Othello has formed the subject of the following compositions: "Otello," opera in 3 acts, text by Berio, music by Rossini (1816); "Othelleri," parody by Mueller, Vienna (1828); Othello, overture by Krug (1883); "Un Othello," operetta, by Legoux, Paris (1863); and "Othello," opera in 4 acts, text by Boito, music by Verdi (1886).
"Othello," the last of the long and brilliant series of Verdi's operas, was completed in 1886, and first produced at the La Scala Theatre, Milan, Feb. 5,
1887, with remarkable success, Signora Pantaleoni, Signors Maurel and Tamagno taking the three leading roles. The libretto was prepared by the accomplished Italian scholar and musician, Arrigo Boito, and closely follows the story of the Shakspearian tragedy.
The curtain rises upon a scene in Cyprus. A storm is raging, and a crowd, among them Iago, Cassio, and Roderigo, watch the angry sea, speculating upon the fate of Othello's vessel, which finally arrives safely in port amid much rejoicing. After returning the welcomes of his friends he enters the castle with Cassio and Montano. The conspiracy at once begins by the disclosure of Iago to Roderigo of the means by which Cassio's ruin may be compassed. Then follows the quarrel, which is interrupted by the appearance of Othello, who deprives Cassio of his office. A love-scene ensues between Desdemona and the Moor; but in the next act the malignity of Iago has already begun to take effect, and the seeds of jealousy are sown in Othello's breast. His suspicions are freshly aroused when Desdemona intercedes in Cassio's behalf, and are changed to conviction by the handkerchief episode and Iago's artful insinuation that Cassio mutters the name of Desdemona in his sleep; at which the enraged Moor clutches him by the throat and hurls him to the ground. In the third act Iago continues his diabolical purpose, at last so inflaming Othello's mind that he denounces Desdemona for her perfidy. The act concludes with the audience to the Venetian embassy, during which he becomes enraged, strikes Desdemona, and falls in convulsions. The last act transpires in her chamber, and follows Shakspeare in all the details of the smothering of Desdemona and the death of Othello.
There is no overture proper to the opera. After a few vigorous bars of prelude, the scene opens with a tempestuous and very striking description of a sea-storm by the orchestra, with the choruses of sailors and Cypriots rising above it and expressing alternate hope and terror. After a short recitative the storm dies away, and the choral phrases of rejoicing end in a pianissimo effect. A hurried recitative passage between Iago and Roderigo introduces a drinking scene in which Iago sings a very original and expressive brindisi with rollicking responses by the chorus. The quarrel follows with a vigorous and agitated accompaniment, and the act comes to a close with a beautiful love-duet between Othello and Desdemona.
The second act opens with recitative which reveals all of Iago's malignity, and is followed by his monologue, in which he sings a mock Credo which is Satanic in utterance. It is accompanied with tremendous outbursts of trumpets, and leads up to a furious declamatory duet with Othello. The next number brings a grateful change. It is a graceful mandolinata, sung by children's voices and accompanied by mandolins and guitars, followed by a charming chorus of mariners, who bring shells and corals to Desdemona. The intercession episode ensues, leading to a grand dramatic quartet for Desdemona, Emilia, Iago, and Othello. The latter then sings a pathetic but stirring melody with trumpet accompaniment, the farewell to war, and the act closes with a tumultuous duet between himself and Iago.
The third act opens with a very expressive duet for Othello and Desdemona, in which the growing wrath of the former and the sweet and touching unconsciousness of the other are happily contrasted. A sad monologue by Othello prepares the way for the coming outbreak. The handkerchief trio follows, in which the malignity of Iago, the indignation of Othello, and the inability of Cassio to understand the fell purpose of Iago are brought out with great force. At its close a fanfare of trumpets announces the Venetian embassy, and the finale begins with much brilliancy. Then follows the scene in which Othello smites down Desdemona. She supplicates for mercy in an aria of tender beauty, which leads up to a strong sextet. All the guests depart but Iago; and as Othello, overcome with his emotions, swoons away, the curtain falls upon Iago's contemptuous utterance, "There lies the lion of Venice."
The fourth act is full of musical beauty. After an orchestral introduction in which the horn has a very effective solo, the curtain rises and the action transpires in Desdemona's chamber. The scene opens with a touching recitative between Desdemona and Emilia. While the former prepares herself for slumber she sings the "Willow Song," an unaffected melody as simple and characteristic as a folk-song. Emilia retires, and by a natural transition Desdemona sings an "Ave Maria," which is as simple and beautiful in its way as the "Willow Song." She retires to her couch, and in the silence Othello steals in, dagger in hand, the contra-basses giving out a sombre and deep-toned accompaniment which is startling in its effect. He kisses her, the motive from the love-duet appearing in the orchestra; then, after a hurried dialogue, stifles her. He then kills himself, his last words being a repetition of those in the duet, while the strings tenderly give out the melody again.
