OTELLO Student Guide | Opera Company of Philadelphia

Opera Company of Philadelphia and The School District of Philadelphia Present

Giuseppe Verdi’s

OTELLO Final Dress Rehearsal Wednesday, September 29, 2010 at 6:15 p.m. at the Academy of Music

Opera A Family Guide to

Pennsylvania’s standards in education call for students to show what they know and are able to do. Children need to share what they have discovered or learned. Thus, the title of our program is Sounds of Learning™. It reflects our belief that children must be actively engaged in sharing ideas.

The Sounds of Learning™ workbook and teacher guide will integrate with local core literacy curriculum in many ways. Just as opera is a uniquely integrated art, combining orchestra, voice, literature, drama, and dance, Sounds of Learning™ is an interdisciplinary program. The goal of the Active Learning sections is to have your children engaged in the process of self-teaching. They will be able to show how they have gained insights into their learning by drawing, writing, and discussing the issues most relevant to them. In this way, students demonstrate what they can do with what they know.

We believe the family is the most important foundation to learning. Let your kitchen table become a classroom where your children can build their knowledge of opera and the humanities. As you join in the teaching and learning process with your children, watch their eyes sparkle. Opera is a communal celebration, so too should be your children’s education.

In reading the libretto, we suggest that you and your family members take turns reading particular roles. Dr. Ellen Winner of Harvard’s Project Zero found that: “drama helps to build verbal skills that transfer to new materials;” helps students in “reading readiness and achievement;” and “oral and written language development.” (Journal of Aesthetic Education, v34, #3/4, Fall/Winter, 2000.)

In preparing for the opera, we suggest you purchase one of EMI Records’ excellent recording of this opera.

Goals and Objectives of Sounds of Learning™ • Improve literacy rates by using the opera’s libretto to teach courses across the curriculum • Understand the plot, characters, and their motivations • Learn something about the composer, and others involved in writing the opera • Know something of the historic and social context of the story • Know some key musical elements, recognize certain melodies, differentiate between voices • Understand the role music plays by expressing emotions and heightening the dramatic experience • Understand the various elements of producing opera and the functions of those involved; e.g. conductor, director, set designer, technical crew, etc.

• Develop the ability to make judgments about the opera, production, and performance • Relate incidents in the opera to those of the present day

Best Practices in Arts Education is sponsored

by Pennsylvania Alliance for Arts Education, Pennsylvania Council on the Arts and the Pennsylvania Department of Education.

Table of

Contents Opera 101: Getting Ready for the Opera 2 3 4 5 6

Opera Company of Philadelphia Philadelphia’s Academy of Music Opera Etiquette 101 Opera - Online!

A Brief History of Western Opera

Relating Opera to History: The Culture Connection 8 9 10

Giuseppe Verdi: Hero of Italy More than a Playwright: Arrigo Boito City on the Sea: the Founding of Venice

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GAME: Connect the Opera Terms

12 13

Bard of Stratford: William Shakespeare Words, words, words: Shakespeare’s Influence on the English Language

Libretto and Production Information

Glossary

14 15 16

Getting Verdi Back to Work Otello: Plot Synopsis Otello: Libretto

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Check out our website for additional content! Here you’ll find more information on the opera, its themes, lessons, and links to even more fascinating material. See page 5 for more details.

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Opera Company of Philadelphia Opera has played a vital part in Philadelphia’s history. The first opera in Philadelphia that we know of was the opera Midas in 1769. Ever since then opera has been so popular in Philadelphia that there have been several opera companies in the city at the same time! In fact, the Opera Company of Philadelphia was created when the Philadelphia Grand Opera Company and the Philadelphia Lyric Opera Company joined in 1975. Since then, the Opera Company of Philadelphia has honored the city’s operatic traditions.

Each season the Opera Company presents five different operas with singers from all over the world. Three of the operas are given in the beautiful, large-scale Academy of Music. With just under 2,900 seats, the Academy is the Opera Company’s home for grand opera. Two smaller, more intimate operas are staged in the Perelman Theater.

With about 600 seats, the Perelman, in the Kimmel Center for the Performing Arts, is perfect for chamber and modern operas.

Today, the Opera Company’s mission, or core purpose, has three parts to it: 1: Deliver outstanding productions of classic operas, often giving them in creative and cutting-edge ways, and create exciting new operas that people in Philadelphia’s socially and culturally varied area will like.

We do this by hiring the best stage designers.

Sets might be in the Company’s Production Center in

the Tacony area of Philadelphia. Sometimes the Opera Company partners with another company to build new sets and costumes, or rents a production from another company.

The Opera Company supports creating new American operas, too. In recent seasons four new operas have been seen at OCP: Margaret Garner by Richard Danielpour, Cyrano by David DiChiera, Ainadamar by Argentinian composer Osvaldo Golijov, Tea: A Mirror of Soul by Chinese composer Tan Dun, which premiered in February 2010.

2: Find the best young, up-and-coming singers and give them the chance to sing with some of the best singers in the world We find the brightest young singers in our own backyard at two of the best opera schools in the world - The Curtis Institute of Music and the Academy of Vocal Arts. Singers from both schools have sung right along side stars like Denyce Graves and Nathan Gunn.

3: Create informative student and adult programs that will introduce opera to newcomers and that both longtime and new opera fans will enjoy.

Each season over 5,000 students from the Delaware Valley attend the opera through the Sounds of Learning™ program. The Company also hosts community recitals and lectures, technology-based internet events, and more.

For over 30 years the Opera Company of Philadelphia has brought audiences outstanding production quality, artistry and educational opportunities. A strong blend of traditional and innovative programming will continue to ensure the excitement of opera in Philadelphia.

ACTIVE LEARNING 1. Find out more about the Opera Company of Philadelphia at our website: www.operaphila.org Soprano Ermonela Jaho and tenor Roger Honeywell in Jun Kaneko’s stylized production of Puccini’s Madama Butterfly.

Photo: Kelly & Massa Photography

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Want to learn more about the great history of opera in Philadelphia? Visit www.frankhamilton.org

Philadelphia’s

Academy of Music

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You will attend the opera at Philadelphia’s Academy of Music, the country’s oldest grand opera house still used for its original purpose - performing opera! It is a very grand opera house with a huge chandelier and four levels. Its design was based on the famous La Scala opera house in Milan, Italy.

Finding the money to build an opera house in Philadelphia was difficult, but enough money was raised by 1854. On October 13th a plot of land was bought on the corner of Broad and Locust Streets to build the opera house.

Fifteen architects entered a competition to see who would design the Academy in the fall of 1854. On February 12, 1855 Gustav Rungé and Napoleon le Brun won the contest, which included a $400 prize. Within four months the ground-breaking took place. The project was so important that President Franklin Pierce, along with the governor and mayor, laid the cornerstone on July 26, 1855.

The Academy opened on January 26, 1857 with a Grand Ball and Promenade Concert. The first opera presented in the brand new opera house was Giuseppe Verdi’s Il trovatore on February 25, 1857.

Two of many operatic highlights throughout the theater’s history include the American premiere of Charles Gounod’s opera Faust on November 18, 1863 and a performance of Giacomo Puccini’s Madama Butterfly on February 14, 1907 with the composer in attendance.

Numerous presidents have visited the Academy, including Ulysses S. Grant, Theodore Roosevelt, and Richard Nixon. Prince Charles of Wales visited the Academy in 2007. Thousands of world-famous performers have appeared on its stage, such as Peter Tchaikovsky, Sergei Rachmaninoff, George Gershwin, Igor Stravinsky, Arturo Toscanini, Marian Anderson, Maria Callas, and Luciano Pavarotti.

The Academy was made a Registered National Historic Landmark in 1963. Since then, a few changes have been made to the structure. The “Twenty-First Century Project”, begun in 1996, replaced the stage floor, rigging system, and restored the historic ceiling. During 2008 the famous chandelier was rebuilt to how it looked in 1857. All of these renovations have helped the Academy remain as grand as ever. We hope you find it grand as well!

The Academy of Music’s restored chandelier.

Photo by Michael Bolton

Academy Facts ›

The auditorium seats 2,897; 14 columns support the Academy’s tiers; and the auditorium is encased within a three foot thick solid brick wall.

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The Academy Chandelier is 25 feet high, 50 feet in circumference, almost 17 feet in diameter, and 3,500 pounds in weight. It has 23,000 crystals on it, which, if laid out, could reach from Broad Street to Rittenhouse Square and back.

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The red and gold pattern on the Academy’s stage curtain simulates that of a pineapple, a Victorian-era symbol for “welcome.”

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The first-ever indoor football game was held on the Academy’s Parquet level on March 7, 1889 between University of Pennsylvania and Riverton Club of Princeton. At halftime, tug-of-war matches were held as entertainment.

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1,600 people attended the first ever motion picture screening on February 5, 1870. The audience saw a couple dancing, a gymnastics routine and more during the silent film.

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Air conditioning was installed in the theatre 1959.

There was no elevator for the general public in the Academy until 1990!

For more information on the Academy of Music, go to the library and take out Within These Walls, by John Francis Marion or go online to www.academyofmusic.org.

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Opera Etiquette 101 There’s nothing quite as exciting as attending the opera in a professional theater like the Academy of Music.

You will attending a dress rehearsal of Giuseppe Verdi’s opera Otello. Here’s what you’ll need to know about attending the opera!

Unlike actors on television or in the movies, performers onstage are very aware of the audience. They want to share their love of performing with you.

Everything you do in the audience affects what happens on stage. You can show them how much you appreciate their work and the opportunity to come to the rehearsal by being as quiet as possible. So, please refrain from talking out of respect for the cast, musicians, the entire production team, and everyone in the theater, and give the artists and the production your full attention!

ACTIVE LEARNING The picture on this page shows several patrons and famous opera characters on their way to attend an opera at the theater.

Now picture yourself in their shoes. On a separate piece of paper, write a few words on what you think the trip to the opera will be like. You may want to mention going to the Academy of Music or attending the opera. What will you wear?

How will you and your classmates act? At what time will you meet your classmates? How many classmates will attend? Will you have a special dinner before the opera? If so, where? Will the opera be exciting and entertaining? Share your thoughts here and compare your stories with your classmates.

Here’s a list of DOs and DON’Ts so that everyone in the theater can enjoy the opera:

Please Do...

• Applaud after the arias; you can shout “Bravo!” for the men and “Brava!” for the women.

• Enter and exit the theater in an orderly fashion.

• Please use the bathrooms before the rehearsal begins or at intermission.

• Turn off your cell phones and all electronic devices.

• Enjoy the rehearsal. You’ve worked too hard preparing for the rehearsal not to!

Don’t Forget...

• No food, gum and beverages are allowed inside the theater.

• Photographs or video footage may not be taken during the performance.

• No talking or whispering during the performance.

• No shoving, jumping, running, or spitting in the theater.

• Please obey the theater ushers and staff.

• Keep all objects to yourself. If you throw something, you might hurt someone and cause a disruption in performance.

It is grounds for removal from the auditorium.

• MAKE YOUR SCHOOL PROUD!

OPERA – Online!

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You might study music in your schools or privately. Where do you go if you want to learn more about Otello, opera singers, opera-related topics and experience opera more frequently?

