins, , organ, strings, and , principal offstage banda of trumpets soloists. . and trombones

3 Lear either found its way into were dining with Verdi, his wife other projects or was destroyed, Giuseppina, and , according to the ’s wishes, Italy’s leading conductor. “Quite after his death. by chance,” Ricordi later remem- In 1850, Verdi said that he bered, “I steered the conversation planned to compose settings of “all on to Shakespeare and Boito. At the major works of the great trage- the mention of Othello, I saw Verdi look at me with suspicion, but with interest. He had certainly under- stood and had certainly reacted. I believe the time was ripe.” Those are the names Ricordi carefully dropped into the table conversation that night—Othello, a play Verdi had never seriously considered setting, and Arrigo Boito, known for his own opera, , and for several libret- tos written for others, including a Hamlet for Faccio, and for Ponchielli. If the time was ripe, Verdi remained cool. Faccio brought Boito to see Verdi the next day; three days later, when Boito returned alone, with an Otello— Othello loses an “h” in translation to Italian—libretto already sketched, Boito and Verdi at Sant’ Agata Verdi said simply, “Now write the poetry. It will always do for me, or for you, or for someone else.” dian.” But, aside from Macbeth and Boito worked on the libretto intermittent stirrings of the Lear continually, despite facial neuralgia project, nothing came of any plans and a severe recurring toothache; until 1879, when Verdi’s reputation finally, he sent part of it on to Verdi and success were so great that, at in November. Giuseppina knew the age of sixty-five, he could easily better than to press for a verdict. have retired for good, knowing that “Let the river find its own way to , the , and another the sea,” she advised. “It is in the half-dozen works at the very least, wide open spaces that some men would keep his name alive. are destined to meet and under- It was —his stand one another.” family name still heads the scores The relationship between Verdi from which many young singers and Arrigo Boito was complicated. learn Verdi—who first mentioned They had known each other since Othello. Ricordi and his wife 1862, when the twenty-year-old

4 Boito wrote the text for Verdi’s Italy was not widespread. The play “”—an Macbeth, for example, had never uncomfortable, yet undeniably been staged in Italy when Verdi rousing mixture of three national wrote his opera; even in 1879, as anthems—but true understanding Verdi began to consider making an of the kind that allows for inspired opera of Othello, Shakespeare was collaboration was still far off. At known and admired only by an the time, Verdi thanked Boito, gave educated few. him a gold watch, and moved on Arrigo Boito was one of those to bigger projects, never guessing few, as much a man of letters, in that they would later find important fact, as a musician. And so late in work to do together. Their paths 1879, the river found its way to seldom crossed; for a while, due to the sea: Giuseppina confided that a misunderstanding, they did not Verdi liked what he found in Boito’s speak. Boito was known to harbor draft. But she also noticed that he Wagnerian yearnings. (“No harm slipped it into his briefcase, beside in that,” Verdi said, “as long Somma’s King Lear libretto, “which admiration doesn’t degenerate into has been sleeping soundly and imitation.”) When Verdi and Boito undisturbed for thirty years. What ran into each other in the railroad will become of this Otello?” she station waiting room following a wrote to a friend the week before performance of Wagner’s Christmas in 1879, “no one knows.” in in 1871, they talked It was to be more than four mostly of the difficulties of sleeping years before Verdi began to write on the train. Boito’s opera Mefistofele the music for Otello, but, in the was successfully revived in 1875, but intervening time, it was never far Verdi was still unmoved: “It is dif- from his mind. At first, Giulio ficult at the moment to say whether Ricordi played go-between, Boito will be able to provide Italy intercepting messages and forward- with masterpieces. He has much ing suggestions, as Boito refined talent, he aspires to originality, but the text. Soon, Boito and Verdi the result is rather peculiar. . . .” began to exchange letters directly. By the time Verdi sat down to There were large problems to dinner with Giulio Ricordi in be solved. It was Boito’s idea to the summer of 1879, Verdi knew omit Shakespeare’s first act, set in Boito as a man of genuine talent, . Verdi demanded a stirring and possibly of great promise, but crowd scene, without parallel in hardly a likely partner. Perhaps he Shakespeare, to bring the curtain welcomed Boito into his home the down on act 3. Boito sharpened next day—their first meeting since it by wiping the crowd from the the brief encounter in the train stage just at the end, leaving Iago station eight years before—because triumphant over Otello’s limp he knew Boito shared his deep love body. The guiding words in tidying for Shakespeare. Enthusiasm for Shakespeare’s sprawling tragedy Shakespeare in nineteenth-century were those Verdi proposed to

