When the opera was announced, all of Europe was eagerly awaiting the premiere on February 5, The last premiere of a Verdi opera had already been 15 years ago. Synopsis: In front of the castle at the port of Cyprus. A hurricane-like thunderstorm rages. The beginning of this opera is unique. There is no overture at the beginning, but a fortissimo outbreak of a violent storm.
Verdi has set this hurricane scene to music in detail. Synopsis: The vessel safely reaches the port and Otello proclaims victory in the naval battle over the Turks.
The people celebrate the hero. This tenor performance is regarded as one of the most difficult starting scenes in opera literature. A air of history surrounds the next recording. We hear the Othello of the premiere of , Francesco Tamagno. There are recordings of him from Verdi appreciated the boundless power of his voice and the great sound of the High Passages. But Verdi complained, that Tamagno could only sing loudly, although the opera requires different skills.
In the second half, longer passages had to be sung with a hollow, desperate voice at half volume. Tamagno sang the Otello times during his career. While the theme of skin colour and the resulting racism is a central aspect of the literary model, this aspect was secondary for Verdi and Boito and is mentioned only a few times in the dialogues. Both hate Otello. Otello has now arrived at the castle and the Cypriots celebrate victory with a bonfire. Synopsis: Iago discovers Cassio.
He wants to seduce him to drink, Cassio refuses at first because he is on duty. Jago knows that Cassio becomes a hothead when he drinks. Cassio gives in and is soon drunk. Jago asks Rodrigo to provoke him. In fact, Cassio pulls out his sword and Montano tries to hold him back and Cassio wounds him. The drinking song is formally the only self-contained number in the opera.
Synopsis: Otello has heard the noise and appears. He sees that Cassio has injured the old commander Montano. He remains alone with Desdemona, where he finds peace in her arms.
This love duet is one of the highlights of the opera. The two stand on the terrace in the evening and look out over the calm sea. Muted solo cellos introduce us to the romantic nighttime mood, and Desdemona is accompanied by shimmering harps. But Verdi does not compose a typical love duet, too much despair and drama are palpable.
In the second part, Verdi creates a beautiful, almost Wagnerian theme with an urgent effect:. The scene ends with flutes and harps, accompanied by strings. Synopsis: In a hall in the castle. Iago continues his intrigue with Cassio.
He visits him and plays his confidante. He advises the desperate Cassio to talk to Desdemona and win their intercession at Otello. Right now she is in the garden. When Cassio goes to speak to her, Iago silently triumphs. Verdi only writes melodies and harmonies in the passages where Iago wants to flatter or deceive. In the declamation song and the characterization of Iago it is impossible for us not to see the parallels to Wagner. Verdi denied this vehemently, he did not want to be seen as the copyer of an original.
Verdi uses vehement musical means to draw Iago as evil. Jagged leaps in tone, shrill contrasts and chromatic tone sequences, together with the effect of increasing the pitch, make the Credo appear to be the opposite of the traditional Christian Credo.
We hear a demonic Bryn Terfel in this nihilistic confession of Iago. Toscanini himself rehearsed the role of Jago with Valdengo. The result is a captivating role portrait. There were Jagos who had better vocal material available but his diction is very expressive and monumental.
Otello noticed that someone was in the garden with his wife. Skilfully Iago lets Otello suspect that Desdemona might be in love with Cassio. But Otello is not convinced yet, without proof he still believes in love. But woe betide if if she should betray him. Synopsis: On her way to the castle, the people pay homage to the benevolent Desdemona. When she sees Otello, she asks him to give Cassio back his rank as captain.
Otello has a terrible suspicion. Desdemona wants to cool his forehead with a handkerchief to alleviate the pain. But Otello throws the handkerchief away angrily. Emilia suspects evil and warns him. Synopsis: Otello sends Desdemona away and is already eaten away by jealousy. A herald informs Otello of the imminent arrival of Venetian ambassadors.
Desdemona enters, and Otello speaks calmly until she revives the subject of Cassio. When Otello demands the handkerchief he gave her, she again pleads for Cassio. Unable to control his fury any longer, Otello accuses her of infidelity and dismisses her. Left alone, he suffers a fit of desperation and self-pity, then hides as Iago returns with Cassio. Iago flashes the handkerchief he stole and leads the conversation with Cassio in such a way that Otello overhears only fragments and incorrectly assumes they are talking about Desdemona.
As trumpets announce the dignitaries from Venice, Otello, whose rage continues to grow, vows to kill his wife that very night. He then greets the ambassador Lodovico, who recalls him to Venice and appoints Cassio to govern Cyprus. Losing control at this news, Otello pushes his wife to the floor, hurling insults.
He orders everyone out and collapses in a seizure, while Iago gloats over him. Emilia helps Desdemona prepare for bed. Frightened, Desdemona sings of a maiden forsaken by her lover, then says an emotional goodnight to Emilia and recites her prayers.
As soon as she has fallen asleep, Otello enters and wakes Desdemona with a kiss. When Otello starts talking about killing her, she is horrified and protests her innocence, but Otello strangles her.
Emilia knocks with news that Cassio has killed Roderigo. Shocked to find the dying Desdemona she summons help. After reflecting on his past glory he pulls out a dagger and stabs himself, dying with a final kiss for his wife. You have been logged in. Please wait while we redirect you We could not log you in with the credentials provided.
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Sat 19 Feb Libretto Arrigo Boito. Director Keith Warner. Set designer Boris Kudlicka. Costume designer Kaspar Glarner. Lighting designer Bruno Poet.
Movement director Michael Barry. Fight director Ran Arthur Braun. There is lift access and step-free seating to most levels of the Main Stage auditorium, except the Orchestra Stalls, which are reached by a minimum of nine steps.
There are more than seats in the Stalls Circle, Balcony and Amphitheatre which are accessible without the need to negotiate steps.
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