Visit OCP’s website at: operaphila.org/community/sol-prod1.shtml Here you can find more information about Otello and all the operas presented by the Opera Company at absolutely no cost!

Opera Right in Your Email Inbox!

Another great way to learn more is to sign up for the free weekly Sounds of Learning™ email list. Email your name, school and age to education@operaphila.org and each week we’ll send you an opera video “clip of the week” with famous opera singers singing great arias and ensembles all throughout the summer. Some will be funny, some will be thrilling, some will be dramatic, and all of it will be exciting! Also included in the email will be the website of the week. We’ll feature links to singers’ websites, music links, other great music and opera websites. You can build a whole library of video clips to go back to again and again!

Share the clips and links with your family and friends.

Don’t forget to check out our Sounds of Learning™ blog at http://operaphillysol.blogspot.com. The blog will allow you to discuss the opera with students throughout the tri-state area! Log onto the blog and share your thoughts and views about the opera, the music, the set, the singers, the Academy of Music, coming to center city Philadelphia, the email list “clip of the week” and more! Other students participating in Sounds of Learning™ from Pennsylvania, New Jersey, and Delaware want to hear what you have to say! Post your comments by going to: http://operaphillysol.blogspot.com.

See rehearsal photos on our website at http://www.operaphila.org/production/behind-scenes. Log on and see our Behind the Scenes area to see how a production develops from the first day of rehearsal to opening night!

Also, you can download extra copies of the Sounds of Learning™ guide and past guides from this page as well. All of this content is provided for free!

If you’re online, check out our myspace and facebook pages, too. Just search for Opera Company of Philadelphia!

A Brief History of

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Western Opera

Theatrical performances that use music, song and dance to tell a story can be found in many cultures. Opera is just one example of music drama.

Throughout its 400-year history opera has been shaped by the times in which it was created and tells us much about those who participated in the art form as writers, composers, performers, and audience members.

The first works to be called operas were created in Italy at the end of the sixteenth century.

They were inspired by a group of intellectuals known as the Florentine Camerata who, like many thinkers of their time in the late Renaissance, admired the culture of the ancient Greeks. They proposed the invention of a new type of musical theater that would imitate Greek drama’s use of music.

The result was a series of operas based on Greek myths, starting with Dafne by Jacopo Peri in 1598. The most famous work of this early period is Claudio Monteverdi’s Orfeo (1607), based on the myth of Orpheus. These early operas had all the basic elements that we associate with opera today, including songs, instrumental accompaniments, dance, costumes, and scenery.

These early operas were performed in the courts of Italian noblemen, but soon opera became Claudio Monteverdi popular with the general public. 1567-1643 Europe at the time had a growing middle class with a taste for spectacular entertainment.

As opera’s popularity grew, so did the complexity of operas and the level of spectacle.

Many opera houses had elaborate machinery that could be used to create special effects such as flying actors and crumbling buildings. There was much debate about whether an excess of visual elements in opera detracted from the quality of the music and drama. Some people even worried that too much comedy in opera could lead to immorality among the public!

During the period from about 1600 to 1750, the Baroque period in music, Italian opera spread across Europe. In fact the Italian style of opera was so popular that even though other countries and regions often had their own traditions of musical drama, the Italian form was usually preferred.

George Frederick Handel was a German-born composer who lived and worked in England, but his operas, such as Julius Caesar (1724), were written in the Italian language and used an Italian style of

A tense scene from Act II of Mozart’s The Marriage of Figaro. (l-r: bass Richard Bernstein, baritone Simone Alberghini and sopranos Christine Brandes and Mary Dunleavy.)

Bass Kevin Glavin gets a close shave from baritone Roberto DeCandia in Rossini’s The Barber of Seville.

music. The only nation to develop a national tradition to rival the Italian was France, where operas often included ballets inserted into the story. JeanBaptiste Lully and Jean-Philippe Rameau are the most famous French Baroque opera composers.

By the middle of the seventeenth century Europe was changing. The growing middle class was more influential than ever, and people were starting to talk about new forms of government and organization in society. Soon the American and French Revolutions (1776 and 1789) would seek to establish the first modern democracies.

Music was changing, too. Composers abandoned the Baroque era’s complicated musical style and began to write simpler music with more expressive melodies. Opera composers could write melodies that allowed characters to express their thoughts and feelings more believably. One of the first operas to use this new style was Christoph Willibald Gluck’s Orfeo ed Euridice (1762).

With the new democratic sentiments came interest in operas about common people in familiar settings, rather than stories from ancient mythology.

A good example is Wolfgang Amadeus Mozart’s The Marriage of Figaro (1786), in which a servant outsmarts a count. Several of Mozart’s operas remain among the most popular today. They include Figaro, Don Giovanni (1788), Così fan tutte (1790), and The Magic Flute (1791).

In the nineteenth century operas continued to grow more diverse in their subject matter, forms, and national styles. The Italian tradition continued in the bel canto movement. Operas written in this style, which means “beautiful singing”, included arias with intricate ornamentation, or combinations of fast notes, in the melodies. The most famous bel canto composers are Vincenzo Bellini, Gaetano Donizetti and Gioacchino Rossini, whose The Barber of Seville (1816) is one of the most beloved comic operas.

Later in the century the Romantic Movement led many composers to take an interest their national identities. As a result, operas in languages other than Italian became more common, and new works often reflected pride in a country’s people, history and folklore. Among the operas that show the growth of national traditions are Carl Maria von Weber’s Der Freischütz (Germany, 1821), Mikhail Glinka’s Ruslan and Lyudmilla (Russia, 1842) and Georges Bizet’s Carmen (France, 1875). In Italy Giuseppe Verdi composed in a bold, direct style, and his operas, such as Nabucco (1842) and Macbeth (1847), often included elements of nationalism. In Germany Richard Wagner took the Romantic style to the extreme in an ambitious series of operas known collectively as The Ring of the Nibelung (1876) based on Norse mythology.

In the twentieth century opera became even more diversified and experimental, to the point that it sometimes became difficult to distinguish it from other forms of musical theater. Some composers such as Giacomo Puccini (La bohème, 1896), Claude Debussy (Pelléas et Mélisande, 1902), Richard Strauss (Salome, 1905), and Benjamin Britten (Peter Grimes, 1945) continued to write operas that were similar in many ways to those of the nineteenth century.

Others, horrified by the destructive effects of World War I (1914-1919) and other aspects of modern life, created works with radically experimental and dissonant music. These operas often explored topics that were either disturbing (Wozzeck by Alban Berg, 1925) or absurdist (The Rake’s Progress by Igor Stravinsky, 1951). American opera also came into its own in this century, beginning with George Gershwin’s Porgy and Bess (1935) which incorporated jazz and blues styles of music. In the latter part of the century a repetitive and hypnotic style known as minimalism was exemplified in Phillip Glass’s Einstein on the Beach (1976), a piece that would hardly be recognized as an opera by earlier standards. The late twentieth century even saw a return to some of the traits of Romantic opera in works such as John Corigliano’s The Ghosts of Versailles (1991).

Today, opera is a living art form in which both new works and those by composers of the past continue to be performed. It remains to be seen what the future of opera will be, but if history is any indication, it will be shaped by the creativity of librettists, composers, and other artists responding the changing times in which they live.

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Wolfgang Amadeus Mozart 1756-1791

Giuseppe Verdi:

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Hero of Italy Giuseppe Verdi was born into the dangerous period of the Napoleonic Wars (1799-1815) at Le Roncole near Busseto, Italy on October 10, 1813. His parents were Carlo Verdi and Luigia Uttini Verdi.

Giuseppe Verdi 1813-1901

Verdi’s love of music was evident from his earliest years. One of his greatest joys was listening to the old organ in the church near his home. He begged for piano lessons and finally got his way in 1821 when his father bought him an old spinet. Verdi’s father arranged for his son to study with the church organist. Four years later at the age of twelve, young Verdi became the church organist when his teacher took another post. Verdi soon began to study in the nearby town of Busseto with the help of Antonio Barezzi, his father’s friend. Barezzi, a successful shopkeeper and amateur musician, agreed to put the young Verdi up in his home. In Busseto Verdi met the director of the local music school who had him copy the orchestral parts from scores by composers Franz Joseph Haydn and Gioachino Rossini.

Verdi was very bright and a quick learner. The school’s director allowed him to take the podium of the local orchestra. Barezzi was so impressed with Verdi’s gifts that he helped arrange for Verdi to receive a scholarship to study in Milan. The conservatory judges did not accept Verdi into the school. They thought he was too old (at 18 years of age), didn’t play the piano well enough and showed little musical promise. However, the director of the Teatro alla Scala, the leading opera house in Italy, told him not to give up and encouraged him to study under Maestro Vincenzo Lavigna. Under his new teacher’s tutelage, Verdi studied the works of Wolfgang Amadeus Mozart and Ludwig van Beethoven.

At 21, Verdi was asked to take over a rehearsal of Haydn’s Creation when the conductor became ill. He sat at the piano and played with one hand while conducting with the other. The musicians were so impressed with his talent that he was asked to conduct the performances before Milan’s society. This success launched his career.

On May 4, 1836, Verdi married his benefactor’s daughter, Margherita Barezzi. On November 17, 1839, his first opera, Oberto, premiered at La Scala and was a moderate success. The next few years, however, were times of deep sadness. Verdi’s two children died before either reached the age of three, and then his wife Margherita died in June 1840, a few months after the second child.

Verdi returned to Milan to complete a commission he’d received before his wife’s death to write a comic opera. This opera was a complete failure due partly to the extreme grief with which Verdi struggled while composing it. Deeply depressed and finding it hard to concentrate on his work, Verdi was almost impoverished. He could only afford to eat one meal a day. One day while leaving a tavern he bumped into Bartolomeo Merelli, the opera house director who had supported Verdi’s earlier work. He asked Verdi to compose another opera. From this accidental meeting, the great opera Nabucco was born. The night the opera was premiered, March 9, 1842 in La Scala, the audience cheered Verdi, but he still could not smile.

Over the years, Verdi composed masterpiece after masterpiece. Some of his operas had a political nature and thus the censors were always checking his work. Verdi believed in republican ideals and thought of George Washington as his personal hero. His music often contained political overtones. The song, “Va Pensiero” (Go Thought) from Nabucco became the revolutionary hymn of Italy.

Verdi always remembered and loved his simple country heritage. He never forgot those less fortunate than himself. He supported other struggling artists financially, and upon his death willed all the royalties of his operas to support a home in Milan for aged opera singers, know today as the Casa Verdi. This nursing home exists to this day.

Verdi was more than an artist, he embodied the heart and soul of Italy.

ACTIVE LEARNING 1. Want to learn more about Giuseppe Verdi? Visit his official web page at http://www.giuseppeverdi.it/ing/default.asp. You’ll find historic pictures, recordings and more!

2. Want to see excerpts from Verdi’s opera? Visit our youtube page at www.youtube.com/user/operaphila to see several video clips from OCP’s Verdi productions!

