Othello libretto summary. To the centenary of Mario del Monaco. Opera by G. Verdi "Othello"

Verdi played a leading role in the creation of the libretto for Othello. According to his instructions, Boito changed the plan several times and rewrote entire scenes. Shakespeare's plot has undergone significant changes. The composer concentrated the action around the main conflict - the clash between Othello and Iago, giving it a universal sound, freeing the intrigue from small everyday details.

Having completed the work in November 1886, Verdi took direct part in its production. The premiere took place on February 5, 1887 in Milan and resulted in a true triumph of the Italian national art. Soon this opera was recognized throughout the world as Verdi's best, most perfect creation.

Music

“Othello” is a musical tragedy that amazes with its truthfulness and depth of embodiment of human characters. The musical portraits of Othello - a hero and warrior, a passionate loving spouse, a trusting man and at the same time furious in his rage, the meek and pure Desdemona, the treacherous Iago, trampling all moral laws - are marked by extraordinary relief and dramatic power. Choral episodes complement the images of the main characters, expressing the attitude of the people towards them. An important role in the opera is played by the orchestra, which conveys the emotional atmosphere of events and the exceptional richness of psychological shades.

The first act opens with a grandiose vocal-symphonic picture of a storm, which immediately introduces you into the thick of intense struggle and sharp clashes. The climax of this dynamic scene is the appearance of Othello, accompanied by a joyful chorus. In the feast scene, the whimsical choir “Joy of the Flame,” with its melody and picturesque orchestral accompaniment, seems to depict the flaring fires of festive bonfires. Iago's drinking song is permeated with caustic sarcasm. The duet of Othello and Desdemona “The Dark Night Has Come,” preceded by the soulful sound of solo cellos, is replete with melodic melodies. At the conclusion of the duet, a passionate, ecstatic melody of love appears in the orchestra.

In the second act central place are occupied by the characteristics of Iago and Othello. The image of Iago - a strong, unwavering, but spiritually devastated person - is captured in the large monologue “I Believe in a Cruel Creator”; in the firm, decisive musical phrases there is a hidden mockery, enhanced by the orchestral accompaniment (at the end there is an explosion of caustic laughter). An expressive contrast is created by the Cypriot chorus “You look - everything will sparkle,” emphasizing the purity and purity of Desdemona; the enlightened nature of the music is created by the sound of children's voices, the transparent accompaniment of mandolins and guitars. In the quartet (Desdemona, Emilia, Othello and Iago), Desdemona’s broad melodies, full of calm nobility, contrast with Othello’s agitated, sorrowful phrases. Othello’s Arioso “I say goodbye to you forever, memories,” accompanied by warlike fanfares, close to a heroic march; this is a brief musical portrait of a courageous commander. In contrast to this is Iago’s story about Cassio, “That Was the Night”; its insinuating, bewitching melody and swaying accompaniment pattern resemble a lullaby. The duet of Othello and Iago (oath of revenge) by the nature of the music echoes the arioso of Othello.

The third act is based on a sharp contrast between the solemnity of the mass scenes in which the people greet Othello, and his deep mental turmoil. The duet of Othello and Desdemona opens with the gentle melody of “Hello, my dear husband.” Gradually, Othello's phrases become more and more anxious and agitated; at the end of the duet, the initial lyrical melody sounds ironic and ends with an angry exclamation. The torn, gloomy, seemingly frozen phrases of Othello’s monologue “God, you could have given me shame” express depression and numbness: the melodious melody of the second part of the monologue is permeated with restrained sorrow. A wonderful septet with a choir is the pinnacle of drama: the leading role here belongs to Desdemona, her soulful melodies are full of sorrowful forebodings.

In the fourth act, the image of Desdemona takes precedence. A mournful orchestral introduction with a solo English horn creates a tragic atmosphere of doom, predicting an imminent denouement. This mood is intensified in Desdemona’s simple, folk song with repeated melancholy exclamations of “Willow! Willow! Willow!". A short orchestral intermezzo (the appearance of Othello), ending with a passionate melody of love, is distinguished by a wide range of feelings. The dialogue between Othello and Desdemona, built on short, nervous remarks, is accompanied by an alarming pulsation of the orchestra. The last characteristic of Othello is a short monologue “I am not terrible, although armed”; short phrases convey a feverish change of thoughts. At the end of the opera, highlighting the dramatic denouement, the melody of love again plays in the orchestra.

M. Druskin

“Othello” is Verdi’s highest realistic achievement, one of the best works of world opera classics.

Using the means of his art, the composer was able to convey the true spirit of Shakespeare's tragedy, although, according to the laws of the specifics of musical dramaturgy, a number of side moments and scenes were released in the opera, the turn of events was given more concisely and quickly, the contrasts of characters and dramatic situations were more sharply defined.

At the same time, a number of additional episodes were introduced, which made it possible to more widely reveal in the music the spiritual world of the characters and their characteristics. Such are the duet of Othello and Desdemona at the end of Act I and the “Cypriot chorus” in Act II, which gives an indirect characterization of Desdemona, praising the nobility and chastity of her moral character.

Act I is divided into three large scenes; Let's call them “Storm”, “Tavern”, “Night”. Each of them has its own musical and dramatic centers, which anchor the development of action and characters. The opera begins without an overture, replaced by a large dynamic choral scene; it is at the same time an indirect characteristic of Othello - the people's favorite and leader. In the second scene, the intrigue unfolds and the initial exposition of the image of Iago with his wonderful drinking song is given. The third scene is a love duet, in which the poetic appearance of Desdemona and the lyrical sides of Othello’s character are outlined (for the two main themes of the duet, see examples 167 a, b). The end of the act - the highest bright point of the tragedy - is captured in a love theme of amazing beauty:

In Act II, the insidious and evil Iago comes to the fore. In showing a strong negative image, Verdi uses, as usual, not satirical, but dramatic means of expression. This is Iago’s monologue - the best example, along with the images of the priests in Aida, of this manner of Verdi. Angular, seemingly grinding chord progressions, frantic explosions of passages, tremolos, piercing trills - all this serves to outline the image of an inhuman, cruel enemy:

Further key points of Act II are presented in the “Cypriot chorus”, the quartet and the final “oath of revenge” - the duet of Iago and Othello, which is demonic in nature.

The development of Act III is marked with great purpose. Its first half shows the growth of Othello's jealous feelings (the duet of Desdemona and Othello; the trio of Iago, Cassio and Othello), which leads to the climax of the opera - a septet with a chorus, where the contradictions between the two polar images of the tragedy: Desdemona and Iago are expressed with great force. The intonation of the lyrical themes that sounded in the love duet of Act I served as the basis for two Desdemona themes in the septet.

Its initial section (Es-dur, choir comments - As-dur) is dedicated to the exposition of these themes, which has a closed form, being framed by the first of the given themes.

In the second section, Iago becomes more active, the chorus’s remarks become more and more alarming, but they sound wary, in a whisper. This is the calm before the fierce battle that will break out in the third section (the main stages of the battle are As-dur, F-dur). Both themes of Desdemona are also used here, which gives this section a reprisal character. But the balance of forces has changed: the chant of the second lyrical theme in the bass is answered by Iago’s menacing phrase. Thus, throughout this masterfully written septet, the action moves inexorably towards a tragic denouement.

Act IV is the pinnacle of tragedy. With unusually restrained, stingy means, Verdi conveys the feeling of intense anticipation of a terrible catastrophe and its fulfillment, and - which is wonderful! - the music is dominated by muted tones and shades rrr(even ppppp!). Unexpected outbreaks of violent manifestations of despair or anger stand out all the more clearly. Such, for example, is the following phrase from Desdemona’s farewell to Emilia:

The atmosphere of guarded silence is brilliantly conveyed in the orchestral introduction. The melancholy melody of the cor anglais is accompanied by the mournful sigh of the flutes; Later, the opening “empty” fifth of the clarinets sounds like an inexorable sentence:

The thematic theme of the introduction permeates the entire first scene of the act with the song about the willow tree and the prayer of Desdemona - these outstanding examples of Verdi's folk song lyrics. Echoes of this thematic theme also penetrate into the intonations of Othello, who regained his sight after the death of Desdemona. At the moment of his death, a wonderful melody of love appears from the duet of Act I (see example 165): thus, through the means of music, the composer cements in the memory of the listeners the noble and courageous, deeply humane image of the unfortunate Moor.