5 Antonio Somma when tackling to orchestrate, which would take King Lear: “Brevity, clarity, truth.” the bulk of another year. Only in Before the real work began, Verdi January 1886 was the title Otello and Boito collaborated on the revi- chosen for certain over Iago. Not sion of an earlier Verdi opera, Simon until May 1886 did Verdi hit upon Boccanegra—a testing of the waters. Otello’s striking entrance, the It went well, though not without celebrated “Esultate.” The follow- disagreement. In July 1881, four ing November, Verdi finished the months after the new Boccanegra scoring; the work was sent off to was first given, Boito made his the printer the next month. On first visit to see Verdi face-to-face December 21, 1886, Boito wrote: to discuss their Otello—or Iago, as “The dream has become a reality.” it often was called then. And then The premiere at on another distraction: in 1882, Verdi February 5, 1887, was a triumph. turned to a large-scale revision of Press gathered from throughout his , a crafty sharpening Europe and sent home reports that of his skills before writing the first Verdi had surpassed himself. But note of Otello. It was mid-March even then, some critics worried that 1884 when Verdi finally began. Verdi had raised to He had not written a new opera such extraordinary heights that the in fifteen years—he used to turn force, simplicity of utterance, and them out one a season—though the melodic generosity of his earlier Requiem of 1874, the trial run with work were lost forever. George Boito on Boccanegra, and the tough Bernard Shaw even suggested solo challenge of refashioning Don that the well had begun to dry Carlos had helped greatly in prepar- up. Indeed, to this day, there are ing the leap from Aida to Otello. those who prefer the organ-grinder The music for Otello was writ- accompaniment and the great ten in three spurts of activity, the pop tunes of early Verdi to Otello’s first cut short in less than a month subtle interplay of word and music by a crippling rumor that Boito as well as its infinite command wished he were writing the score of orchestral color that is respon- himself. Fences were mended, but sive to all the nuances of human damage was done, and another emotion. Otello was the first of eight months passed during which Verdi’s works to force the Wagner the fate of Otello hung precariously camp to listen. (Verdi admired before Verdi again began to write. Wagner, with reservations; when This time, Verdi worked at full he heard Tannhäuser in in force, breaking off only for a nor- 1875, he said, “I dozed, but so did mal summer holiday of “unimagi- the Germans.”) Otello is at once a nable laziness.” On October 5, summing up—, yet to come, 1885, Verdi wrote: “I finished the charted different territory—crys- fourth act and I breathe again.” tallizing all Verdi had learned There were still further adjustments in nearly fifty years spent in the to text and music. Verdi began opera house, as well as a work of

6 unexpected vitality and vision—in now seamlessly woven into the its own way, a work of the future. action: the bonfire chorus, “Fuoco di gioia,” all he first act of Otello sweeps, in flickering Tone unbroken span, from the light; and terrifying storm that rips open the the drinking first page of the score to the calm song, which of night as the stars begin to show. nearly fizzles Verdi and Boito have compressed a under its own wealth of action, incident, innu- intoxica- endo, and detail under this single tion—Cassio, span; it is a dangerously rich canvas, after only two yet the eye and ear fall readily verses, stam- on the central elements. Otello’s mers, loses entrance, one of the most famous his place, and in all opera, casts a sudden beam of nearly brings light through the storm; he sings the music to a Shakespeare but two lines, then goes home for halt. But, once the night, yet his presence lingers. again, it is Two big ensembles that would the entrance of Otello, roused from have been set pieces—showstop- his sleep by so much discord, that pers, in fact, in earlier opera—are defuses the scene, letting it rock