More than a Playwright:

Arrigo Boito Arrigo Boito was born in Padua, Italy on February 24, 1842. His father, Silvestro Boito, painted miniatures and his mother, Józefina Radolinska, was a Polish countess! He moved with his mother to Venice when he was young after his father deserted his family. He received his first musical instruction from Luigi Plet and the brothers Antonio and Giovanni Buzzolla between the age of five and ten. Gifted in music, he enrolled in the Milan Conservatory in 1853 and studied under the opera composer and principal conductor at the Teatro alla La Scala, Alberto Mazzucato.

He later became part of an artistic group called the Scapigliature (Unkempt Ones) that tried to rejuvenate Italian culture which they felt was unsophisticated. They hoped that foreign influences like German Romanticism, French bohemians and American gothic poetry could reinspire the creativity of Italian artists. At a banquet in 1863 Boito recited his notorious ode All’arte italiana (Italian Art), where he said that Italian art needed cleaning and had been “stained like the external walls of the brothel.” This deeply offended composer Giuseppe Verdi, the master of Italian opera.

Meanwhile, composer Charles Gounod’s opera Faust was getting rave reviews at La Scala in 1862.

This made Boito delay work on his own Faust-based opera, Mefistofele. He resumed composing his opera again in 1867. His original idea was to work on a pair of operas focusing on two of Faust’s loves, Margherita and Elena, but he decided to fuse the two into the opera Mefistofele.

When the opera finally went into rehearsals in January 1868, budget cuts forced Boito to rescore the title role of Faust, switching from the traditionally more expensive tenor to a less expensive baritone.

This was the first opera at La Scala for which the composer was the librettist. Late in rehearsal period the conductor wanted to makes some cuts and when Boito refused, the inexperienced composer was left to conduct his own work. The premiere of Mefistofele was a disaster and Boito withdrew his score after the second performance.

Around 1871 he began revising Mefistofele, restoring the part of Faust to tenor. On October 4th 1875 Mefistofele was performed at the Teatro Comunale, Bologna and in this form made its revival at Milan in 1881.

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Boito spent most of 1870 writing librettos. A supporter of his, Giulio Ricordi, learned that Verdi was interested in the subject Nerone and suggested that Boito give his libretto to him but Verdi, still angry over Boito’s ode, refused to look at it. After this, Boito returned to Nerone working aimlessly on it. In 1879, reconciliation with Verdi led to an idea of a possible collaboration on Otello.

Verdi was very impressed with Boito’s libretto. As a trial before embarking on a large project, Verdi asked Boito to revise the libretto for his opera Simon Boccanegra. This was very successful so Verdi agreed to start on Otello. Verdi and Boito’s friendship was sealed after the success of the first performance; it was a relationship that Boito regarded as “the climax of his artistic life.”

Their collaboration on Falstaff was also a major success but in 1893, when Boito started to sketch libretto for Re Lear (King Lear), Verdi realized he was too old for the task. Boito remained a companion to Verdi until his death in Milan in 1901.

Boito published his five act libretto Nerone shortly after Verdi’s death, and after a push from Giulio Ricordi, Boito began to compose the opera score. Boito died of heart disease on June 10, 1918, leaving the opera Nerone incomplete.

Famed conductor Arturo Toscanini, and musicians Antonio Smareglia and Vincenzo Tommasini extensively revised the incomplete score and Nerone premiered six years after Boito’s death.

ACTIVE LEARNING 1. Arrigo Boito was well known as a librettist and composer.

Go to your library and check out a CD of his opera Mefistofele.

2. Visit our website at www.operaphila.org/community and visit the Sounds of Learning page for Otello to learn more about Boito.

Arrigo Boito 1842 – 1918

City on the Sea:

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The Founding of Venice Shakespeare’s play Othello is set in the city of Venice and on the island of Cyprus. Othello is a Venetian general who has been sent to govern the island.

Throughout the opera he is referred to as “Lion of Venice,” “Lion of St. Mark,” or just as “the lion.” Shakespeare had turned to Venice before, setting his 1589 play The Merchant of Venice there. It’s easy to see why Venice is a captivating setting for his plays, especially as its history is so vibrant.

A map of the states of Italy circa 1494. Venice is in the upper left of the image.

Venetians were excellent sailors, creative merchants, and enthusiastic traders. By the end of the 11th century the city had a strong trade relationship with Byzantium. Between 1202 and 1204 Venice conquered Byzantium and eventually the islands in the Aegean and Ionian Seas, which created the Republic of Venice.

The Roman Empire was at its height during the 5th and 6th centuries.

Many people fled to Venice to seek refuge from oft-invading barbarians.

Gradually, a real town emerged from a collection of communities to become one of the most unique cities in the world.

Venetian military power increased and the city dominated a large chunk of the Mediterranean Sea. After defeating Genoa in the Battle of Chioggia in 1380, a peace treaty was declared in 1381. Venice knew it was important to have a base on the mainland and began pursuing the cities of Padua, Vicenza, Verona, Brescia and Bergamo. The combined territory of Venice was given the name Serenissima but as Serenissima continued to expand on the mainland, the Turks’ increasing authority allowed them to capture Constantinople (previously known as Byzantium) and a few cities on the Greek and Albanian coastlines.

As the Roman Empire began to crumble, the city was seized by the Byzantine Empire but kept its independence. The first ruler, called a Doge, Paoluccio Anafesto, was elected in 697 AD, giving way to a new form of government; the Dogado.

Serenissima began to crumble in 1508 when several European powers successfully joined together to form the League of Cambrai to take on Venice.

After seven years of battle, Serenissima lost control over the Mediterranean and later gave up Crete and the Peloponnesus area to the Turkish Empire.

In 828, two Venetian merchants stole the body of St. Mark the Apostle from Alexandria, Egypt and moved it to Venice. Legend has it that the corpse was put in a large basket and covered in herbs and swine flesh, which would have been offensive to Muslims.

Those who asked about the basket’s contents were told it was pork. Once aboard the ship, the stolen body was hidden in the sails. During their trip a great storm arose in the open seas. It is said that Saint Mark appeared to the captain and warned him to strike all his sails immediately or the ship would crash into hidden rocks. They did as told and sailed on in safety.

Venice’s political powers had decreased significantly when Napoleon invaded in 1797. Venice was too weak to resist and a little time later Napoleon gave the city to Austria. Austria lost control of the city in 1866 but the city did not recover its independence and instead joined the Kingdom of Italy.

After crossing the Mediterranean and cruising up the Adriatic, the grave robbers reached Venice and handed their cargo over to the Doge. The local religious and civic authorities quickly chose St. Mark as Venice's patron saint. The apostle's traditional symbol, a winged lion became the logo of the Venetian Republic. Today it is known as the Lion of St. Mark. In 1094, the Basilica of San Marco was built to house the remains of the saint.

Today Venice is almost entirely dependant on the tourist industry, and continues to lose population at an increasing rate since many Venetians can no longer afford to live in the city, or prefer to migrate to the mainland where there are better amenities.

ACTIVE LEARNING 1. Venice is famous for sinking! For centuries the water levels have risen around this city so that more and more of it is underwater. Read the article about the sinking city provided in the teacher manual. Do you think this will be a success and why? Can you think of any way in which you could prevent the flooding or raise the city of Venice?

Connect the

Opera Terms

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1.

Opera Seria

A.

Dance spectacle set to music.

2.

Baritone

B.

Highest pitched woman’s voice.

3.

Opera

C.

Dramatic text adapted for opera.

4.

Ballet

D.

Low female voice.

5.

Orchestra

E.

Comic opera.

6.

Libretto

F.

7.

A drama or comedy in which music is the essential factor; very little is spoken.

Duet

8.

G.

Opera with dramatic and intense plots.

Aria

9.

H.

Music composed for a singing group.

Soprano

I.

A composition written for two performers.

J.

A group of musicians who play together on various musical instruments.

12. Contralto

K.

Highest pitched man’s voice.

13. Tenor

L.

A musical style used in opera and oratorio, in which the text is declaimed in the rhythm of natural speech with slight melodic variation.

10. Chorus 11. Act

14. Opera Buffa 15. Recitative

M. Male voice between bass and tenor.

16. Bass

N.

A piece of music originally designed to be played before an opera or musical play.

O.

The term describing the realistic or naturalistic school of opera that flourished briefly in the late 19th and early 20th centuries; libretti were chosen to depict a ‘slice of life’.

P.

Deepest male voice.

Q.

Elaborate solo in an opera or oratorio.

R.

Main division of a play or opera.

17. Overture 18. Verismo

Bard of Stratford

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William Shakespeare To this day it is referred to as “the Scottish play.” Later, under the patronage of King James I of England, the group was given an indoor theater known as The Blackfriars. The group was then named The King’s Men. Shakespeare’s plays were very popular with the people of London. While it was not customary to pay much to a playwright for his work, Shakespeare was given a share of the profits from the sale of tickets. As a shareholder of the company, he became wealthy. He also took pleasure in acting in his creations. It is believed that he acted the roles of Adam in Much Ado about Nothing and the ghost of Hamlet’s father. His knowledge of stagecraft and the demands of acting gave him a great insight into the dynamics of successful drama.

Shakespeare was born in this half-timbered house in Stratford-upon-Avon.

British Travel Association

William Shakespeare was born the third of eight children to John Shakespeare and Mary Arden in 1564.

His father was a merchant and a fine leather glove maker.

His mother was from a family of land owners.

As William grew, his father became an alderman and later the mayor of their town, Stratford-upon-Avon.

William attended the local grammar school where he studied the comedies of Plautus and Terence and the tragedies of Seneca in Latin. It was during this time that his love of the theater was born.

In 1582 William married Anne Hathaway, who was about eight years his senior. Together they had three children: Susanna, 1583, and the twins Judith and Hamnet, 1585.

While there was work for William in Stratfordupon-Avon as an actor, the call of London, the capital of his craft, led him to take his family to the city in 1588. By 1594 he had established himself as both a playwright and actor and was invited to join the company The Lord Chamberlain’s Men. This group of actors performed at The Globe Theatre, located on the South Bank of the Thames River in Southwark. To attend their performances, theater goers had to take the ferry across the river or travel across the London Bridge. When The Globe Theatre, which had a thatched roof, burned down during a production of Shakespeare’s Macbeth, it became a tradition not to mention the name of the play backstage for fear of bad luck.

Although he wrote thirty-eight plays, we have no manuscripts in his handwriting because he did not consider the writing of plays as literature. He would only publish them to correct errors in other editions of his works that were printed without his permission. In his day, the concept of copyright did not exist. Anyone could copy the work of another person and publish it for profit.

Shakespeare authorized the publishing of only half of his work known as “quarto” editions. For the remainder of his plays, we depend upon his friends and colleagues for “folio” editions which were published several years after his death.

Shakespeare’s poetry is also very highly regarded.

His sonnets are regarded as a very high form of poetry and his work in this area earned him the epithet, “mellifluous and honey-tongued Shakespeare” in 1598. His classical epics, Venus and Adonis and The Rape of Lucrece are considered two of the finest pieces of writing in the English language. With his success, he returned to Stratford-upon-Avon and purchased one of the finest homes in town, New Place. Across the garden from his home, he had another home built for his daughter Susanna

The witches wreak havoc in the Opera Company of Philadelphia’s 2003 production of Verdi’s Macbeth.