The musical dramaturgy of Othello develops rapidly and intensely. Verdi finally breaks with the principles of number structure: the action breaks up into scenes, but the transitions between them are smoothed out. The amazing skill with which Verdi combines end-to-end development with the internal completeness of the central dramatic moments is amazing. Iago's drinking song, love duet in Act I, Iago's "credo", "Cypriot chorus", "oath of revenge" - in Act II, Othello's aria, septet - in III, song about the willow tree and Desdemona's prayer, Othello's dying monologue in Act IV - all of these are, to one degree or another, completed, internally complete numbers, which arise, however, in the process of the end-to-end development of music.

In this coherence of development, the role of both vocal and instrumental factors is great.

Verdi found in Othello the ideal balance between the recitative-declamatory and song-ariat beginnings. That is why the transitions from recitative forms to arioses are so organic in opera. Moreover, Verdi’s melodic generosity did not dry out, and he did not move away from the folk song origins that permeated the music of his creations. At the same time, her harmonic structure became bolder and brighter, and her tonal movement became more flexible and varied. All this helped convey the emotional nuances and richness of the characters’ spiritual world.

Verdi's orchestra also became more colorful and varied, without losing, however, its individual qualities - the rich and courageous sound of “pure” timbres, bright juxtapositions of contrasting groups, light and transparent coloring, powerful dynamics. And most importantly, the orchestra acquired the importance of an equal participant in the action and was imbued with songfulness to the same extent as the vocal part was imbued with declamation (Verdi said: “Good instrumentation does not consist in the variety and unusualness of effects - it is good when it expresses something.” Rimsky-Korsakov wrote enthusiastically about the “dramatic orchestra” of Verdi.).

Thus, all the musical resources of the opera appeared in organic unity, which is a distinctive feature of the best realistic works of the world musical theater.

; libretto by A. Boito based on Shakespeare's tragedy of the same name.
First production: Milan, Teatro alla Scala, February 5, 1887.

Characters: Othello (tenor), Iago (baritone), Cassio (tenor), Roderigo (tenor), Lodovico (bass), Montano (bass), Desdemona (soprano), Emilia (mezzo-soprano), herald (bass); soldiers and sailors of the Venetian Republic, residents of Cyprus, Greek warriors, Dalmatians, Albanians, a tavern owner, four servants in a tavern, an oarsman.

The action takes place at the end of the 15th century in a seaside town on the island of Cyprus, subordinate to Venice.

Act one

Castle on the seashore. Evening. There is a storm at sea, the ship of Othello, appointed governor of the island, approaches the shore, where a crowd of people have gathered, among whom: the Venetian nobleman Roderigo, in love with Desdemona, who recently became Othello’s wife, Iago, hostile towards the new governor, since he bypassed by his rank, Montano, former governor of the island. The storm calms down, as if having heard the prayers of the people (“Dio, fulgor della bufera!”; “The Terrible Lion of St. Mark!”).

The ship is mooring. Here comes Othello: the dark skin color of the Moor did not prevent him from becoming a general of the Venetian fleet. Now he rejoices at the victory over the Muslims (“Esultate!”; “Honor and glory!”). The people begin to have fun on the shore (“Fuoco di gioia”; “The flame is burning”). Iago decides to give Cassio a drink (“Innafia l’ugola”; “My cup is filled”), who became captain bypassing Iago. Roderigo starts a quarrel with the tipsy captain, who is supposed to go on night watch. Montano tries to separate them, but Cassio wounds him. Othello is forced to intervene, he strips Cassio of his title, tells Iago to restore order and everyone to go home: he himself will protect the peace of the island. Desdemona joins her husband; in a gentle conversation they remember the past, enjoy the happiness of being together (“Gia nella notte densa”; “The anxious day is over”).

Act two

Iago, pretending that he wants to help Cassio, advises him to ask Desdemona for mediation. She had just gone for a walk with the maid Emilia, Iago’s wife. Cassio approaches Desdemona, and Iago, meanwhile, expresses his contempt for a life subject to only evil (“Credo in un Dio crudel”; “To be only an instrument of someone’s will”). He then hints to Othello the ambiguous nature of the conversation between his wife and Cassio. The Moor, in whose heart jealousy flares up, demands from Iago proof of Desdemona’s betrayal, which at this time the inhabitants of the island are glorifying (“Dove guardi splendono raggi”; “Your gaze is brighter than the rays of stars”). When she turns to her husband, standing up for the former captain, he misinterprets her attention to Cassio. Desdemona drops the handkerchief, and Iago quickly snatches it from Emilia's hands.

The Moor feels that his heroic past has been trampled by his wife’s betrayal (“Ora e per sempre addio”; “Oh, the happiness of the past life”). Iago claims that he heard Cassio pronounce the name of Desdemona in his sleep (“Era la notte”; “I remember on the campaign”), and saw her handkerchief, a wedding gift to Othello, in his hands. The Moor solemnly swears revenge, Iago joins his oath (“Si pel ciel marmoreo giuro!”; “I swear by the vault of heaven”).

Act three

Desdemona again asks for Cassio. Othello is furious: where is the handkerchief, his gift? He accuses his wife of infidelity and drives him away (duet “Dio! ti giocondi, o sposo”; “Oh, dear Othello”). Othello, burning with a thirst for revenge and tormented by the thought that he has lost his love (“Dio! mi potevi scagliar tutti i mali”; “God! You could give me shame”), overhears his ambiguous and cheeky conversation with Cassio, specially arranged by Iago, during which Cassio shows his friend Desdemona's handkerchief, which he found in his room. Othello swears to kill her with his own hands (terzetto duet “Vieni; l’aula e deserta”; “You can enter freely”). Iago whispers to him: “Kill with your own hand, there, in your bedroom.” And he will deal with Cassio himself.

A delegation from Venice arrives: Othello is temporarily called back to his homeland, Cassio is appointed instead. The Moor gives vent to his anger, insults Desdemona, forces her to kneel down and cry in the midst of general confusion (septet “A terra!.. si”; “To the earth... Yes... covered in shame..!”). Left alone, he faints.

Act four

Desdemona is in her room, getting ready for bed, overcome with gloomy forebodings. She sings an old sad song (“Mia madre aveva una povera ancella”; “Once upon a time a girl was sheltered by her mother”) and prays (“Ave Maria”; “Holy Virgin”). Othello enters through a secret door. With a kiss, he wakes up his sleeping wife and demands to repent of her sins. The young woman is terrified; Othello strangles her. Emilia runs in: Cassio has just killed Roderigo, who attacked him at the instigation of Iago. Othello confesses to killing his wife. Emilia calls for help, people come running. In front of everyone, she exposes Iago. Othello stabs himself after kissing Desdemona for the last time (“Niun mi tema”; “Oh, don’t be afraid, this sword is not scary”).

G. Marchesi (translated by E. Greceanii)

OTHELLO - opera by G. Verdi in 4 acts, libretto by A. Boito based on the tragedy of the same name by W. Shakespeare. Premiere: Milan, Teatro alla Scala, February 5, 1887, conducted by F. Faccio (F. Tamagno - Othello, V. Morel - Iago, R. Pantaleone - Desdemona); in Russia - St. Petersburg, Mariinsky Theater, December 26, 1887, under the direction of E. Krushevsky (N. Figner - Othello, E. Pavlovskaya - Desdemona, A. Chernov - Iago); subsequent productions: Moscow, by an Italian troupe, February 1890; Bolshoi Theater, 1891, under the direction of I. Altani (premiere - January 15).

In 1879, Boito suggested the theme of Othello to Verdi. The composer did not immediately decide to start composing the opera. In 1881, he began work in earnest, which he completed on November 1, 1886. This work is the result of long and deep reflections of the author, who relied on the help of the playwright, poet and musician A. Boito. The opera differs significantly from Shakespeare's tragedy; its composition is more concentrated. Verdi and Boito discarded the first episode of the play, the entire backstory of Desdemona's love and flight from her father's house, and the story of Othello in the Senate. The storm that opens the action has nothing in common with traditional opera thunderstorms. Anxiety for the fate of the hero depicts the attitude of the people towards him; the courage and strength with which he overcomes the raging elements - best characteristic Othello, appearing on stage for the first time as if on the crest of a musical wave. Verdi remained faithful to this principle of effective musical characterization throughout the entire work.