thE aCt 3 FINaLE: VErDI’S FINaL thoughtS

At these performances of premiered in 1893—they set composer moving towards Otello, Riccardo Muti uses to work redoing the most a new kind of writing the rarely performed revision elaborate finale Verdi had characterized by daringly of the act 3 finale that Verdi ever written. This time, modern harmonies and made for in 1894— opting for dramatic clarity crystalline textures. seven years after the opera’s over musical splendor, Verdi Although the Paris version La Scala premiere. when shortened, refocused, tight- represents Verdi’s final Verdi learned that the Paris ened, and recomposed the thoughts on this powerful Opera wanted to stage Otello, grand concertato finale so scene, it has rarely been he jumped at the chance to that Iago’s asides—including performed since 1894. rethink the large ensemble his instructions to Roderigo Riccardo Muti chose to near the end of act 3—the to kill Cassio—which include it in stagings of passage that had given him previously were buried in the Otello early in his career and and Boito trouble from the densely woven ensemble, has continued to perform start and that continued to now emerge vividly. This is it ever since. These are bother the composer even the last operatic music Verdi the first performances after the Milan premiere ever wrote (it is succeeded of the revised act 3 finale because of the way it held up only by the last of his Four in Chicago. the action. Briefly reunited Sacred Pieces—the Te Deum with Boito once again—their and )—and it final opera, Falstaff, had shows the eighty-year-old —P. H.

7 gently toward the love duet that oversized style—concluding with closes the act. This music, exqui- a throwback of sorts to the old sitely scored for low strings, with cabaletta, sung to the footlights— wonderful touches from the winds though it never worked better or and harp, rises slowly towards the seemed more apt dramatically. stars over rich, questing harmonies. Act 3 mercilessly lays bare the Finally, as Desdemona and Otello relationship between Otello and kiss, it is the orchestra alone that Desdemona, both in private and sings, to incalculable effect. against the broad backdrop of The following acts turn inward— a large public finale. Verdi has not only literally, from the open air become a formidable “searcher of of the Cyprus night to the rooms the human heart,” as he once said of Otello’s castle, but to the interior of Shakespeare; the duet that opens drama that begins to play against the act charts emotional terri- the public spectacle of the first act. tory with a razor’s precision that We come upon Iago and Cassio music rarely touches. In Otello’s mid-conversation as act 2 opens, soliloquy, intoned in the most and our sensation of eavesdropping terrifying quiet—the vocal line is only grows as Iago, left alone, utters marked pppp and soffocata (suf- his “Credo”—as close as Iago gets focated)—Verdi finally exposes the to a conventional aria. We know soul of a broken man. After that, that Boito’s text for this soliloquy, nothing could fall more cruelly sent unsolicited to Verdi after on the ears than Iago’s coup de their one serious disagreement, théâtre with the handkerchief—a persuaded the composer to pick up sadistic scherzo before the finale. his pen again; but it is not the text, Even the traditional finale that despite Verdi’s verdict as “wholly Verdi demanded—carried by seven Shakespearean,” but his tough and independent voices over chorus and explosive setting that gives this orchestra while the action freezes— passage a Shakespearean power. rises to new heights when Otello, Desdemona, in contrast, is per- standing mute in the middle of the fectly characterized not in an aria of crowd, suddenly explodes in anger her own, but by the angelic chorus and scatters the music in bold, of the women and children who unexpected directions. (At these accompany her. Two ensembles, old performances, Riccardo Muti uses forms freshly treated, are woven the revised finale that Verdi wrote into a continuous fabric of con- for Paris in 1894; see the sidebar versation, asides, and half-uttered on page 28D.) thoughts. The quartet for the two The last act begins with couples brilliantly integrates action Desdemona’s , and contemplation under the quietly sung in a mood of utmost two-octave span of Desdemona’s calm, ruffled once by the wind, virtually seamless melody. In the and later by Desdemona’s sudden vengeance duet that closes the act, desperation—a moment of searing Verdi chooses his most dramatic, emotional truth. The subtle shift

8 to muted strings for Desdemona’s The legacy of Otello is a building prayer seems to drain the room of near the heart of Milan: the Casa air. Otello enters to a single thread di Riposo per Musicisti, a rest of sound from the double basses— home for musicians, where, as Verdi the voice of terror itself. As soon knew but too well, the battles of as he bends to kiss the sleeping old age are best waged with music Desdemona, and the full force of and companionship, hand in hand. Verdi’s love music, not heard since The Casa di Riposo was built on the end of the first act, floods over him, the tragedy unfolds swiftly.