Words, words, words: Shakespeare’s influence on the English Language When Shakespeare’s Hamlet is asked what he is reading, he responds with the famous line “Words, words, words.” Even 400 years after his death, William Shakespeare’s writings leave their mark on culture today. Considered the greatest writer in the English language, Shakespeare’s plays are filled with quotes, phrases and even words that are used in every day conversation. Listed below are some of the famous phrases and words that Shakespeare originated. Do you recognize any of these?

As You Like It • Too much of a good thing Hamlet • Neither a borrower nor a lender be • The lady doth protest too much

Portrait of William Shakespeare, Bard of Stratford.

and her husband Dr. Hall. Whenever the plague would strike and the theaters were closed, he would return home to wait out the cycle of the disease. After writing The Tempest in 1610, he left London and retired to his country home. Six years later, the venerable “Bard of Stratford” died and was given a hero’s funeral.

So great were his plays that the field of opera has hundreds of scores written to them. Berlioz wrote his Béatrice et Bénédict based upon Much Ado about Nothing. Ralph Vaughn Williams’ opera, Sir John in Love, was based upon The Merry Wives of Windsor.

Verdi’s Otello and Macbeth were based upon Shakespeare’s plays of the same name and his Falstaff was based upon both King Henry IV and The Merry Wives of Windsor. Shakespeare’s Romeo and Juliet has twentyfive operas based upon it, The Tempest has forty-seven and A Midsummer Night’s Dream has forty-eight! Few authors can claim to have affected the culture of the world more than William Shakespeare, the “Bard of Stratford.”

Henry IV, part 2 • Eaten me out of house and home • Dead as a doornail Henry VIII • For goodness sake Julius Caesar • It was Greek to me King John • Elbow room Love's Labour's Lost • The naked truth Macbeth • Knock, knock! Who’s there?

• The be-all and the end-all • Sorry sight Much Ado About Nothing • Done to death Othello • Neither here nor there • Wear my heart on my sleeve Romeo and Juliet • You kiss by the book The Merchant of Venice • Love is blind • My own flesh and blood The Merry Wives of Windsor • Laughing-stock The Taming of the Shrew • An eye-sore • Kill ... with kindness

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Getting Verdi

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Back to Work What do you do if you're 58 years old and are the most famous, the most popular and the wealthiest composer in all of Italy and all you want to do is work on your farm? After the wildly successful premiere of his opera Aida (written in honor of the opening of the Suez Canal) Verdi decided that it was time to end his amazingly successful career.

Not everyone was supportive of Verdi's early retirement. His publisher, Guilio Ricordi was convinced that Verdi had more to say as a composer and didn't want his prodigious talent to go to waste.

Italian tenor Francesco Tamagno who sang the title role in Otello at the opera’s world premiere .

Ricordi knew that Verdi was at his best when he was inspired by a great libretto. The publisher thought if Verdi could be paired with just the right librettist, Verdi's entire being would be compelled to write another opera. Ricordi knew that Verdi loved Shakespeare’s plays. He thought that the brilliant young librettist and sometime composer Arrigo Boito could be just the person to inspire him.

Ricordi, conductor Franco Faccio, and Boito joined Verdi as his home for dinner one summer evening in 1879. The topic of a new opera based on Shakespeare's Othello with Boito as a potential librettist was discussed.

Verdi was only mildly interested. He wanted to stay at his farm and fix up the land and the house.

As far as he was concerned his composing career was over. Plus, Verdi was a little suspicious of Boito.

30 years younger than Verdi, Boito was a bit of an upstart. He was part of an informal artistic reform movement whose members called themselves the Scapigliature, or the Unkempt Ones. These reformists thought Italian art had not kept up with the times, had become too predictable and lacked innovation.

Boito thought Italian composers should embrace new methods and styles created in Germany, France and elsewhere. Boito wrote “perhaps the man is already born who will elevate the art of music in all its chaste purity above that altar now befouled like the walls of a brothel.

Verdi, understandably, took this very public attack very personally and Verdi responded saying, “If I too among the others have soiled the altar, as Boito says, let him clean it and I will light the first candle.” Plus, Verdi had seen Boito's opera Mefistofele and was significantly unimpressed, commenting “He aspires to originality but succeeds only at being strange."

If Otello was going to happen, Boito was going to have to impress Verdi. A few days after the dinner at Verdi's home, Boito had an audience with the Italian giant and brought with him an outline for Otello's libretto.

Verdi liked it but still wasn't sold on the idea.

Ricordi thought if he could just get the two to work together, the results could be phenomenal. Verdi had never been happy with his 1857 opera Simon Boccanegra. Ricordi suggested that the two work together to revise the opera with Ricordi acting as a peacemaker between the two opinionated artists.

The premiere of the revised Simon Boccanegra in 1881 was a smashing success. Boito's revision proved his talent. Verdi decided to press go on Otello.

Boito had given Verdi the Otello libretto in 1879. Verdi suggested some revisions which Boito incorporated, but Verdi didn't start composing the opera until five years later. Boito's libretto for Otello may have been the greatest libretto Verdi ever had to work with. That said, Verdi took his time setting the libretto to music. He had no deadlines, no impending opening, plus he was in his 70s and had a farm to tend. Boito remained patient.

Word got out that Verdi was writing a new opera and the world's greatest singers, conductors and opera houses clamored to be part of this historic event. The opera would premiere at La Scala in Milan and the cast would include Italy's greatest dramatic tenor Francesco Tamagno as Otello, the great French singing actor Victor Maurel as Iago and soprano Romilda Pantaleoni as Desdemona.

Details on the opera were kept as secretive as possible and Verdi reserved the right to cancel the premiere up to the last minute. Yet, the world premiere of the opera on February 5, 1887 was such a success that there were 20 curtain calls at the end of the opera.

Otello

Plot Synopsis ACT I As a violent storm rages off the coast of the island of Cyprus, its citizens await the return of their Governor, Otello, the Moorish general of the Venetian army. Otello arrives safely and announces that he has defeated the Turks. Iago, Otello’s ensign, and Rodrigo discuss their unhappiness with the current state of things. Iago is resentful because Otello had promoted his rival Cassio instead of him, and Rodrigo is unhappy because he is in love with Otello’s new wife Desdemona. Iago plots his revenge and promises to help Rodrigo at the same time.

Later at a bonfire gathering Iago coerces Cassio to intoxication, toasting Otello and his new bride. He then provokes Rodrigo to duel with the drunken Cassio.

Montano is wounded when he tries to break up the fight and the noise from the brawl brings Otello out of the castle, demanding an explanation. Iago feigns ignorance and the blame falls on Cassio, who Otello strips of his recent promotion when he sees that the fight has upset Desdemona. Otello dismisses the crowd and, left alone, Otello and Desdemona declare their love for each other.

ACT II Iago convinces Cassio that he should seek Desdemona’s help in getting his position back, saying that she has influence over her husband. Left alone, Iago declares his credo that he was created wicked by a cruel god. Otello enters and Iago draws his attention to Cassio talking with his wife and plants the seeds of jealousy, which grow when Desdemona later pleads Cassio’s case. Thinking that his irritation is a sign of illness, Desdemona tries to wipe Otello’s brow, but he throws her handkerchief to the ground. After Desdemona’s attendant Emilia, who is Iago’s wife, goes to retrieve it, Iago demands that she give him the handkerchief. After the women leave, Iago further flames Otello’s fury by saying that he has heard Cassio utter Desdemona’s name in his sleep and that he has seen Cassio carrying her handkerchief. Otello vows vengeance and Iago promises that he will help him and find further proof of Desdemona’s infidelity.

ACT III Iago tells Otello that further proof of Desdemona and Cassio’s affair is forthcoming. Desdemona enters and again pleads that he reinstate Cassio. Angered by her insistence on the subject, Otello hints at his suspicions but she fails to understand. When he demands to see her handkerchief and she again brings up Cassio, he openly accuses her infidelity and calls her a courtesan. She

tearfully declares her innocence but Otello sends her away. Left alone, Otello rages that he would have preferred that heaven afflict him with anything but this. He hides when Iago and Cassio enter. Iago flashes the handkerchief that he previously stole and leads Cassio into a discussion of his mistress Bianca in such a way that he knows Otello will th i n k t h e y a r e discussing Desdemona. As trumpets announce the arrival of a Venetian dignitary, Otello vows to kill his wife that night. The ambassador Lodovico enters with papers calling Otello back to Venice and naming Cassio as governor.

Otello breaks into rage and throws Desdemona to the ground. As the shocked onlookers try to console her, Otello orders everyone to leave. Succumbing to his fit of anger, Otello collapses to the floor and Iago gloats over him, ironically calling him the Lion of Venice.

ACT IV As Emilia helps her prepare for bed, Desdemona is filled with foreboding. She sings a tale of a maiden forsaken by her lover. She bids Emilia farewell and then says her evening prayers before climbing into bed. Otello sneaks into the room and kisses his sleeping wife. When she wakes, he tells her to prepare for death. Despite Desdemona’s adamant declarations of innocence, Otello strangles her. Emilia knocks with news that Cassio has killed Roderigo in accordance with Iago’s plot. When she finds the dying Desdemona, Emilia’s cries bring Cassio, Lodovico, and Iago into the room. When Iago’s treachery is revealed, he is able to escape from the room. Realizing his horrible mistake, Otello stabs himself and dies over Desdemona’s lifeless body.

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Tenor Clifton Forbis as Otello Photo: Karen Almond

Otello

Libretto

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Final Dress Rehearsal — Wednesday, September 29, 2010 at 6:15 p.m. at the Academy of Music Libretto courtesy EMI Records, Ltd.

Otello, a Moorish general.................................................................................................................Clifton Forbis, tenor Desdemona, his wife .............................................................................................................Norah Amsellem, soprano Iago, Otello's ensign....................................................................................................................Mark Delevan, baritone Emilia, wife of Iago and maid of Desdemona...........................................................Margaret Mezzacappa, mezzo-soprano Cassio, Otello's captain.....................................................................................................................Jason Collins, tenor Roderigo, a gentleman of Venice.........................................................................................................Cody Austin, tenor Lodovico, ambassador of the Venetian Republic.................................................................................Jeremy Milner, bass Montano, former Governor of Cyprus..................................................................................................Joseph Baron, bass Venetian soldiers and sailors; and Cypriot townsfolk and children Director................................................................................................................................................Robert B. Driver Conductor.............................................................................................................................................Corrado Rovaris Set Design.....................................................................................................................................................Paul Shortt Costume Designer..................................................................................................................................Richard St. Clair Lighting Designer........................................................................................................................................Drew Billiau Chorus Masterer..................................................................................................................................Elizabeth Braden

ACT ONE The action takes place in Cyprus, at the end of the fifteenth century. Outside the castle, with the sea-walls and sea in the background. An inn with a pergola. It is evening. A thunderstorm is raging.

CYPRIOTS A sail! A sail! A standard! A standard!

MONTANO ’Tis the winged Lion of St. Mark!

CASSIO Now the lightning flash reveals it.

CYPRIOTS A fanfare! A fanfare! The cannon has roared.