There are no inserted, divertissement episodes in the opera. The feast scene and Iago's song in Act I drive the action, because they lead to the provoked clash between Cassio and Roderigo, the wounding of Montano, and the anger of Othello. Within the first episode, the Moor is shown as a courageous and valiant warrior, an imperious boss (pacifying a quarrel), and in the last scene - as a tender and passionately in love husband; here, in a duet with Desdemona, the dramaturgically important theme of love takes place, which is given the last time to be heard in the finale of the opera - in the scene of Othello’s death.

Verdi and Boito dynamized, strengthened and enlarged the role of Iago - for some time the composer even intended to name the opera after this character. He appears not just as an envious person, a scoundrel, a slanderer, but as a demon of evil, the personification of the dark and vile sides of human nature. The developed monologue introduced by the composer and librettist (II d.), in which Iago tries to establish his philosophy of hatred for man, contempt for him, is a kind of symbol of the hero’s faith (this episode is usually called the “creed”). There is no doubt that Iago has similarities with Mephistopheles and Richard III. But the monologue, filled with titanic and ominous power, not only serves as self-characterization. It concentrates thematic material related to the effective function of the “anti-hero” - from the echoes of his drinking song (intrigue against Cassio) to the motives for Othello’s suspicions of Desdemona’s infidelity, inspired by Iago. The fact that these “impure” intonations entwine Othello’s soul means his spiritual collapse. And yet, the theme of the omnipotence of evil, which attracted the misanthrope and skeptic Boito, is uncharacteristic of Verdi, who deeply comprehended the world in its contradictions and firmly believed in the victory of light. Here are his words: “They talk and write to me all the time about “Iago”. I answer everyone: “Othello,” not “Iago,” is not finished yet! And they keep repeating their words: “Iago,” “Iago.” He is (it is true) a demon who moves everyone, but Othello is the one who acts, loves, is jealous, kills and himself commits suicide. It would be hypocritical not to call the opera “Othello” for fear of comparisons with Rossini... I prefer to be told about me: he fought a titan and was defeated, than to hear: he tried to hide under the name “Iago.”

Indeed, Othello - main character operas. He temporarily succumbs to slander, the dark principle wins, his spiritual world becomes clouded, and despair takes possession of him. Iago could humiliate him, push him to commit a crime, but he is powerless to rise to the level of one who, having learned of Desdemona’s innocence, kills himself at his wife’s deathbed to atone for his guilt. The path of Othello's movement in the opera is the path from the heights of happiness to the abyss of grief and horror and to the final purification and enlightenment. Verdi focused all his attention on the psychological revelation of the Othello-Desdemona drama. The music brilliantly conveys all the twists and turns of the action and paints complete portraits of the characters. The peak of drama is achieved in the 4th century - in the scene of Desdemona, her song about the willow, sounding with a sad premonition of her own fate, her prayer and the stunningly dramatic exclamation “Ah, Emilia”, the scene of Othello’s murder and suicide. Verdi almost does not use completed vocal numbers, achieving continuity of musical stage action, at the culmination of which vocal monologues or ensembles arise (duets in the final scenes of the 1st and 2nd acts, a septet in the finale of the 3rd act).

The opera was created in an environment where the music was increasingly influenced by the principles and style of Wagner's musical dramaturgy. From Verdi, many expected a conscious opposition and refutation of these principles. Others, on the contrary, perceived Othello as a concession. The composer remained faithful to the ideals of Italian national opera, but, being a progressive artist, he could not stand aside from the process of music development and ignore the experience of Wagner and Bizet. "Othello" is a musical drama, of course, not in the Wagnerian sense, it opposes "Tristan and Isolde" conceptually and stylistically; there is no mysticism, no doom, no exaltation of the poem of love and death. But Wagner’s quest for harmony and melody did not pass her by, just as Wagner did not pass by his contemporary French and Italian opera. Verdi remained faithful to the laws of realism, psychological truth, embodied in the unity of vocal and orchestral principles, without exaggerating any of them. His heroes, like Shakespeare's, are living people, and not abstract carriers of emotions. Music expresses their passions and personalities.

The production of Othello was not only a triumph for the composer, but also a national celebration of Italy. Representatives from all the world's theaters and political figures gathered for the premiere. However, there was nothing like the excitement surrounding the first performance of The Ring of the Nibelung or Parsifal.

Verdi was behind the scenes during the first day. Using a sheet of tin, he imitated the roar of thunder in the opening storm scene. But, according to contemporaries, the theatrical thunder, the storm of the orchestra and choir could not compare with the flurry of applause that rang out after the end of the first act and the finale of the opera. Milan, where the premiere took place, awarded Verdi the title of honorary citizen of the city, and gala reception a fair comparison with Shakespeare was made in his honor: “Both have the same titanic richness of color, the same power of creating characters. From the lines of the English poet and the melodies of the Italian maestro blows the same breath of tragedy that fills us with trembling and brings tears.” However, Verdi was not satisfied with the production, the cliché of the scenery and costumes. Not everything suited him in execution.

The opera made a victorious march across the stages of the world: in 1888 it was staged in Hamburg, in 1890 in Berlin, in 1894 in Paris. In Russia she won success, finding wonderful performers in the persons of Medea and Nikolai Figner. However, Othello still did not occupy the place in the repertoire that was assigned to the composer’s previous operas. The complexity of the score, the lack of complete, bravura numbers, and the enormous demands placed on the performers made it less winning. G. Monaldi, a researcher of Verdi’s work, wrote: “For history, such achievements as Othello and Falstaff will always remain great, perhaps even greater than they were appreciated in the past. But for a wide circle of fans of Verdi, the legend associated with him ends with “Aida.”

A new page in the history of the brilliant opera opened in the 20th century. The Russian theater put forward an outstanding interpreter of the title role in the person of I. Ershov, who conveyed in all its richness the complex world of the image, its moral greatness and the tragedy of fate. A master of expressive and truthful recitation, Ershov found the key to Verdi's recitatives. The image he created was a high example of musical and stage unity. The domestic theater later demonstrated interesting solutions for opera productions (for example, N. Smolich in Bolshoi Theater USSR and in Kiev named after. Shevchenko). it was included in the repertoire of the Leningrad theaters - the Kirov (premiere - December 29, 1938, conductor S. Yeltsin; N. Pechkovsky - Othello) and the Maly Opera (premiere - June 2, 1962, conductor A. Naydenov; V. Volkov - Othello ), in Moscow - Bolshoi (premiere - April 24, 1968, conductor E. Svetlanov, director B. Pokrovsky; V. Atlantov - Othello). Two productions were staged at the Mariinsky Theatre: in 1991 (together with Covent Garden, premiere on April 18, conductor V. Gergiev, director I. Moshinski) and in 1996 (together with the Bonn Opera, premiere on April 25 May, conductor V. Gergiev, director G. del Monaco). Among the best domestic performers of the title role are N. Ozerov, N. Khanaev, G. Nelepp, Yu. Kiporenko-Damansky, V. Atlantov, V. Galuzin. In Germany, a wonderful production was carried out by the Berlin Komische Oper (1959, director V. Felsenstein; G. Nocker - Othello). In the West, R. Vinay, L. Slezak, M. del Monaco, G. Vickers, G. di Stefano, T. Gobbi, R. Tebaldi, P. Domingo shone in the main parties. In 1986, an opera film directed by F. Zeffirelli (P. Domingo - Othello, J. Diaz - Iago, C. Ricciarelli - Desdemona) was released.

Several operas were written on the same plot, including by G. Rossini.

The opera Othello, reviving the true spirit of Shakespeare's tragedy, became Verdi's highest achievement in the field of musical drama. Work on it continued, with interruptions, for about eight years. She brought the composer the greatest joy: “I loved my solitude with Othello and Desdemona! Now the public, always greedy for something new, has stolen them from me, and I am left with only the memory of our secret conversations, of our joyful intimacy,” he wrote in one of his letters.

Premiere at Milan's La Scala theater on February 5, 1887, became not only a triumph for Verdi the composer, but also an event of national significance: Milan awarded the maestro the title of honorary citizen of the city.