he difficult task of working Ttogether on Otello deepened and strengthened the relationship between Verdi and Boito. When they began Falstafftwo years later, the tensions, the petty aggrava- tions, and the bigger arguments were gone. Later, Boito even suggested they tackle Lear together, but Giuseppina waved him off: “Verdi is too old, too tired.” Yet it was Giuseppina who died first, late in November 1897. Verdi was now alone. He wrote to a friend: “Great sorrow does not demand great expression; it asks for silence, isola- tion, I would even say the torture of reflection.” Verdi wrote to Boito after he completed the score of Otello: “It is finished! Salute to us . . . In the end, despite their differ- (and also to Him!!) Farewell” ences—and through their strug- gles—Verdi and Boito had become as close as father and son. Boito, in land Verdi purchased with the fact, sat silently at Verdi’s bedside proceeds from Otello and designed during the composer’s last days; he by Camillo Boito, Arrigo’s brother. was there when Verdi died. “He In his last years, Verdi would call died magnificently, like a fighter, the Casa di Riposo the favorite of formidable and mute,” he later all his works. wrote, when he could bring himself to discuss the death of the man who had given him his only real taste of greatness. Boito knew that “To be the faithful servant of Verdi, and of that other, born on the Avon” Phillip Huscher is the program annota- was enough. tor for the Chicago Symphony Orchestra.

9 the Characters he was wise, sensible, and now by arrigo Boito he raves; he was strong and now he waxes feeble; he was just and iulio Ricordi prepared an upright and now he will com- Gelaborately detailed production mit a crime; he was strong and book for Otello hale and now he groans and falls that includes about and swoons like one who fascinating has taken poison or been smit- thumbnail ten by epilepsy. Indeed, Iago’s sketches of words are poison injected into the the characters Moor’s blood. . . . Otello is the written by supreme victim of the tragedy and Arrigo Boito. of Iago. . . . Selections from Boito’s Iago comments, Iago is envy. Iago is a villain. Iago is as translated a critic. In the cast list, Shakespeare by Julian describes him thus: Iago, a villain, Budden, and adds not a word more. In the Boito follow. square in Cyprus, Iago says of himself, “I am nothing but a critic.” otello He is a mean and spiteful critic; A Moor, general of the Venetian he sees the evil in mankind and in republic. He has passed his fortieth himself. “I am a villain because I year. He presents the brave, loyal am human.” He sees evil in Nature, figure of a man of arms. Simple in God. He commits evil for evil’s in his bearing and in his gestures, sake. He is an artist in deceit. The imperious in his commands, cool cause of his hatred for Otello is not in his judgment. . . . His first words very serious compared to the ven- proclaim victory in a voice of thun- geance he exacts from it. . . . Iago is der amid the tempest; his last words the real author of the drama; he it is exhale a sigh of love upon a kiss. who fabricates the threads, gath- First we should see the hero, then ers them up, combines them, and the lover; and we must perceive the weaves them together. . . . hero in all his greatness if we are One of his talents is the faculty to understand how worthy he is of he possesses of changing his per- love and how great his capacity for sonality according to the person to passionate devotion. Then from that whom he happens to be speaking, prodigious love a fearful jealousy so as to deceive them or to bend will be born through the cunning them to his will. Easy and genial agency of Iago. . . . with Cassio; ironic with Roderigo; Iago has first stabbed the Moor apparently good-humored, respect- to the heart and then put his finger ful, and humbly devoted towards on the wound. Otello’s torture has Otello; brutal and threatening with begun. The whole man changes: Emilia; obsequious to Desdemona

10 and Lodovico. Such are the basic and a little vain; but he is a brave qualities, the appearance, and the soldier who knows how to defend various facets of this man. himself with spirit, sword in hand . . . a jealous guardian of his Desdemona own honor. A feeling of love, purity, nobil- ity, docility, ingenuousness, and roderigo resignation should pervade the A young Venetian, rich and elegant, most chaste and harmonious figure hopelessly and platonically in love of Desdemona in the highest with Desdemona, quite without degree. The more simple and gentle her knowledge. He is a visionary, her movements and gestures, the a simple creature, a dreamer who greater the emotion they will arouse allows himself to be cheated and in the spectator. dominated by Iago. Iago makes use of him as a passive and docile Emilia instrument for the accomplishment Iago’s wife; devoted to Desdemona. of his designs. She hates her villainous husband and fears him, and, while she Lodovico submits to his violence and bully- Senator of the Venetian Republic, ing, she knows the wickedness of ambassador to Cyprus. Of grave his soul. But at the end, she reveals deportment though still youth- his infamy with all the strength and ful. . . . He has great authority both courage of a downtrodden creature in his looks and in his speech. that rebels. montano Cassio Otello’s predecessor as governor of Captain of the Venetian Cyprus. A man of war, faithful to Republic. . . . He is somewhat his duty, a good swordsman, a brave obsessed with his passing affairs soldier, and a strict officer.