CASSIO It is the General’s ship.

MONTANO Now she is engulfed, anon is tossed skywards.

CASSIO Her prow rises from the waves.

SOME CYPRIOTS Veiled by mist and water, the lightning flash reveals her.

ALL Flashes! Crashes! Whirlpools! Howling winds and thunder’s mighty roar! Air and water shake together, shaken is the ocean-floor! (A large group of Cypriot women enters from the back.) Black-browed and blind, a spirit wild of chaos cleaves the air.

WOMEN (shrieking) Ah! ALL God shakes the sullen sky about like sable drapery.

WOMEN Ah! ALL All is smoke! All is fire! The dense and dreadful fog bursts into flame, and then subsides in greater gloom. Convulsed the cosmos, glacial surges the spectre-like north-wind, and titanic trumpet-calls sound fanfares in the sky! (turning towards the quay with gestures of fear and supplication) God, the splendor of the tempest! God, the sandbank’s luring smile! Save the treasure and the standard of the Venetian enterprise! Thou, who guidest stars and fortunes, Thou, who rulest earth and sky, grant that in a tranquil ocean may the trusty anchor lie.

IAGO The main mast’s broken off!

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Paul Shortt’s set design for Act I of Otello. You can see the ships’ sails in the background.

RODERIGO Her prow is dashing on that rock!

ONLOOKERS O help! O help!

IAGO (to Roderigo) May the ocean’s seething belly be his tomb!

ONLOOKERS Safe! He’s safe!

SAILORS (from on board the ship) Lower the tenders! All hands to the ropes! Steady! Pull on the oars! To shore! (distant thunder) To the quayside!

To the landing!

ONLOOKERS Hurrah! Hurrah! Hurrah! (Othello enters, ascending the steps from the shore to the ramparts followed by a number of soldiers and sailors.)

OTHELLO Rejoice! The Turkish pride is buried in the deep. Ours and heaven’s is the glory. After our arms the storm has conquered it.

ONLOOKERS Hurrah for Othello! Hurrah! Hurrah! Hurrah! Victory!

Victory! (Othello enters the castle followed by Cassio, Montano and the soldiers.) Victory! Victory! Destruction!

Destruction! Dispersed, destroyed, engulfed they plummeted into the raging deep! Victory! Victory!

Victory! Victory! Destruction! Destruction! etc. Their requiem shall be the sharp scourge of the spray, the swirl of the whirlwind, the scent of the sea. Victory! Victory!

Dispersed, destroyed, etc. Hurrah! (Distant thunder. The storm is passing away.) Spent is the tempest’s fury.

IAGO (aside to Roderigo) Well, Roderigo, what think you?

RODERIGO Of drowning myself.

IAGO Only an idiot drowns himself for love of a woman.

(While the ship is being unloaded and weapons and baggage are being carried from her into the castle, some citizens emerge from behind the fortress carrying branches to make a bonfire which, by the light of torches held by the soldiers, they construct to one side of the ramparts.

The crowd gathers around, excited and curious.)

RODERIGO How to win I know not.

IAGO Come, keep your wits about you, await the ministry of time; the beautiful Desdemona, who in your secret dreams you so adore, will soon begin to abhor the murky

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kisses of that thick-lipped savage. Good Roderigo, your friend sincere I have professed myself, and I could never do more for you than in your present need. If the frail vow of a woman be not too hard a knot for my wits and all the tribe of hell to untie, I promise that the woman shall be yours. Listen, though I make show of loving him, I hate the Moor. (Cassio enters and joins a group of soldiers.) Here comes one reason for my hatred, look. (pointing to Cassio) That curled captain usurps my place, the place that I by a hundred well-fought battles have richly earned; such was Othello’s will, and I remain his Moorish Lordship’s ancient! (Puffs of smoke begin to rise from the wood with increasing density.) But just as sure as you are Roderigo, so sure it is, that if I were the Moor I should not want an Iago about me. If you heed my counsel… (Still talking, Iago leads Roderigo further away. Flames begin to leap up from the fire, and the Cypriots gather round it, singing. Meanwhile, the tavern servants decorate the pergola with lanterns. Soldiers gather round the tables, drinking and talking.)

IAGO But look! All Cyprus has gone mad today! This is a night of rejoicing, so…

CASSIO Enough. My head’s on fire already after drinking one cup.

IAGO Come, you must drink again. To the marriage of Othello and Desdemona!

CYPRIOTS Hurrah!

CASSIO (raising his glass and sipping the wine) She makes this isle the fairer!

IAGO (aside to Roderigo) Listen to him.

CASSIO With her charm and radiance she conquers every heart.

CYPRIOTS Fire of rejoicing! The jovial flame by its glow compels night to depart. It leaps and sparkles, crackles and flares, bright radiance invading the heart! Drawn by the firelight, shadowy faces flit in ever-mutating rings, now like maidens singing sweetly, now like moths with flamy wings. Palm and sycamore burn together, the bride sings with her own true love, on golden flame and happy chorus blow ardent zephyrs from above, etc. The fire of rejoicing flames but a moment! Gone in a moment are passion’s fires! Glowing, fading, throbbing, wavering, the last flicker leaps and expires. (The fire dies down gradually: the storm has ceased completely.)

IAGO (aside to Roderigo) Listen to him. (aloud to Cassio) I am but a critic.

(Iago, Roderigo, Cassio and a group of soldiers are gathered around a table on which wine has been placed.)

RODERIGO What do you fear?

IAGO Roderigo, let’s drink ! (to Cassio) Give me your cup, Captain!

IAGO (to Roderigo) He prattles with too much enthusiasm, spurred on by vigorous youth, and is a subtle knave who’ll prove a hindrance to you. Take care…

CASSIO I’ll drink no more.

IAGO (raising the jug towards Cassio’s cup) Swallow this mouthful.

CASSIO (removing his cup) No.

RODERIGO Yet she is so modest.

CASSIO You, Iago, will sing her praises,…

CASSIO … yet she paragons description.

IAGO (aside to Roderigo) Beware of this Cassio.

RODERIGO And so?

IAGO If he should get drunk he is lost! Make him drink. (to the tavern servants) Some wine here, lads! (Iago fills three glasses: one for himself, one for Roderigo, one for Cassio.

The servants circulate among the guests with jugs of wine; the crowd draws closer and looks on with curiosity.)

This section is Track 1 on the music CD. Brindisi: “Inaffia l’ugola! Trinca, tracanna” IAGO (with glass in hand, to Cassio) Come wet your whistle! Drink deep, gulp it down before song and glass both disappear!

CASSIO (with glass in hand, to Iago) This true manna of the vine with charming visions clouds the mind.

IAGO (to everyone) Who has ever succumbed to the Bacchic ode strange and fantastic, come, drink with me, drink with me, drink, drink, etc. … come, drink with me!

RODERIGO, CYPRIOTS, SOLDIERS Who has ever succumbed, etc. he drinks with you,…

IAGO Drink, drink…

RODERIGO, CYPRIOTS, SOLDIERS … drinks with you…

IAGO (to Roderigo, indicating Cassio) One more sip and he’s tight as a drum.

RODERIGO (to Iago) One more sip and he’s tight as a drum.

IAGO (to all) When I get drunk the world vibrates! I challenge the ironic Deity and fate!

CASSIO (drinking some more wine) Like a melodious lute I quiver; pleasure cavorts around my path!

IAGO Who has ever succumbed, etc.

RODERIGO, CYPRIOTS, SOLDIERS, THEN IAGO Who has ever succumbed, etc.

IAGO then RODERIGO One more sip and he’s tight as a drum.

IAGO (out loud, to all) From the potent flagon cowards fly…

CASSIO (interrupting) I’m not afraid to bare my soul! … (drinks)

IAGO (interrupting) … who have evil thoughts to hide.

CASSIO I fear not, I fear not the truth …(staggering) IAGO Who has ever succumbed… to the Bacchic… Drink with me, drink with me.

CASSIO … I fear not the truth, and I drink, and I drink and I drink, and…

IAGO Ah! Drink with me! Some Bystanders (laughing) Aha, aha, etc.

CASSIO The cup…

IAGO (to Roderigo) He’s drunk as a lord…Away, provoke him to an argument; he’s full of quarrel, will strike you, general uproar will ensue! Think, that by doing thus you can disturb the happy Othello’s first night of love.

CASSIO The brim… of the cup… (his voice thickening even more) The brim… of the cup… the brim…

(The others are laughing at him.)

RODERIGO (aside, replying to Iago) And ’tis that that spurs me on.

CASSIO … is pur… pur…purple-stained …

RODERIGO, CYPRIOTS, SOLDIERS Ah, aha, aha, aha! Drink, drink with me, etc.

IAGO Drink, drink!

RODERIGO, IAGO, CYPRIOTS, SOLDIERS Drink, drink, drink with me!

CASSIO I drink drink, drink with you! (They all drink.)

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MONTANO (coming from the castle, to Cassio) Captain, the watch awaits you on the platform.

WOMEN (fleeing) Let’s away!

CASSIO (staggering) Let’s go then!

IAGO Heavens! Montano’s bleeding fast! What a furious fight!

MONTANO What’s this I see?

WOMEN Let’s away! Let’s away!

IAGO (to Montano, approaching him closely) Every night in like manner does Cassio prelude sleep.

IAGO Hold!…

MONTANO Othello shall know about it!

MEN Hold!…

CASSIO Let’s go the platform.

WOMEN They’re killing each other!

RODERIGO and MEN (laughing) Ah! ah!…

MEN Peace!

CASSIO Who laughs?

IAGO No one can stop this brawling now! (to the bystanders) Cry the alarm! They are possessed by Satan!

RODERIGO (provoking him) I laugh at a drunkard!

CASSIO Defend yourself! (flinging himself at Roderigo) Scoundrel!

RODERIGO (defending himself) Drunken rogue!

CASSIO Knave! No one can save you now!

MONTANO (separating them by force and turning to Cassio) Hold your hand, sir, I pray you.

CASSIO (to Montano) I’ll crack your head in two if you seek to interfere!

MONTANO Words of a drunkard…

CASSIO A drunkard? (He draws his sword. Montano draws his too. A furious fight ensues. The crowd draws back.)

IAGO (aside to Roderigo) Go to the port; with all the strength you have cry out: Revolt! Revolt! Go! Spread tumult, horror through the town, let the bell sound the alarm! (Roderigo runs off.

Iago quickly turns to the two combatants.)

Gentlemen, cease this barbarous brawl!

MEN To arms! To arms!

WOMEN, THEN ALL Help! Help! etc.

MEN To arms! To arms!

WOMEN, THEN ALL Help! etc. (Meanwhile the tocsin is pealing; the fight continues and the women flee. Othello enters followed by torchbearers. The bell falls silent.)

OTHELLO Down with your weapons! (The combatants stop fighting.) How now! What is the matter here? Am I among Saracens? Or has the Ottomites’ rage infected you with homicidal fury towards each other? Honest Iago, for that love you bear me, speak.

IAGO I do not know… Here all were courteous friends but now, and cheerful too … and then quite suddenly, as if an evil planet had appeared and cast a spell of witchcraft on men’s minds, swords out and tilting furiously at each other. Would I had severed these feet before they brought me here!