At the core plot - Shakespearean tragedy, which has repeatedly attracted the attention of composers: several more operas were written on its basis, including Rossini’s opera. The idea of working on Othello belonged to Arrigo Boito, who offered Verdi a finished draft of the script. The composer really liked this script, but he did not immediately agree to work. Nevertheless, the thought of “Othello” increasingly took possession of the composer’s creative consciousness (for some time he kept it secret: for purposes of secrecy, the future composition was called “chocolate”). In the autumn of 1880, active work began with the librettist, in which the leading role, as always, belonged to Verdi. He dictated his demands to Boito, which he fulfilled with enviable patience. The composer began composing music only after he received a version that completely satisfied him. libretto. It differs significantly from tragedy:

· the course of events has accelerated, conflict situations have intensified;

· there are no minor characters or side episodes. For example, the entire first act of the tragedy, connected with the prehistory of the heroes’ love and the abduction of Desdemena from her father’s house, is excluded. There is no Othello's famous final soliloquy over the murdered Desdemona;

· on the other hand, some new scenes were introduced that were not in Shakespeare - a love duet in Act I, a welcoming (“Cypriot”) chorus of women in Act II;

· the role of Iago has been enlarged, and he is given demonic, “Mephistophelian” features. It was this image that Verdi perceived as the root cause of the tragedy (he even wanted to call his opera “Iago”)%

Main subject The opera is the tragedy of a person losing faith in the purity and truthfulness of human relationships. According to A.S. Pushkin, “Othello is not jealous by nature, on the contrary, he is trusting.” Developing this idea, F. Dostoevsky notes that “Othello’s entire worldview became clouded, because his ideal perished. But Othello will not hide, spy, or peep: he is trusting. On the contrary, he had to be guided, pushed, inflamed with extraordinary efforts so that he would only guess about the betrayal. This is not what a true jealous person is like.” Thus, Shakespeare's tragedy is not a drama of jealousy, it is a tragedy of the loss of an ideal and betrayed trust.

Dramatic plan

The main thing that you immediately notice in this work is the rejection of the “number structure”, giving the musical flow a certain continuity. This is exactly what Verdi always strived for: a flow of music, free, logical, unexpected, like life itself.

In Act I there is an exposition of two antagonistic principles. At one pole are spiritual nobility and beauty, symbolized by the love of Othello and Desdemona. On the other is evil, appearing in the merciless full armor of powerful human nature, Iago. Smart, calculating, he knows how to play on human weaknesses.

In Act I there are three scenes: conventionally “Storm”, “Tavern”, “Night”. The extreme ones are dedicated to showing a positive beginning, primarily Othello. The middle one (“Tavern”) characterizes Iago, who provokes a skirmish between Captain Cassio and the Venetian patrician Rodrigo. The key moment of the 2nd scene is Iago’s drinking song with the choir, which shows his ability to dominate the crowd.

The “Storm” scene plays the role of a kind of prologue, replacing the missing overture. This is a grandiose vocal-symphonic picture that immediately introduces you into the thick of intense struggle. The climax of this scene is the appearance of Othello.

If the storm scene reveals the image of Othello from the heroic side, then the love duet of Othello and Desdemona that concludes Act I enriches the image of the protagonist with lyrical features. The very essence of their relationship is concentrated here.

At the center of Act II is Iago, who with his vague hints purposefully destroys Othello's trust in Desdemona. His musical and scenic characterization, outlined in the table, deepens in a large monologue, the so-called “Credo”: “Fate has given me only to do evil.” Iago is trying to establish his “philosophy of life” here - hatred. This is a psychological portrait of a cynic and skeptic who mocks human honor and trust. In the subsequent scene (the duet of Iago and Othello), Iago manages to plant the first doubts in the soul of the protagonist.

The nervously tense music of the duet is sharply contrasted with the calm chorus of the inhabitants of Cyprus welcoming Desdemona. Its dramatic role is relaxation, inhibition. It complements the characterization of Desdemona, who seems to generate a bright perception of the world around herself, and also calms Othello himself (“their song humbles my spirit”). But then there is a new surge of drama, a clash of contradictory passions (as in the famous ensemble “Rigoletto”) in the quartet Iago - Emilia - Othello - Desdemona.

The development of Act III is aimed mainly at showing the evolution of the image of the main character. Under the influence of Iago, Othello increasingly loses his aura of nobility and valor. The action develops on the basis of a sharp contrast between the solemn crowd scenes in which the people welcome Othello, and his deep mental confusion. The key points here are:

· a new duet of Othello and Desdemona (with each of his phrases, Othello becomes more and more sarcastic, he denounces and insults Desdemona, who is trying to calm her husband down with tenderness and affection);

· monologue of Othello;

· the trio of Iago, Cassio, Othello - the last stage of Othello’s strengthening in the thought of Desdemona’s betrayal;

· a grandiose synthesizing finale, a solemn mass scene of the meeting of Venetian ships. Verdi in this scene turns off the protagonist from the external atmosphere of the action. Always living in the interests of the republic, here he does not notice anything, immersed in his loneliness and obsessed with the thought of treason.

The entire first half of Act IV is dedicated to Desdemona, the affirmation of her moral purity (song about the willow tree and prayer). Further, all events rapidly rush towards a tragic outcome. Othello appears to commit a terrible crime, but he is not a cruel avenger, but a deeply unhappy and loving person. When he kisses the sleeping Desdemona, the orchestra sounds the theme of love, the only leitmotif of the opera.

The entire final duet of the main characters is united by ostinato phrases from the strings, creating a heavy, “stuffy” atmosphere. The stern speech of Othello is contrasted with the excited lyrical intonations of Desdemona.

After the death of Desdemona, Othello cannot imagine life, and this is the strength of his love. His faith in the ideal is being revived, and the old Othello is being revived, as is clearly indicated by the mournful, restrained, noble intonations of his speech. The final phrases sound like a kind of tragic reprise of the radiant lyricism of the love duet of the first duet.

After the triumph of Aida, a break of 15 years came in Verdi’s operatic work. “The game is over”, “I’m old, too old” - these words are the leitmotif in many letters of this period. The reasons for such a long creative silence are widely covered in the composer's monographs. The critics attributed the high artistic merits of Aida to the “fruitful influence of Wagner.” Verdi wrote it as an anti-Wagner work. The composer wrote to one of his acquaintances: “...Why, strictly speaking, should I write? ...I would again hear that I don’t know how to write, that I became a follower of Wagner. Enviable glory! After almost 40 years of work, to end up a copycat!” That is why Verdi responded to all the entreaties of his friends to write a new opera after “Aida” with a categorical refusal.

An interesting detail: Arrigo Boito, a composer known primarily as the author of the opera Mephistopheles.

Iago starts a conversation with Cassio about his love relationship with Bianca, but Othello is sure that we're talking about about Desdemona.

Opera "Otello" by Giuseppe Verdi

G. Marchesi

Musical drama in four acts; libretto by A. Boito based on Shakespeare's tragedy of the same name. First production: Milan, Teatro alla Scala, February 5, 1887.

Characters:

Othello (tenor), Iago (baritone), Cassio (tenor), Roderigo (tenor), Lodovico (bass), Montano (bass), Desdemona (soprano), Emilia (mezzo-soprano), herald (bass); soldiers and sailors of the Venetian Republic, residents of Cyprus, Greek warriors, Dalmatians, Albanians, a tavern owner, four servants in a tavern, an oarsman.

The action takes place at the end of the 15th century in a seaside town on the island of Cyprus, subordinate to Venice.

Act one.

The ship is mooring. Here comes Othello: the dark skin color of the Moor did not prevent him from becoming a general of the Venetian fleet. Now he rejoices at the victory over the Muslims (“Esultate!”; “Honor and glory!”). The people begin to have fun on the shore (“Fuoco di gioia”; “The flame is burning”). Iago decides to get Cassio drunk ("Innafia l"ugola"; "My cup is filled"), who has become a captain bypassing Iago. Roderigo starts a quarrel with the tipsy captain, who must go on night watch. Montano tries to separate them, but Cassio wounds him. Othello is forced to intervene, he deprives Cassio of his title, tells Iago to restore order and everyone to go home: he himself will protect the peace of the island. Desdemona joins her husband; in a tender conversation they remember the past, enjoy the happiness of being together (“Gia nella notte densa”; "The troubled day has ended").

Act two.

The Moor feels that his heroic past has been trampled by his wife’s betrayal (“Ora e per sempre addio”; “Oh, the happiness of the past life”). Iago claims that he heard Cassio pronounce the name of Desdemona in his sleep (“Era la notte”; “I remember, on the campaign”), and saw her handkerchief, Othello’s wedding gift, in his hands. The Moor solemnly swears revenge, Iago joins his oath (“Si pel ciel marmoreo giuro!”; “I swear by the vault of heaven”).

