GREAT SCENES FROM VERDI'S OTELLO
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GREAT
SCENES FROM VERDI'S OTELLO
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SIDE 1 1 LOVE DUET- GIA NELLA NOTTE DENSA 2 CREDO 3 TU INDIETRO FUGGI |
SIDE 2 1 DIO TI GIOCONDO O SPOSO 2 SALCE SALCE 3 NIUN MI TEMA SE ANEO ARMATO MI VEDE |
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SIDE 1 | ||
| 1 LOVE DUET- GIA NELLA NOTTE DENSA | |||
| 2 CREDO | |||
| 3 TU INDIETRO FUGGI | |||
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SIDE 2 | ||
| 1 DIO TI GIOCONDO O SPOSO | |||
| 2 SALCE SALCE | |||
| 3 NIUN MI TEMA SE ANEO ARMATO MI VEDE | |||
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GREAT SCENES FROM VERDI'S OTELLO |
| Otello has been described
as the perfect opera. It first appeared sixteen years after Aida, and
showed the public that the ageing composer had not actually given up composition. In Otello, Verdi worked with one of Italy's foremost poets, Boito, who in his own right was a composer of rank, and produced an opera at the very height of his powers. The enthusiasm engendered by its first performance gave way to something closer to respect in the years went by, and for some time it was regarded as an opera which would never be popular, an impression which lasted until quite recently. Now, however, a performance' of Otello which is not sold out is a rarity. ACT 1 — A roaring tempest beseiges the harbour of Cyprus as Otello, a Moorish general in the Venetian army at the end of the fifteenth century, and governor of the city, returns, exulting in victory over the Turks. His comrade, Iago, jealous of Cassio's preferment over himself as captain to Otello, plots the dismissal of his' rival 'by plying him with drink and urging him to extòl the virtues of Desdemona, the general's wife, who Iago knows is secretly loved by the youthful Roderigo.. The drunken Cassio is provoked by Roderigo into a duel which is halted only by the reappearance of Otello from his castle. When. Iago feigns astonishment over the duel, Otello angrily demotes the befuddled Cassio and bids the others leave. Attracted by the uproar Desdemona appears as the storm yields to moonlight and joins Otello in a rapturous love diet. ACT II — Iago calls Cassio to a room in the castle and suggests that he await Desdemona in the adjacent garden to plead for her intercession with .Otello on his behalf. When the erstwhile captain has left, Iago cynically declaims his own creed of cruelty and evil. Suiting the action to the word, he next plants in Otello's mind a seed of suspicion of Desdemona, who is first glimpsed strolling with Cassio in the garden. She then returns alone to greet a delegation of women, children and sailors bearing gifts and flowers. Otello softens at her beauty, but the next instant his suspicions are confirmed when, as Iago suggested, she pleads with her husband for Cassio's reinstatement. Fearing that Otello is ill, Desdemona seeks to soothe him with a handkerchief he once gave her and is shocked to see him throw it angrily to the ground, whence it is retrieved by her companion, Iago's wife Emilia. While Desdemona reaffirms her love for the unhappy Moor, Iago forces the unsuspecting Emilia to give him the handkerchief, which he conceals. The women leave. Accusing Iago of banishing forever his peace of mind and hopes of success, Otello falls upon him in a rage. Iago replies with "proof" — one night he heard Cassio in his sleep murmuring of Desdemona's love. Crazed with jealousy, Otello vows revenge, to which the hypocritical Iago pledges his aid. ACT III — In the great hall of the castle Otello hints his suspicions to Desdemona, who pleads her innocence. Though he asks her to fetch the handkerchief, she insists on pleading once again for Cassio. Otello accuses his wife of perfidy, whereupon she falls on her knees and, in tears, swears she has nothing to conceal. When she has left and Cassio appears, Iago, who has planted the.: handkerchief in his doublet, manipulates the man's innocent conversation so as to convince Otello, hidden behind a column, of Desdemona's guilt. The Moor prepares to murder his wife. He promotes Iago to captain and then, joined by the others with the exception of Cassio, welcomes Lodovico, the Venetian ambassador. A document announces the recall of Otello to Venice and the appointment of Cassio as governor of Cyprus. The disaptointment is too much for Otello, who hurls Desdemona to the ground before the ocmpany and refuses to listen to her anguished lament for his lost love. Violently the Moor dismisses everyone but Iago, who sees his general swoon with rage and then gloats at his own triumph. ACT IV — In Desdemona's bedroom, she sits at her dressing table and sings the sad Willow Song ió Emilia who, at her request, adorns the bed with her wedding veil. Giving Emilia a ring, she bids her a touching good-night. No sooner has Desdemona said her prayers and retired than Otello enters stealthily, blows out the candle and kisses his sleeping wife. She awakens and begs forgiveness but is strangled by the Moor. Emilia rushes in with word that Cassio has killed Roderigo; discovering Desdemona, she cries for help. Iago, Lodovico and Cassio appear, but Iago escapes when his wife discloses his perfidy. The agonized Otello kills himself. RECORDED BY COLUMBIA RECORDS A DIVISION OF COLUMBIA BROADCASTING SYSTEM, Inc., U.S.A. Manufactured by AUSTRALIAN RECORD COMPANY LTD. 29 BLIGH STREET, SYDNEY ORCHESTRA of the METROPOLITAN OPERA ASSOCIATION OF NEW YORK |
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VIEW BELOW LP - SIDE A & SIDE B |
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