OTHELLO How comes it, Cassio, you are thus forgot?

CASSIO Your mercy… pardon me…

I cannot speak…

OTHELLO Montano…

MONTANO (supported by a soldier) I am wounded…

OTHELLO Wounded! Now by heaven my blood begins to boil! Ah! Anger puts to flight our guardian angel! (Desdemona enters. Othello quickly goes to her.) What? My gentle

Desdemona too has had her dreams disturbed on your account? Cassio, you have lost your captaincy. (Cassio lets his sword fall and Iago picks it up.)

IAGO (handing the sword to one of the soldiers and speaking aside) Oh! What a triumph for me!

OTHELLO Iago, go about the frightened town with this patrol, restore the shattered peace. (Iago leaves.) Someone help Montano. (Montano is helped into the castle.) Let every one return to his own house. (with an imperious gesture) I shall not leave this place until I see the battlements deserted. (All depart. Othello makes a sign to the torchbearers who accompanied him to return to the castle. He and Desdemona remain alone.)

This section is Track 2 on the music CD. Love Duet: “Già nella notte densa” OTHELLO Now as the darkness deepens all harsh sounds die away, and now my turbulent heart finds peace in this embrace and calm refreshment. Let cannons roar and all the world collapse if after the immeasurable wrath comes this immeasurable love!

DESDEMONA My splendid warrior! What anguish, what deep sighs and high hopes have strewn the path to our glad union!

Oh, how sweet to murmur thus together! Do you remember? You used to tell me of your life in exile, of violent deeds and suffering long endured, and I would listen, transported by the tales that terrified, but thrilled my heart as well.

OTHELLO I would describe the clash of arms, the fight and violent thrust toward the fatal breach, the assault, when hands, like grisly tendrils, clung to bastions amid the hissing darts.

DESDEMONA Then you would lead me to the glaring desert, to scorching sands, the country of your birth; and then you would relate your sufferings, tell me of chains and slavery’s agony.

OTHELLO Softened was your lovely face by tears, your lips by sighs, when I my story told; upon my darkness shone a radiance, heaven and all the stars in benediction!

DESDEMONA And I descried upon your dusky temples genius’ ethereal beauty shining there.

OTHELLO You loved me for the dangers I had passed, and I loved you that you did pity them.

DESDEMONA I loved you for the dangers you had passed, and you loved me that I did pity them.

OTHELLO And you loved me…

DESDEMONA And you loved me…

OTHELLO … and I loved you… that you did pity them.

DESDEMONA … that I did pity them.

OTHELLO Let death come now, that in the ecstasy of this embrace I meet my hour of hours! (The storm clouds have now completely disappeared. There are stars in the sky and on the rim of the horizon can be seen the azure disc of the rising moon.) Such is the rapture of my soul, I fear that never more to me may be vouchsafed to know such bliss in all the hidden future of my fate.

DESDEMONA May heaven dispel all cares and love change not throughout the changing years.

OTHELLO To that prayer of yours may all the heavenly host reply ‘‘amen’’!

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OTHELLO (leaning against the parapet) Ah! Joy floods my breast so piercingly that I must lay me down and pant for breath… A kiss…

DESDEMONA Othello!

OTHELLO … a kiss… another kiss! (rising and looking at the sky)

ACT TWO A large chamber on the ground floor of the castle. Glazed arches and a terrace divide the chamber from the gardens beyond.

IAGO (on the near side of the terrace, to Cassio, on the far side) Don’t torment yourself. Heed what I say, and soon you’ll be restored to the frolicsome embrace of mistress Bianca, proud captain with your golden hilt and decorated sword-belt.

CASSIO Don’t flatter me.

IAGO Listen carefully to me. You must be aware that Desdemona is now our general’s general; he lives for her

The blazing Pleiades sinks beneath the waves.

DESDEMONA The night is far advanced.

OTHELLO Come… Venus is radiant!

DESDEMONA Othello! (Clasped in each other’s arms they go towards the castle.)

alone. Do you beseech her that her gentle spirit may intercede for you, and your pardon is assured.

CASSIO But how shall I speak to her?

IAGO It is her custom in the afternoon to stroll in the shade of those trees with my wife. Wait for her there. The way to your salvation now lies open; go to it! (Cassio walks away. Iago watches him.) Go to it! Your end I see already. You are driven by your daemon and I am that daemon, and I am dragged along by mine, the inexorable God in whom I believe. (walking away from the terrace without another glance at Cassio, who has now vanished among the trees)

This section is Track 3 on the music CD. Iago’s Credo: “Credo in un Dio crudel” I believe in a cruel God who created me in his image and who in fury I name. From the very vileness of a germ or an atom, vile was I born. I am a wretch because I am a man, and I feel within me the primeval slime.

Yes! This is my creed! I believe with a heart as steadfast as that of the widow in church, that the evil I think and that which I perform I think and do by destiny’s decree. I believe the just man to be a mocking actor in face and heart; that all his being is a lie, tear, kiss, glance, sacrifice and honor. And I believe man the sport of evil fate from the germ of the cradle to the worm of the grave. After all this mockery then comes Death.

And then?… And then? Death is nothingness, heaven an old wives’ tale.

A charismatic vocal force, American baritone Mark Delavan is sought after by opera houses throughout the United States and abroad and will be making his Opera Company of Philadelphia debut singing the role of Iago. Mr. Delavan’s repertoire spans

Photo: Christian Steiner

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DESDEMONA ‘‘Amen’’ be the reply!

over 40 roles which he’s sung in opera houses all over the world including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Royal Opera House, Covent Garden, Berliner Staatsoper, Bayerische Staatsoper, Lyric Opera of Chicago, New York City Opera, Santa Fe Opera and Washington National Opera, to name a few.

In his spare time the Princeton, New Jersey native enjoys wood carving, country and western music, Tom Clancy novels and the movie Beetlejuice, among others.

Mr. Delavan earned a Bachelor of Music degree from Oral Roberts University. He was a national finalist of the Metropolitan Opera auditions and an Adler Fellow with the San Francisco Opera. When not performing, Mr. Delavan resides outside of New York City with his wife and children.

(Desdemona appears, walking in the garden with Emilia.

Iago darts to the terrace, on the other side of which Cassio is standing.) (to Cassio) There she is!… Cassio… it’s up to you! Now’s the moment. Rouse yourself… Here comes Desdemona.

(Cassio goes towards Desdemona, bows to her and steps closer.) He’s made a move; he bows and approaches her.

Now let Othello be brought hither!… Satan, assist my enterprise! Now they speak together… and, smiling, she turns her lovely face to him. (Cassio and Desdemona are seen walking up and down in the garden.) I need but a single ray of such a smile to drag Othello to his doom.

Away… (starting to walk quickly away, then stopping suddenly) But fate plays into my hands. Here he comes… to my post, to work!

(He takes up a position by the terrace and stands there motionless, his eyes fixed upon Cassio and Desdemona.

Othello enters; Iago pretends not to have seen him and speaks as if to himself.)

I like not that…

OTHELLO (approaching Iago) What are you saying?

IAGO Nothing… You here? An idle word escaped my lips.

OTHELLO The man now leaving my wife, is that Cassio?

(They both turn away from the terrace.)

IAGO Cassio? No… that man gave a guilty start on seeing you.

OTHELLO I believe it was Cassio.

IAGO My lord…

OTHELLO What is it?

IAGO Did Cassio, in the early days of your courtship, not know Desdemona?

OTHELLO He did. Why do you ask?

IAGO A thought crossed my mind, whimsical, but without malice.

OTHELLO Tell me your thought, Iago.

IAGO Did you confide in Cassio?

OTHELLO He would often carry a gift or note to my bride.

IAGO Indeed?

OTHELLO Ay, indeed. Do you not think him honest?

IAGO (imitating Othello) Honest?

OTHELLO What are you hiding from me?

IAGO What am I hiding, my lord?

OTHELLO ‘‘What am I hiding, my lord?’’ By heaven, you echo me!… The inner chamber of your brain harbours some terrible monster. Indeed, I heard you saying even now, ‘‘I like not that!’’ What did you not like? You mentioned Cassio then did contract and purse your brow together.

Come, speak if you love me!

IAGO You know that I love you.

OTHELLO Speak then without concealment or ambiguity.

Speak as you think, and give your worst of thoughts the worst of words!

IAGO Even if my heart were in your hand that thought you would not know.

OTHELLO Ah!…

IAGO (coming very close to Othello and speaking in an undertone) Beware, my lord, of jealousy! ’Tis a spiteful monster, livid, blind, with her own venom self-poisoned, with a vivid wound upon her bosom.

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OTHELLO O misery! No! I have no use for baseless doubts. Before doubt comes enquiry, after doubt comes proof, after the proof – Othello has his supreme laws – away with love and jealousy together.

IAGO (with greater urgency) A statement such as that breaks the seal upon my lips.

I speak not yet of proof, but, bounteous Othello, look to it, for often natures that are free and noble do not suspect deception: look to it. Observe well Desdemona’s speech; a word could restore trust or reaffirm suspicion.

DISTANT VOICES Whereso’er you turn your gaze light shines, hearts are afire, whereso’er you walk cascades of blossoms fill the air. Here among lilies and roses, as if to an altar chaste, fathers, children and matrons, come with serenades.

IAGO (in an undertone as before) Here she comes… Observe her well!

(Desdemona reappears in the garden, on the far side of the great central arch; she is surrounded by women of the island, children and Cypriot and Albanian sailors, who approach to offer flowers, branches of blossom and other gifts. Some accompany their own singing on the ‘guzla’, a kind of mandolin, others play on small harps which hang around their necks.)

GROUP AROUND DESDEMONA Whereso’er you turn your gaze light shines, hearts are afire, whereso’er you walk, cascades of blossoms fill the air. Here among lilies and roses, as if to an altar chaste, fathers, children and matrons come with serenades.

CHILDREN We proffer lilies, tender flowers, by angels borne to heavenly bowers, which ornament the gleaming mantle and gown of the Madonna gentle and her holy veil.

MEN AND WOMEN While on the breezes wing aloft the accents gay, the nimble mandolin accompanies the lay.

SAILORS (offering trinkets of coral and pearl to Desdemona) For you these shells and pearls and dyes we culled from caves beneath the brine. Desdemona with our gifts would we bedeck like an image in a shrine.

WOMEN (scattering leaves and flowers) Take this flowery harvest we strew from our kirtles upon the ground for you, in showers upon the ground. The April air the bride’s golden hair doth in a shimmering aura of dew, sunlit, surround.

ALL Whereso’er you turn your gaze, light shines, hearts are afire; whereso’er you walk, cascades of blossoms fill the air. To this bower of lilies and roses, as if to an altar chaste, fathers, children and matrons come with serenades.

DESDEMONA The sky is shining, breezes dance, flowers scent the air…

OTHELLO (gently moved) That song subdues my heart!

DESDEMONA … In my heart the songs of joy, love, hope I hear.

IAGO (aside) Beauty and love are in sweet harmony.

CHILDREN, MEN AND WOMEN May you be happy!…

OTHELLO If she be false to me…

DESDEMONA Joy and love sing in my breast!