Act three.

Desdemona again asks for Cassio. Othello is furious: where is the handkerchief, his gift? He accuses his wife of infidelity and drives her away (duet “Dio! ti giocondi, o sposo”; “Oh, dear Othello”). Othello, burning with a thirst for revenge and tormented by the thought that he has lost his love (“Dio! mi potevi scagliar tutti i mali”; “God! You could give me shame”), overhears his ambiguous and cheeky conversation with Cassio, specially arranged by Iago, during which Cassio shows his friend Desdemona's handkerchief, which he found in his room. Othello swears to kill her with his own hands (the terzetto duet “Vieni; l”aula e deserta”; “You can enter freely.”) Iago whispers to him: “Kill her with your own hand, there, in your bedroom.” And he will deal with Cassio himself.

Act four.

Desdemona is in her room, getting ready for bed, overcome with gloomy forebodings. She sings an old sad song (“Mia madre aveva una povera ancella”; “Once upon a time a girl was sheltered by her mother”) and prays (“Ave Maria”; “Holy Virgin”). Othello enters through a secret door. With a kiss, he wakes up his sleeping wife and demands to repent of her sins. The young woman is terrified; Othello strangles her. Emilia runs in: Cassio has just killed Roderigo, who attacked him at the instigation of Iago. Othello confesses to killing his wife. Emilia calls for help, people come running. In front of everyone, she exposes Iago. Othello stabs himself, kissing Desdemona for the last time (“Niun mi tema”; “Oh, don’t be afraid, this sword is not scary”).

When the premiere performance at La Scala ended, the audience showered the author with a storm of admiration. The orchestra under the direction of Franco Faccio was magnificent, Morel’s staging and performance of the role of Iago was excellent, the performances of Tamagno (Othello) and Pantaleoni (Desdemona) were less successful. Critics vigorously praised the composer's skill and creative longevity, underestimating the true significance of the opera, which took its rightful place in the history of musical theater only in the first half of the 20th century, eclipsing even Verdi's other operas. The initial assessment of "Othello" was associated with the perception of the opera as belonging to the Wagnerian movement, which then increasingly - with the approval of many cultural figures - spread in Italy, captured by the wave of symphonism, the main conductor of which was Wagner. Nowadays, looking at the entire operatic heritage of Verdi, one can more clearly imagine the place of this masterpiece in the evolution of the composer’s various stylistic manners, in relation to which “Othello” is the result and at the same time has independent significance. The lesson of this opera, modern, absorbing new achievements, but remaining within the Italian tradition, will be learned by young musicians. Alberto Savigno wrote about the function of the orchestra, which, under the influence of Wagner, represents a great step forward, that is, different from the orchestra of Verdi’s previous operas, that it “does no more than support from below, with its massive supports, the singing that floats above the stage, and the unisons become the richest and most meaningful ".

Much more important is the holistic perception of the opera, such as Verdi created it, its architectonics, consisting of organic parts, closely grouped around a single center - the source of life, contradictions, humiliation and suffering in music, which with its hero goes through all the stages from past glory to the last collapse . Othello obeys Iago, who knows life and commits violence against it, for time requires the sacrifice of the hero and his property, including love. Iago is a wakeful, unyielding, anarchic consciousness, and he inspires sympathy in the audience. Othello is lost in front of him. He, as a tenor, should have become a hero of action, the embodiment of courage and chastity. But the role quickly takes him to the completely opposite extreme, where he becomes almost a buffoon. In the face of the audience, he is justified only by the authenticity of the inner tragedy that Verdi brings to the surface with such passion, only by the sincerity of the tears of a man with a dark skin color who kills a blond woman, his ideal. This paradox, bordering on the grotesque, is the result of Verdi’s new operatic direction and gives rise to an image that, of course, comes from old Shakespeare, but is also very much in tune with the last decades of the 19th century.

This becomes immediately apparent in the first act, during the love duet between Othello and Desdemona, one of the most heartfelt and nostalgic in all of European music. Even before a fatal conflict arises between them, this page is already a memory of happiness left in the past. Despite the kisses in the finale, love seems to be carried away into the shining depths of the night sky. In reality, only misunderstanding, discord, and an atmosphere of so-called verism remain. The characters would have to create the impression of authentic life, movement, acceleration of musical speech or stage development, primarily in individual numbers, or at least not freeze in a motionless picture, as if extraneous to the action.

However, the movement here is illusory; the decrease in melodic energy is tantamount to a trap into which the Moor and Desdemona fall. They would like to pour out their feelings in the old style, powerful and broad, which gave the characters the happiness of existence even in the midst of tragedy; but Iago lures them into a trap thanks to the skillful weaving of threads and patterns, insidiously crushing high feelings from their pedestal. Othello, with his powerful voice, has nothing left but a muffled cry (one can notice that his confident opening aria “Rejoice!” is, in fact, full of fatigue). Desdemona, who could have become Gilda, or Violetta, or Amelia (this is proven by the magnificent ensemble of the third act), after the song about the willow tree there will only be “Ave Maria” with modern harmonization (which, however, goes back to the part of the romantic Agatha Weber). Iago, on the contrary, is cunning and insidious, capable of patter, of organizing lush, corrupting bacchanalia (in an unbridled flowery style), triumphs thanks to high-flown vocal outpourings that lull someone else’s conscience (“Credo”). But all of them are suffocated in the sound drapery with its smoky, sometimes exotic colors, shimmering with a precious and gloomy sheen. The same logical syntactic continuity of form is the first sign of asphyxia, an exquisite robe that hides terrible ulcers, shameful traces of cruelty. The careful avoidance of fragmentation, the insistence of repetitions, thematic anticipations, the stubborn filling of voids - there is something manic in all this... Yet these characters are vital, they are so warm, “plastic” (in Savigno’s words), that the sight of their death is so terrible arouses inescapable excitement. Verdi could not have done more.

Bibliography

To prepare this work, materials from the site http://www.belcanto.ru/ were used

Opera by Giuseppe Verdi "Otello" by G. Marchesi Musical drama in four acts; libretto by A. Boito based on Shakespeare's tragedy of the same name. First production: Milan, Teatro alla Scala, February 5, 1887. Are they active?

Opera in four acts.
Libretto by Arigo Boito based on William Shakespeare's tragedy "Othello, or the Moor of Venice." Giuseppe Verdi
"Othello"

Characters:
Othello, Moor, commander of the Venetian Republic (tenor)
Iago, standard bearer (baritone)
Cassio, captain (tenor)
Rodrigo, Venetian nobleman (tenor)
Lodovico, Ambassador of the Venetian Republic (bass)
Montano, Othello's predecessor in ruling the island of Cyprus (bass)
Herald (bass)
Desdemona, Othello's wife (soprano)
Emilia, her maid, wife of Iago (mezzo-soprano)

Soldiers and sailors of the Venetian Republic, residents of Cyprus, children.
The action takes place in a seaside town on the island of Cyprus at the end of the 15th century.