These are the Chicago FIrSt CSo moSt rECENt Symphony Orchestra’s first PErFormaNCES CSo PErFormaNCES subscription concert perfor- november 23, 1891 April 8 and 12, 1991 (special mances of Verdi’s Otello. (special concert), Auditorium concerts), Orchestra Hall. Theatre. Louis Saar conduct- Sir Georg Solti conducting; ing; with , Jean with , Luciano de Reszke, and Eduardo Pavarotti, and Leo nucci, Camera, principal soloists principal soloists July 9 and 11, 1970, July 23, 2005, Ravinia Ravinia Festival. István Festival. James Conlon Kertész conducting; with conducting; with Cristina , James Gallardo-Domâs, Clifton McCracken, and Camillo Forbis, and Frederick Meghor, principal soloists Burchinal, principal soloists

11 Synopsis of Otello Cassio and reinstate him as lieutenant. Blinded by jealousy of aCt 1 Cassio, Otello complains that his The people of Cyprus, along with head is throbbing. Desdemona officers and soldiers of the Venetian offers him her handkerchief army, await the arrival of their (Otello’s first gift to her), but governor, Otello, during a violent he throws it to the ground, and storm. Otello returns victoriously her attendant, Emilia, retrieves to Cyprus after defeating the Turks it. Iago takes the handkerchief in Venice. Iago, who secretly hates from Emilia to plant in Cassio’s Otello, is enraged when Otello quarters; he then tells Otello that appoints Cassio his lieutenant. Cassio has it. Otello becomes Iago enlists the help of Roderigo, increasingly agitated and furious who is in love with Otello’s wife at Desdemona’s alleged infidel- Desdemona, to get revenge on ity. He swears vengeance on Otello for not promoting him. Desdemona and Cassio, and Iago Iago vows to turn Otello against joins him. Cassio. During the following celebration, Iago encourages Cassio aCt 3 to drink too much. When the A herald announces that the former governor, Montano, arrives, Venetian ambassador’s ship is Iago manages to have Cassio pick approaching. Iago suggests that a fight with Montano; swords are Otello might learn more by eaves- drawn and Montano is wounded. dropping on a conversation set up Iago sends Roderigo to arouse the between Iago and Cassio. town. Otello enters, furious at the Desdemona enters and again brawl, and further enraged when pleads for Cassio. Otello demands Desdemona appears, awakened to see her handkerchief. When from sleep by the tumult. Otello Desdemona cannot produce it, he demotes Cassio and orders Iago to accuses her of being unfaithful and restore peace in the village. cruelly dismisses her. Alone, Otello and Desdemona Otello listens to a staged meet- share a tender moment as they recall ing between Iago and Cassio, their courtship. They go into the hearing just enough to condemn castle, clasped in each other’s arms. Desdemona. Cassio shows Iago Desdemona’s handkerchief, which aCt 2 Cassio found in his house. The Iago tells Cassio to ask Desdemona enraged Otello recognizes it and to plead his case with Otello. When vows to kill Desdemona that Cassio approaches Desdemona in very night. the garden, Iago deviously plants Otello greets the Venetian jealous and suspicious thoughts of ambassador Lodovico, who brings this encounter in Otello’s head. a dispatch from the Doge: Otello is Otello becomes annoyed when summoned to Venice and Cassio is Desdemona asks him to forgive named governor of Cyprus.

12 Losing control at this news, sings it for Emilia. The two women Otello pushes Desdemona to the embrace before Desdemona kneels floor, shouting insults. He orders in prayer. everyone out and collapses. Iago Otello enters and asks takes the handkerchief and taunt- Desdemona if she has prayed that ingly waves it over Otello before evening. He again questions her throwing it on the Moor. fidelity. Unconvinced by her tearful denials, he smothers her. aCt 4 Cassio, Emilia, and Montano In her bedroom, Desdemona asks enter and each reveal a part of Emilia to lay her wedding gown Iago’s plot, so that the whole on the bed and to ensure that she scheme is now clear. Confronted, is buried in it when she dies. She Iago denounces Otello and informs remembers a song sung by her him of Desdemona’s innocence. In mother’s attendant, another girl anguish, Otello stabs himself and who was forsaken by her lover, and dies next to his virtuous wife. Symphony Orchestra © 2011 Chicago

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