OTHELLO …then Heaven mocks itself!

IAGO …But I’ll untune the strings that make this music!

Designer Paul Shortt’s set model for Act II of Verdi’s Otello

CHILDREN, MEN AND WOMEN … May you be happy! Farewell! Here Love is lord!

OTHELLO That song subdues my heart.

OTHELLO Leave me alone! (Emilia picks up the handkerchief.)

IAGO (under his breath) I’ll untune the strings that make this music!

(Desdemona kisses the heads of some of the children, several women kiss the hem of her gown and she presents a purse to the sailors. The group disperses. Desdemona, followed by Emilia, enters the chamber and approaches Othello.)

DESDEMONA If I in ignorance, my lord, have you offended, O say the sweet and happy word of pardon.

DESDEMONA (to Othello) A man that languishes in your displeasure has sent me with a suit.

OTHELLO Who is’t you mean?

DESDEMONA Cassio.

OTHELLO Was it he who spoke with you just now under those trees?

DESDEMONA It was he, and his grief so moved me by its sincerity that he deserves forgiveness. For him I intercede, for him I plead. Forgive him.

OTHELLO Not now.

DESDEMONA Do not deny me. Forgive him.

OTHELLO Not now!

DESDEMONA Why does your voice sound harsh? Are you not well?

OTHELLO My temples throb.

DESDEMONA (taking out her handkerchief and making as if to bind Othello’s temples) The troublesome fever will away if with this soft linen I bind your head.

OTHELLO (throwing the handkerchief to the ground) I have no need of that.

DESDEMONA You’re vexed, my lord.

OTHELLO (aside) Haply because I am not practised in the deceitful arts of love…

DESDEMONA Your loving bride am I, humble and submissive; but sighs fall from your lips, your eyes are fixed on the ground. Look in my face and see how love is there expressed! Come, let me lighten your heart…

OTHELLO … or for I am declined into the vale of years, or that my complexion is of this dusky hue, and that I am not practised in love’s deceitful arts…

IAGO (aside, to Emilia) Give me that handkerchief you picked up just now!

EMILIA (to Iago) What mischief’s in your mind? I can read your face.

IAGO You resist in vain when I command!

EMILIA Your wicked envy well I know.

IAGO Foolish suspicion!

EMILIA A faithful guardian is my hand…

IAGO Give me that handkerchief!

EMILIA … a faithful guardian is my hand!

IAGO (seizing Emilia’s arm savagely) My hand is poised o’er you in anger!

EMILIA Your wife am I, not your slave!

IAGO The unchaste slave of Iago are you!

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EMILIA My heart forewarns me of some calamity.

OTHELLO (sinking exhausted upon a stool) Desdemona false!…

IAGO Do you not fear me?

IAGO (at the back, looking surreptitiously at the handkerchief, then replacing it carefully in his doublet) With these threads shall I weave the proof of the sin of love. It shall be hidden in Cassio’s lodging.

EMILIA Cruel man!

IAGO Give me…

EMILIA What would you?

IAGO Give me that handkerchief!

EMILIA Cruel man! (Iago snatches the handkerchief from Emilia.)

DESDEMONA … let me soothe your pain!

EMILIA Cruelty and cowardice have clawed a victory.

OTHELLO … she is lost and I am mocked…

DESDEMONA Look in my face and see how love is there expressed!

OTHELLO … and my heart is broken and trampled in the mire I see my dream of bliss!

OTHELLO … Monstrous thought!

IAGO (looking fixedly at Othello) My poison does its work.

OTHELLO … False toward me! Toward me!!!

IAGO Suffer and roar!

OTHELLO Monstrous! Monstrous!

IAGO (having approached Othello, good-naturedly) Think no more of it.

OTHELLO (taken by surprise) You! Hence! Avaunt! You have lashed me to the cross!

Alas!… More monstrous than the most monstrous abuse of abuse itself is suspicion. Of her stolen hours of lust (and stolen from me!) had I no presentiment in my breast? I was contented, merry… Nothing knew I as yet; I found not on her sweet body which I so love or on her lying lips Cassio’s ardent kisses! And now!… And now…

IAGO My hands already grasp the threads; now, Iago, to weave the web!

Now, and forever farewell, sacred memories, farewell, sublime enchantments of the mind! Farewell, shining battalions and victories, the flying arrow and the flying steed! Farewell to the standard triumphant and holy and the shrill fife that sounded to reveille! Pride, pomp and circumstance of war, farewell! Farewell, Othello’s glory’s at an end!

EMILIA Cruelty and cowardice have clawed a victory!

IAGO Be calm, my lord.

OTHELLO She is lost and I am mocked…

OTHELLO Villain! Be sure to find a proof secure that Desdemona’s unchaste… Stay! Do not flee! It would avail you nought!

Bring me the sure, the ocular proof! Or on your head accumulate and fall the bolts of my terrible wakened wrath! (He seizes Iago by the throat and hurls him to the floor.)

EMILIA May God ever keep us safe from all danger!

DESDEMONA Say the sweet and happy word of pardon!

OTHELLO Hence! I would be alone.

IAGO (covertly, to Emilia who is about to leave) Say nothing of this. You understand? (Desdemona and Emilia leave. Iago makes a pretense of leaving through the door at the back, but when he reaches it he stops.)

IAGO O heavenly grace defend me! (rising) May heaven protect you! I am no longer your ensign. The world may be my witness that honesty is dangerous. (He turns as if to leave.)

OTHELLO No… stay. You may be honest.

OTHELLO O monstrous guilt!

IAGO (by the door, making a pretense of leaving) ’Twere better had I been a charlatan.

IAGO I told you but a dream.

OTHELLO By the world! I believe Desdemona to be loyal and believe her not to be so; I think that you are honest and think you disloyal… I’ll have some proof! I must have certainty!

OTHELLO A dream that reveals a fact.

IAGO A dream that may give substance to another circumstance.

IAGO (moving towards Othello) My lord, curb your anxieties. What proof would satisfy you? To see them clasped together?

OTHELLO And which is that?

OTHELLO Oh! Death and damnation!

IAGO Have you not sometimes seen a handkerchief embroidered with flowers in Desdemona’s hand, of finer stuff than lawn?

IAGO That would be a difficult undertaking; but of what assurance are you dreaming if the filthy deed itself forever must escape you? But yet if reason be the guide to truth I may propose a circumstance so strong that it will lead you near to certainty. Listen. (approaching close to Othello) It was night, Cassio lay sleeping, I was close by him.In broken phrases he was revealing an inward enchantment.

Slowly, slowly his lips were moving in the abandon of passionate dreams; then he did speak with faint murmuring voice: “Sweet Desdemona! Let us hide our loves. Let us be wary! I am quite bathed in heavenly ecstasy!” The pleasure of his dream intensified; softly enraptured, he seemed to almost kiss the inner vision, then did he say: “I curse the cruel fate that gave thee to the Moor.” And then the dream was changed into blind lethargy.

OTHELLO That is the handkerchief I gave her, first token of my love.

IAGO That handkerchief I saw – I am sure of it – yesterday in the hand of Cassio!

OTHELLO O, that God had given him a thousand lives! One is too poor a prey for my revenge! Iago, my heart is ice.

Banished be the spirits of mercy. All my fond love thus do I blow to heaven. Watch me…’tis gone! In its snaky coils the hydra has entwined me! O, blood, blood, blood!

This section is Track 4 on the music CD. Brindisi: “Sì, pel ciel marmoreo guiro!”

OTHELLO (He kneels.)

Now, by yond marble heaven! By the jagged lightning flash! By Death, and by the dark death-dealing ocean flood! In fury and dire compulsion shall thunder-bolts soon rain (raising his hands to the sky) from this hand that I raise outstretched! (He starts to rise; Iago prevents him.)

IAGO (kneeling also) Do not rise yet! Witness, you sun that I gaze on, which

lights me and which animates the broad earth and the spiritual expanse of the whole universe, that to Othello I do consecrate ardently heart, hands and soul even though on bloody business his will be bent!

OTHELLO, IAGO (raising their hands to heaven in an oath-taking gesture) Now, by yond marble heaven! By the jagged lightningflash, etc. God of vengeance!

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ACT THREE The great hall of the castle. On the right a broad colonnade.

This colonnade is adjacent to a hall of smaller proportions. A terrace at the far end.

A HERALD (from the colonnade, to Othello who is with Iago in the hall) The harbour watch has signalled the arrival of the Venetian galley which brings the ambassadors to Cyprus.

OTHELLO Good. (He makes a sign to dismiss the herald. The herald leaves.) (to Iago) Continue.

IAGO I will bring Cassio here, and cunningly will lure him on to gossip. (indicating the embrasure on the terrace) Hidden there, you can observe his manner, his words, his gibes, his gestures. Have patience, or the proof will escape you. Here comes Desdemona. ‘Twere expedient to dissemble …I’ll leave you. (He starts to walk towards the door, then stops and returns to say one last word to Othello.) The handkerchief…

OTHELLO Go! I would most gladly have forgot it.

(Iago goes out. Desdemona enters by the door on the left.)

This section is Track 5 on the music CD. Otello-Desdemona confrontation: “Dio ti giocondi, o sposo” DESDEMONA (still standing near the door) God keep you happy, my husband, sovereign of my soul!

DESDEMONA Speak you the truth?

OTHELLO (going to meet Desdemona and taking her hand in his) Thank you, my lady. Give me your ivory hand. Warm moistness bedews its soft beauty.

OTHELLO I speak the truth.

DESDEMONA It knows not yet the imprint of sorrow or of age.

OTHELLO And yet here lurks the plausible devil of ill counsel, who emblazons the ivory beauty of this little claw-like limb.

With soft deceit he poses as prayer and pious fervour…

DESDEMONA And yet with this same hand I gave my heart to you. But I must speak again to you of Cassio.

OTHELLO I have that pain again; bind you my forehead.

DESDEMONA (unfolding a handkerchief) Here, my lord.

OTHELLO No! I would have the handkerchief that I gave to you.

DESDEMONA I have it not about me.

OTHELLO Desdemona, woe if you should lose it! Woe! A powerful sibyl devised the magic web of it: within it there reposes the high witchcraft of a talisman. Take heed! To lose it, or give it away, were perdition!

DESDEMONA You frighten me!…

OTHELLO What!? Have you lost it then?

DESDEMONA No… OTHELLO Fetch it.

DESDEMONA In a little while… I shall fetch it…

OTHELLO No, now!

DESDEMONA You are making sport of me! Thus you put me from my suit for Cassio; your thought is cunning.

OTHELLO By heaven! My soul is roused! The handkerchief…

DESDEMONA Cassio is your very dearest friend.

OTHELLO The handkerchief!

DESDEMONA To Cassio, to Cassio extend forgiveness…

DESDEMONA The Eternal sees my innocence!

OTHELLO The handkerchief!

OTHELLO No! Hell sees it!

DESDEMONA Great God! I hear a note of menace in your voice!

DESDEMONA Your justice, I implore, my lord!

OTHELLO Raise your eyes!

OTHELLO Ah! Desdemona! Away! Away! Away!

DESDEMONA Horrible fancy!