1 action

Cyprus. Harbor. Storm. Storm. "The storm covers the sky with darkness." Everyone is waiting for the arrival of the general of the Venetian Republic - the Moor Othello, who was appointed governor of the island. And then, finally, a sail appeared in the distance.
- Sail! Sail! Standard! This is the commander's ship... It will crash on the rocks! For help! - the people shout and worry. - Lord, help him!
God heard the prayer, and the sailboat safely lands on the shore.
- Esultate! - Othello exclaims. - L "orgolio musulmano sepolto è in mar; nostra del cielo è gloria! ("Rejoice! The pride of Muslims is drowned in the sea; Heaven has granted us victory!" - this is the so-called "Othello's Exit", where the tenor demonstrates his ability (or inability) to easily take the top "si-bekar"). - Evviva, evviva, evviva, vittoria! Happy “arrival” - the Cypriots rejoice, praising the winner.
The storm subsides, the sun appears from behind the clouds. Everyone is happy! Only Iago and Rodrigo are not happy. Rodrigo has long been in love with Desdemona, but she preferred the not quite fresh (in the sense of old) Moor to him, young and handsome. Iago hates Othello because he gave the rank of captain to Cassio, and he, Iago, remained a lousy standard-bearer. Plus, apparently, Iago is a racist.
- Well, Rodrigo, what do you think? - asks Iago.
- I'll drown myself...
- A fool is the one who drowns himself because of the love of a woman.
- I don’t know how to win her.
- Give it all time. Desdemona is young and beautiful. Soon the savage's kisses will become disgusting to her. And then you will appear, all in white. She won't be able to resist such a handsome man. Listen to me: although I show everyone how much I love the Moor, in reality I hate him. Therefore, I will help you. Understood?
- Yeah.
- Just listen to me.
Meanwhile, in the main hall, everyone celebrates the general's victory and his wedding. (Othello and Desdemona got married just before the Venetian fleet sailed to battle. And now they are having their wedding night). Cypriots drink and have fun. Only Cassio does not drink: he is not allowed, he is “alcoholic anonymous.” Iago knows this very well, and therefore intends to get the young man drunk and start a quarrel with him (naturally, with the wrong hands) in order to discredit him in the eyes of Othello.
- Hey, Rodrigo, give Cassio some wine! - he says.
“I don’t drink anymore,” the young man answers.
- Yes, come on, Cassio! It would be a sin not to drink to the great victory and to the wedding of Othello and Desdemona! Hey guys, wine everyone!
Iago sings a merry drinking song. Rodrigo makes sure Cassio's cup remains filled. The young man quickly gets drunk and begins to sing along with Iago - who, meanwhile, manages to tell Rodrigo to take a moment and laugh at the exploits of the young captain. The Venetian does just that. And now, “in the hollow,” the drunken Cassio grabs his sword, trying to kill the mocker. The former governor of Cyprus, Montano, appears. He wants to calm the raging youth, but he fails. Moreover, Cassio rushes with a weapon at Montano himself. A fight breaks out: everyone and everyone is fighting. Iago sends Roderigo to raise the alarm so that Othello can see with his own eyes what a drunkard and rowdy he has appointed captain. The villain himself sluggishly tries to calm his comrades.
Rodrigo did everything as it should - the general appears, accompanied by guards.
- Put your weapon down, motherfucker! - Othello shouts in a terrible voice. - Are you all crazy here? Iago, what happened?
- Uh-uh, so... I don’t know, my general... Just now all the guys here were friends, when suddenly they grabbed their swords. I tried to stop them...
“Cassio,” Othello turns to the suddenly sober young man, “how could you forget yourself so much!”
- Sorry, General, I have nothing to say...
- Montano?
- I injured...
- Wounded!.. - the Moor is angry, - oh, Heaven! It's wartime, and you're killing each other! And with their screams they woke up my dear Desdemona! Cassio, you are no longer a captain!
- (Oh, mio trionfo! - Iago gloats to himself).
- Iago, we need to set up night patrols. Get on with it. Help Montano; take it home. Everyone clear the room!
Having given out instructions, Othello returns to his bedchamber. His young wife is sleeping peacefully on the bed. Othello kisses her tenderly. How beautiful she is! (when sleeping).
“In the darkness of the night everything is calm (Già nella notte densa s"estingue ogni clamor), just like in my heart,” the general addresses his wife. (This is a big and very beautiful duet).
He says that as long as Desdemona loves him, he is not afraid of any wars or battles.
- Ah, my noble knight! - Desdemona answers him. - Hope led us to these embraces. Do you remember how it was?
Othello, of course, is not young, but despite the numerous blows to the head received in battles, he still remembers something. Naturally, he did not forget how this young naive girl found any excuse to listen to Othello’s stories about his glorious battles, which he told her father. He saw the pain on her face as he talked about his wounds. I saw happiness when I talked about victories. “You fell in love with me for my torment, and I fell in love with you for my compassion for it.” Desdemona tells her husband how much she loves him.
- Venga la morte! - Othello exclaims, - e mi colga nell "estasi di quest" amplesso il momento supremo! (Let death come and capture me in the ecstasy of love, at the climax!) I will never be as happy as I am now! Desdemona, swear that you will never betray me.
- I swear, my love.
- Say "Amen".
- Amen.
- Oh! Joy overwhelms me... it’s hard to breathe, I need to rest... (serious illnesses and concussions make themselves felt here too). …Kiss Me...
- Othello!
- Kiss... one more kiss. The stars shine over the sea...
- It's too late.
- Let's go... Venus is shining in the sky.
(Since Venus is shining, it’s clear what needs to be done at this hour)...
- Othello!
End of the first act.

Act 2

Morning. Cassio sadly wanders around the fortress. Yesterday he behaved inappropriately and violated the regulations. So what's now? How to regain the general's favor? Iago advises him to talk to Desdemona. Othello loves her madly and will do everything his wife asks. Cassio leaves. Iago is left alone and sings the famous: “Credo in un Dio crudel” (I believe in the cruel Creator). Now he is showing (the audience) his true colors. Iago is a genius of evil and deceit! He hates all these pathetic people with their pathetic feelings.
- I will take revenge on Othello. He insulted me, and he must answer for this with his life... To be only an instrument of someone’s will is my bitter lot, this is a despicable gift to life. The mark of the curse is given to all people, you are the son of the earth and will be taken by the earth. How can I forgive that the will of the Moor completely controls my fate. That he, like a dog, throws me handouts, leftovers from dinner. Am I not right when, in feigned friendship with the Moor, I seek a means to avenge an insult?.. Sincerity, conscience, honesty - idle words are an empty sound. The lot of mortals is the dampness of the earth and decay - the crown of earthly happiness, the limit of earthly hopes... And there? And there? Death and oblivion. And Heaven is “an old woman’s tale.” A-ha-ha-ha-ha!!!
Having finished his tirade, Iago notices Cassio and Desdemona in the garden, talking about something. At this time Othello enters the hall. What's not a reason to start a treacherous game? As if by chance, Iago says:
- This makes me sad.
- What you said? - asks Othello, busy with his own affairs.
- Nothing... Are you here? Just the word came out of my mouth...
- Isn’t that Cassio and my wife there, about an hour?
- Cassio?.. No. Would he hastily hide if he saw you?
- And it seemed to me that it was Cassio.
- Mister...
- What do you want?
- Did Cassio know about your hobby before your wedding?
- I knew, of course I knew, but what is it?
- So. Considerations. I want to compare them, that's all.
- Compare?
- Did he know her before you?
- Certainly. And he acted as a mediator between us more than once...
- A mediator?
- Certainly. What's wrong with that? Wasn't he worth that trust?
- It was worth it.
- And he justified it, as you can see.
- Justified.
- So what are you concerned about?
- Concerned?
- Why are you tired of it, and repeat everything after me, like an echo... If you are my friend, reveal everything to me.
- You know, General, that I deeply respect you and your wife...
- Speak. But tell the truth, and God forbid, if you lie, I’ll kill you with my own hand.
Here Iago methodically, as they say, “with feeling, with sense, with arrangement,” hints to Othello that Desdemona pays too much attention to Cassio. He is young, handsome... Well, everything in the same spirit. Othello begins to get nervous. Iago warns: “Beware of jealousy.”
At this time, outside the window you can hear a chorus of villagers and village women with children bringing flowers to Desdemona. Othello admires this scene, and all his doubts disappear.
A beautiful ensemble sounds here, where the soprano is the soloist. After the offerings, Desdemona and Emilia (who also works as Iago's wife and Desdemona's servant) come to their husbands. Othello is happy - he loves and is loved. Desdemona, a naive soul, starts a conversation with him about forgiving Cassio. “This is not the time,” her husband tells her. She again said: “Forgive me, forgive Cassio.” "Not the time!!!" - the general begins to get angry, and then there’s Yagin’s talk. He grabs his head. “Apply a handkerchief,” says Desdemona, “and everything will pass.” The husband throws away the handkerchief, and Emilia picks it up. Iago immediately takes it away from Emilia: the scarf will still serve him faithfully. In short, the matter ends with Othello yelling at his wife and driving her away. He freaks out:
- She is unfaithful to me! (“Rea contro me! contro me!”). Terrible! Terrible!
“Non pensateci piu (Don’t think about it anymore),” says Iago.
- Get lost! Disappear!
You turned my life into a dungeon.
Even if they deceived me more,
I wouldn't know.
- No, what are you talking about, general!
- Clock when it belonged
Others didn't care about me.
I didn't see them and didn't know about them
And the night after them
He slept sweetly with her, was calm and cheerful.
I didn't find it on her lips
the sediment of Cassian kisses,
He is not robbed who does not realize
That he was robbed... Goodbye, peace! Goodbye spiritual peace!
Farewell, armies with feathered helmets,
And wars are the ambition of the brave,
And the neighing horse, and the sounds of trumpets,
And the whistle of the flute, and the booming drum,
And the royal banner at parades,
And the flames of battles and the triumph of victories!
Goodbye thunderous guns!
The end of everything. Othello has served!
(This is the monologue "Ora e per sempre addio sante memorie")
- Calm down, senor!
- You bastard, remember
You must prove her shame!
Really, you bastard, remember that!
Otherwise I swear by the immortality of the soul,
It would be better if you were born a dog
How can I give an answer to my anger?
- General, I beg you, calm down! Maybe nothing happened at all...
- Oh, infection, are you retreating already?..
The Moor is not himself. He is ready to kill anyone. Iago, in order not to die at the hands of a psycho, has to add poison. He begins the story about "Cassio's dream." As if reluctantly, the villain says, there is no need to tell this, but you are forcing me, my general. He “hangs up” that Cassio allegedly called Desdemona in a dream and remembered how they made love. Othello imagines all sorts of terrible scenes of debauchery. “Guilty,” he says. And Iago, the clever one, so slyly remarks: “it was just a dream.” Othello both believes Iago and does not believe him. Still, he needs proof. Then Iago remembers Desdemona’s handkerchief, which he allegedly saw on Cassio.
- Ah-ah-ah! - Othello shouts. - This hydra (apparently he means jealousy) is wrapping its snake coils around me!..
- Calm down. Quiet!.. - Iago tries to calm him down.
- Blood! Blood! Blood!..
I swear by you, shimmering sky,
In the holy consciousness of these terrible words
I make a vow of retribution...
Othello swears in the face of God to kill his cheating wife, and Iago vows to help him in this “noble” matter. (a spectacular duet sounds - “Oath”).

End of the second act.

Act 3

The main hall of the castle. Here everything is ready to receive ambassadors from Venice. The herald announces that a ship is on the horizon.
“Bene sta (i.e. “OK”),” says Othello. “Continue,” he turns to Iago.
“Soon I will bring Cassio here,” he answers, “with questions and persuasion I will force him to tell him about Desdemona.” You will hide and observe his behavior, his gestures and words. Be patient and get all the evidence that your wife cheated on you. And here comes Desdemona. Hide your feelings from her... I'm leaving. Remember, the scarf...
- Leave! I would gladly forget about him.
Desdemona appears. She is upset that her husband is not happy and has hung his head. This is what she asks him about. Othello pretends that everything is fine with him and politely addresses his wife:
- Give me a hand.
How wet! ... Such humidity is a definite sign
Compliance and love.
Hot, hot hand
And - wet. You need a hand like this
Humble with prayer, severity, fasting
And kill. The devil lives in her
And he gets angry and sweats.
The hand of the giver will never fail,
I can tell you about her.
- And you'll be right:
I gave my heart to you in it.
Othello wants to believe this; he is ready to forget everything that Iago told him, but Desdemona (well, what are you going to do?!) again starts a conversation with him about Cassio. She again asks her husband to forgive the young man. “So that means Cassio is dear to her!” - the Moor thinks angrily. He recalls a conversation with Iago about a scarf “embroidered with strawberry flowers.” This handkerchief is a gift from Othello's love to Desdemona - Iago allegedly saw it from Cassio.
- I had a runny nose today.
Give me a handkerchief,” the husband asks.
- Please.
- Not this one.
You know, that...
- He is not with me.
- Really?
- Really.
- Sadly.
The scarf went to my mother
As a gift from the gypsy sorceress...
- Really?
- Is it true. It's made of fiber
With magical properties. Sibyl,
Having lived in the world for two hundred years,
Twisted the thread in a prophetic frenzy.
Magical Mystery Fabric
Painted with mummy grave paint.
In short, Othello talks all sorts of nonsense, intimidating Desdemona. He says that as long as she has the scarf, her husband will love her. But if she gives him away or loses him, her husband will immediately grow cold towards her. Desdemona laments, “I wish I hadn’t seen that scarf.”
- Yeah. Why? - Othello asks sarcastically. - Is the scarf lost? Where is he? Speak!
- My God! - the girl exclaims, - no, not lost.
- So bring it and show it.
- After. These are all excuses not to talk about Cassio...
“Il fazzoletto... (i.e., the scarf),” Othello demands.
“Cassio has always been your friend,” Desdemona continues.
- Il fazzoletto!
- Sorry, sorry Cassio.
- Il fazzoletto! - Othello yells.
- Why are you screaming like that?
- Because you are a slut!
- God help me! I am pure before heaven and you.
- Do not lie!
- I swear. I love you.
- Ah! Desdemona! Indietro! Indietro! Indietro! (I mean, get out of here and out of my sight).
- You are crying? And am I the cause of your grief? What is my fault?
- Should I tell you? The blackest crime is written on your beautiful face.
- Ahime!
- What? So you're not a whore?
- Oh, Heaven! No... No, what are you saying? I am an honest Christian!
With a superhuman effort of will, Othello restrains himself so as not to beat his wife. Putting on his face a semblance of a smile, he gently says to Desdemona:
- Give me your hand again, maybe I didn’t put it that way? Sorry if my thought is wrong. I wanted to say: quella vil cortigiana che e la sposa d "Otello (that vile whore who is called Othello's wife).
With wild fury, the Moor drives Desdemona away. His heart is broken. Why live on? For the only time in the entire opera, Othello is left alone. Now he is neither a general, nor a military leader, nor a husband. He is just a man who is very strong on the outside and very vulnerable on the inside. Othello sings his famous monologue: Dio! mi potevi scagliar... He says:
- Even if I angered God with something,
Over my uncovered head
He could pour out misery and shame,
Drown me up to my neck in deprivation,
Rot in inaction...
I could bear that without difficulty.
But you deprived me of the love of the one for whom I would give my life.
The sun went out, the ray that gave me both life and happiness went out.
Everything turned into hell, she cheated on me. Oh! Damn it! Let her confess to the crime and then kill her! Confession! Confession! Proof!
- Cassio is here! - Iago reports, arriving in time.
- Here? Sky! O joy! Horror! Monstrous torture!
- Control yourself. Hide!
Othello hides, and Iago challenges Cassio to talk about his mistress Bianca. Skillfully manipulating words and phrases, Iago, either approaching the place where Othello hid, or moving away, creates the illusion that Cassio is laughing at Desdemona’s pliability and love. And at the most crucial moment, he snatches from the young man the very handkerchief that he himself threw to him, and carries it before Othello’s eyes. All. Dot. The general finally believed in treason.
When Cassio leaves, the Moor appears from hiding.
- Did you recognize the scarf? - asks Iago.
- Is this really mine?
- Of course, yours.
- I'll chop her into small pieces. Deceive me!
- Disgraceful.
- And with whom! With my subordinate!
- Especially.
- Some kind of poison, Iago, today. I will not enter into explanations with her, so as not to succumb to her charm. So remember, today. Will you get it, Iago?
- Why poison? Better strangle her in the bed she desecrated.
- Fine. Fine. You know, that's a fair point. I like it.
- Leave it to me to deal with Cassio.
- Wonderful. Iago, you are now my captain.
- Thank you, my general. - Fanfares and trumpets are heard. - The ambassadors are already here, receive them. But avoid suspicion, these gentlemen must see Desdemona.
- Yes, bring her here.

Scene two.

Lodovico, ambassador of the Venetian Republic, reports that the Doge and the Senate send greetings to the triumphant Cyprus. Here is the scroll.
- Iago, what news? - Lodovico asks, “why don’t I see Cassio?”
“He is out of favor with Othello,” he answers.
“I think that my husband will forgive him,” Desdemona enters the conversation.
-Are you sure about this? - Othello growls at her.
- What you said? - the girl asks again.
“He’s reading, he didn’t tell you anything,” explains Lodovico.
“Perhaps Cassio will regain the general’s favor,” Iago notes.
“Iago, I hope so,” says Desdemona. - You know, I feel sincere affection for Cassio.
- Shut up! - Othello shouts at his wife.
- Perdonate, signor...
- Devil, shut up!
- Control yourself! - exclaims Lodovico.
- Call Cassio! - Othello demands.
When the young warrior appears, Othello addresses everyone present:
- Gentlemen! The Doge... (to Desdemona - How cleverly you shed tears!) ...demands me to Venice and orders me to hand over the post of governor of Cyprus to Cassio!
- Hell and death! - Iago is shocked, but quickly comes to his senses.
- Here is the Doge's decree.
“I obey,” Cassio bows his head.
- Do you see? The scoundrel seems to be gloating? - says the Moor Iago.
“No,” he answers.
- Teams and detachments... (to Desdemona - Continue your sobs!) ... I leave the ships and fortress under the command of the new governor. We're leaving tomorrow.
Then the enraged Othello attacks his wife and shouts: “On the floor!.. and cry now!” He throws the unfortunate woman to the ground. Not understanding anything, Desdemona cries. Why is her husband so harsh with her? What is the reason for this change? Only yesterday he was affectionate and gentle, and suddenly he began to rush at her like a chained dog, insulting her, swearing. "For what?" - asks Desdemona. The gathered people sympathize with her. Poor thing, she got such a beast for her husband.
Iago, meanwhile, walks among those gathered. He picks up from the floor the decree of the Doge, who threw Othello in his anger, and hands it to Cassio. Then he approaches Rodrigo and tells him that he will lose Desdemona forever, since Othello is sailing away with her tomorrow. Iago advises his friend to kill Cassio, then Othello will be forced to stay in Cyprus.
Othello himself can no longer listen to how people sympathize with his wife, he can no longer see the frightened glances they cast at him. Moreover, Cassio is trying to calm Desdemona. Othello shouts:
- Run! Everyone run away from Othello! Ready or not, here I come.
- My husband! - Desdemona cries.
- Anima mia, ti maledico! (My soul, I curse you!)
But I can’t run away from myself!..
Cassio lay with her. Snuggling...
This is an abomination. Handkerchief.
Make him confess and hang him.
No, first hang him and then force him to confess. I'm shaking all over...
God, when I think about it... Noses, ears, lips. Ugh!
I'm falling. Make him confess.
Oh devil!
Il fazzoletto! Il fazzoletto! Il fazzoletto! Ah-ah-ah-ah-ah.
Othello falls unconscious.
This is Iago's triumph. Behind the stage everyone praises the great warrior: “Evviva Otello! Glory to you, Lion of Venice!” Iago, looking at the general’s body prostrate at his feet, says with contempt: “Look, here he is - your “Lion of Venice”; lying here at my feet.” And throws il fazzoletto at him.
End of the third act.

Act 4

Desdemona and Othello's bedroom. Desdemona is crying. She still cannot understand why her husband has changed so much towards her. Faithful maid Emilia calms her mistress. Like, the dear ones scold - they just amuse themselves. “The ganders will cackle and stop, they will cackle and stop.” But heavy forebodings do not leave Desdemona. She remembers that her mother once had a maid, and her name was Barbara (meaning barbarian). She had this favorite old song about a willow tree; she died with her.
- This is the willow I have today
I can't get out of my head all evening.
And while Emilia is combing her hair, Desdemona begins to sing the sad la canzon del Salice.
Suddenly some noise is heard.
- Listen, someone is crying! - the girl shudders.
“No, it’s the wind...” Emilia answers.
Desdemona continues to sing. It's already dark. Late. Emilia says goodbye to her, but Desdemona cannot let her go, she is scared. So what to do? The maid leaves. The girl is left alone and prays to the Blessed Virgin Mary (“Ave Maria”). After praying, she lies down and falls asleep.
Othello enters the bedroom to the sound of double basses. He sees his young wife. How beautiful and innocent she is. The Moor still loves Desdemona. He leans towards her and kisses her tenderly. From this kiss the girl wakes up:
- Who is there? Othello?
- Si. Have you prayed at night, Desdemona?
- Naturally.
- If you have some terrible sin, quickly ask Heaven for forgiveness.
- Perche?
- Hurry up. Then I will not kill your immortal soul.
-Are you talking about murder?
- Si.
- Lord, forgive me!
- Amen.
- And you, too, forgive me, Othello.
- Think about your sins.
- My sin is in love.
- You will die for this.
- Because I love you, will you kill me?
-You love Cassio.
- No, my God!
- What about the handkerchief you gave him?
- It is not true!
- I saw it in Cassio’s hands.
- I'm not guilty!
- Admit it!
- I swear!
- Do not lie! You're already on your deathbed!
- “I don’t want to die, I’m still too young to die.”
- No, you will die now.
- Help! I don't like Cassio... Call him and ask him yourself.
- He fell silent forever.
- God! Dead?
- Dead.
- He was betrayed.
- Do you dare cry about him?
- Othello... don't kill me... I beg you.
- Die!
- Let me live this night.
- No!
- At least an hour.
- No!
- At least for a minute.
- No!
- Well, at least let me read a prayer.
- E tardi! (too late to rush around, I mean)
- A-a-a-a-a-a-a-a-a-a-a!!! - Othello strangles Desdemona.
- Now she is calm, like death itself.
Suddenly there is a knock on the door.
- Open it! Open up!
- Who is there? Who's knocking? - asks the Moor.
- Signor, I need to tell you very important news. Open up!
- Emilia! What's happened?
- Cassio killed Rodrigo!
- And Cassio himself?
- Alive.
- Cassio is alive! - Othello is angry.
“Unfairly... Unfairly killed,” says Desdemona, who by some miracle came to her senses.
“Who’s moaning there?” asks Emilia. - Horror!
“I’m dying innocent,” Desdemona continues to sing.
- Lord Almighty, who did this?
- Nobody... yourself... tell my master... I'm dying innocent... goodbye.
And the girl dies, this time completely, apparently from grief.
“She’s lying,” Othello declares. - I killed her!
- Murderer! - Emilia screams.
- She was Cassio's whore. Iago told me.
- Iago?
- Iago!
- Blockhead! And did you believe him?
- Do you dare deny it?
- I'm not afraid of you.
- But in vain.
- All come here! For help! Othello killed Desdemona!
People are running into the bedroom.
- What's happened? Orrore! Horror!
“Iago,” Emilia turns to her husband, “refute everything that this dirty murderer said.” Do you believe in Desdemona's innocence?
“I believe that it happened,” Iago states vaguely.
- What about the handkerchief that Cassio had in his hands? - asks Othello.
- O Heaven Almighty! - Emilia sobs.
- Shut up! - Iago threatens her.
- No! I'll tell you everything!
- Shut up!
- Fuck you!
And Emilia tells all the honest people that she, Emilia, picked up the handkerchief that served as proof of Othello’s betrayal when the Moor threw it away. And Iago took it away from her and threw it to Cassio. Cassio says that, upon returning home, he found on his floor a scarf with a beautiful pattern. That's all.
- A-a-a-a-a-a, maybe you can tell everything yourself? - Othello demands from Iago. It finally dawned on him that he had become a victim of the intrigues of an insidious villain. With his own hands he destroyed the one he loved more than life, believing the deception.
“Figurines,” Iago shouts and smartly jumps out the window.
- Grab it! Catch the dog! - Lodovico gives the order. - Give me your sword! - he says to the Moor.
- And you dare to disarm me? - Othello roars in a terrible voice, raising his weapon. But everyone is calm. It seems no one is afraid of the once formidable warrior anymore. “I’m not scary, even though I’m armed.” (Niun mi tema se anco armato mi vede). This is the end of my journey. Oh, Glory! Othello is no more...
The Moor lowers his sword and goes to the bed on which Desdemona lies. He looks at her and can’t stop looking at her.
- How pale and quiet you are, but still beautiful. You were born under a damn star. Desdemona! Desdemona! ... Ah! morta! ...morta! …morta!…
Secretly he takes out a dagger from under his clothes.
“But I have a weapon!” Othello exclaims and stabs himself.
- Oh God! - everyone present shouts.
- I killed you, my wife... I kissed you. One more kiss. Un bacio... un bacio ancora... ah! un altro bacio... one more, just one kiss...
The dying Othello tries to reach out to his beloved. But his strength leaves him and he dies. Everyone is in mourning.

A curtain.

Quotes from "Othello" by W. Shakespeare, highlighted in this font, are given in the translation by B. Pasternak.

Ghost help:

The opera "Othello" was written by the composer after a sixteen-year creative break - and, quite definitely, marks a new stage in the composer's work. Otello is perhaps the most performed Verdi opera in the world today.

The Russian premiere of the opera took place in 1887 at the Mariinsky Theater - the main roles were played by Figner, Pavlovskaya and Chernov.