DESDEMONA You also weep?! and groaning stem the anguish of your heart! And am I then the innocent motive of these tears!

What sin have I committed?

OTHELLO (seizing her forcibly under the chin and by the shoulders so that she has to look at him) Look in my face! Tell me who you are!

DESDEMONA Othello’s faithful wife.

OTHELLO Come, swear it, damn yourself…

DESDEMONA Othello esteems me honest.

OTHELLO And would you ask? The blackest of crimes upon the lily fairness of your brow is written.

DESDEMONA Alas!

OTHELLO What? Are you not a common courtesan?

OTHELLO Unchaste do I esteem you.

DESDEMONA Heaven! No … no … by the baptism of the Christian faith!

DESDEMONA God help me!

OTHELLO What?

OTHELLO Hasten to your damnation, swear that you are chaste.

DESDEMONA Ah! I am not the thing expressed by that horrendous word! (Othello’s mood changing suddenly from the most towering rage to an even more terrifying ironic calm, he takes Desdemona’s hand and leads her to the door by which she had previously entered.)

DESDEMONA (meeting Othello’s eyes) I am chaste.

OTHELLO Swear it and damn yourself!

DESDEMONA Horror-struck, I gaze into your stern and terrifying eyes, I hear a fury in your words but do not comprehend them.

Look at me! My face, my soul I show you; my stricken heart search well… I pray to heaven for you with these my tears; for you these burning drops I shed upon the ground. Behold the first tears ever wrung from me by suffering. The first tears!

OTHELLO If your daemon were to see you now he’d take you for an angel and not seize you.

OTHELLO Give me your ivory hand again, I would make amends.

I took you (forgive me if my thought displeases you) for that common courtesan that married with Othello.

(With a movement of his arm alone, Othello pushes Desdemona out of the door without losing his composure.

Then, in the very depths of despair, he returns to the middle of the hall.)

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This section is Track 6 on the music CD. Otello’s monologue: “Dio! mi potevi scagliar” God! Thou couldst have rained upon my head every affliction of poverty and shame, made of my heroic battle-honors a heap of ruination and a lie … and I should have borne the cruel cross of torment and disgrace with patience and resigned me to the will of heaven. But – oh tears, oh pain! – to rob me of that vision in which my soul was garnered joyfully! That sun has been snuffed out, that smile, that ray which gives me life and happiness! Mercy, thou immortal rose-lipped cherubin, cover at the last thy holy face with the horrid mask of hell! Ah! Damnation! Let her first confess her crime, then die! Confession! Confession! (Iago enters.)

The proof!…

IAGO (pointing to the door) Cassio is here!

OTHELLO Here?! Heaven! Oh joy!

(recoiling) Oh horror! Torture most foul!

IAGO Restrain yourself! (rapidly leading Othello to the back of the hall on the left, where there is a recess on the terrace) Hide. (As soon as Iago has led Othello onto the terrace, he runs to the end of the colonnade. There he meets Cassio, who is hesitating to enter the hall.) (to Cassio) Come; the hall’s deserted. Enter, O Captain.

CASSIO This honorable name still rings hollow for me.

Clifton Forbis sings the very heavy, demanding and dramatic tenors roles like the title roles in Otello, Samson and Delilah, Tristan and Isolde and more.

The tenor is a leading artist with the Metropolitan Opera, Opéra National de Paris, Canadian Opera Company, and Teatro alla Scala and will be making his debut with the Opera Company of Philadelphia as Otello.

Born in Nashville, Tennessee, Mr. Forbis comes from a musical family. His father was a conductor and his mother a music teacher. Singing opera is a pretty demanding career, as you’re away from home a lot. Mr. Forbis works about seven to eight months out of the year, but he tries to get home for at least three weeks in between engagements.

Mr. Forbis is a graduate of the Juilliard Opera Center and of Southern Methodist University.

IAGO Wait for her; (leading Cassio to the first pillar of the colonnade) and meanwhile, seeing that you never tire in the recital of mad and merry tales, tell me a little about her whom you love.

CASSIO Of whom?

IAGO Of Bianca.

OTHELLO (aside) He smiles!

IAGO Take heart; your cause is in such hands that victory is certain.

CASSIO What nonsense!

CASSIO I had thought to have found Desdemona here.

IAGO Her charming eye has you in thrall.

OTHELLO (hidden) He spoke her name!

CASSIO You make me laugh.

CASSIO I looked to speak further with her to ask if I am pardoned.

IAGO He laughs who wins.

CASSIO (laughing) In such exchanges, truly, he wins who laughs! Ah, ah!

IAGO (laughing) Ah, ah!

IAGO ’Tis strange! ’Tis strange!

OTHELLO (on the terrace) The villain mocks me, his scorn is mortal to me. Oh God, restrain the torment in my heart!…

OTHELLO Iago beckons me. (emerging with caution and hiding behind the pillars)

CASSIO I am already sated with kisses and reproaches.

IAGO By an unknown hand? Nonsense!

IAGO You make me laugh!

CASSIO Truly. (Iago signs to him to speak softly.) How I long to know who it might be.

CASSIO O fleeting love!

IAGO Another beauty beckons with her charms. Have I hit the mark?

CASSIO Ah, ah!

IAGO Ah, ah!

OTHELLO (as before) The villain mocks me, his scorn is mortal to me. Oh God, restrain the torment in my heart!

CASSIO You have hit the mark. Yes, I confess it. Listen.

IAGO Speak softly. I am listening. (Iago leads Cassio to a place further away from Othello).

CASSIO Iago, you know my lodging… (The words are lost.)

OTHELLO (coming cautiously a little nearer to overhear the conversation) Now he recounts the manner, the place and time…

CASSIO … by an unknown hand… (The words are lost again.)

OTHELLO I cannot hear the words …alas!… and I would hear them! To what am I come!

CASSIO … a fine embroidered handkerchief.

IAGO (aside, glancing quickly towards Othello) Othello is looking. (to Cassio) You have it with you?

CASSIO (taking Desdemona’s handkerchief from his doublet) Look.

IAGO (taking the handkerchief) What a miracle! (aside) Othello listens. He approaches with wary steps. (to Cassio, playfully) Fine cavalier, in your abode angels lose their haloes and their veils. (putting his hands behind his back so that Othello can see the handkerchief) OTHELLO (looking closely at the handkerchief behind Iago’s back, remaining hidden behind the pillar) ’Tis the one! ’Tis the one! Destruction and death!

IAGO (aside) Othello is listening.

OTHELLO All is gone, love and grieving both. Nothing more can touch my heart.

IAGO (eyeing Cassio, indicating the handkerchief) This is a cobweb in which your heart falls, complains, is entangled and dies. You admire it too much,you look at it too much; beware of vain and false ravings.

CASSIO (looking at the handkerchief which he has taken again from Iago) Fair miracle, wrought by the needle, which caught rays of light by changing the linen so fair, whiter and lighter than snowflakes, and brighter than clouds which are woven from heaven’s sweet air!

IAGO This is a cobweb in which your heart falls, complains, is entangled and dies.

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CASSIO Fair miracle …

VOICES IN THE DISTANCE Hurrah! To the shore! To the landing-place!

IAGO This is a spider’s web, etc.

OTHELLO She is condemned!

OTHELLO (hidden behind the pillar and casting glances from time to time at the handkerchief in Cassio’s hand) Betrayal, betrayal, betrayal, the proof, the terrifying proof thou displayest to the sun!

DISTANT VOICES Hurrah!

OTHELLO Get me some poison for tonight.

IAGO Too much you’re admiring, etc. Ah, beware, this is a spider’s web, etc.

IAGO Poison, no…

CASSIO … whiter and lighter, etc. Miracle… fair miracle!

DISTANT VOICES Long live the Lion of St. Mark!

OTHELLO Betrayal! …

IAGO … rather suffocate her, there in her bed, even the bed where she has sinned.

IAGO Too much you admire it!

OTHELLO … betrayal! (returning to the terrace) IAGO Beware! Beware! (Distant trumpets are heard. Others answer them from the castle. A cannon shot.) That is the signal to announce the arrival of the Venetian trireme.

(Trumpets sound from different directions) Listen. All the castle’s trumpeters reply. If you do not want to meet Othello here, go now.

CASSIO Farewell.

IAGO Go. (Cassio leaves hurriedly through the back end.)

OTHELLO (coming up to Iago) How shall I kill her?

IAGO Did you perceive well how he laughed?

OTHELLO I saw!

IAGO And the handkerchief?

OTHELLO I saw it all.

OTHELLO Your sense of justice pleases me.

IAGO As for Cassio, I shall see to him.

OTHELLO Iago, from this moment I name you my captain.

IAGO My General, I give you thanks. Here come the ambassadors. Do you receive them. But to avoid suspicion Desdemona should come before these lords.

OTHELLO Yes, bring her here.

(Iago leaves by the door on the left; Othello goes towards the far end of the hall to receive the ambassadors. Trumpets sound again, Iago re-enters with Lodovico, the herald, Desdemona with Emilia, dignitaries of the Venetian Republic, ladies and gentlemen, soldiers, trumpeters and then Cassio.)

MEN AND WOMEN Hurrah! Hurrah! Long live the Lion of St. Mark! Hurrah!

Hurrah! Long live the Lion of St. Mark!

LODOVICO (holding a rolled-up parchment in his hand) The Duke and senators of Venice greet the triumphant hero of Cyprus. I place in your hands the ducal document.

OTHELLO (taking the parchment and kissing the seal) I kiss the seal of sovereign majesty. (opens it and reads) LODOVICO (going up to Desdemona) My lady, may heaven keep you in its care.

DESDEMONA May heaven heed your prayer.

EMILIA (aside to Desdemona) How sad you look!

DESDEMONA (aside to Emilia) Emilia! There’s a great shadow fallen upon Othello’s mind and upon my destiny.

OTHELLO (continuing to read; rapidly aside to Desdemona) Are you sure of that?

DESDEMONA My lord?

LODOVICO He reads, and speaks not to you.

IAGO Perhaps he will be restored to favor.

DESDEMONA Iago, I hope so; you know what real affection I have for Cassio…

IAGO (to Lodovico) Signor, I am very glad to see you.

OTHELLO (still reading, but speaking feverishly under his breath to Desdemona) Restrain your babbling tongue…

LODOVICO Iago, what’s the news?… I do not see Cassio amongst you.

DESDEMONA Forgive me, my lord…

IAGO Othello is angered with him.

OTHELLO (flinging himself at Desdemona) Devil, be silent!

DESDEMONA I think he will be restored to favor.

LODOVICO (preventing Othello from striking Desdemona) Stop!

A photo of designer Paul Shortt’s set model for Act III of Otello.

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MEN AND WOMEN Oh horror! Oh horror!

IAGO No.

LODOVICO I dare not believe that my eyes have truly seen.

OTHELLO (to the company) The ship’s crew and garrison… (aside, to Desdemona) Proceed you in your tears (aloud) … the ships and castle, I leave in charge of my successor.

OTHELLO (to the herald) Send Cassio to me! (The herald leaves.)

IAGO (aside to Othello) What would you do?

OTHELLO (aside to Iago) Watch her as he enters.

MEN AND WOMEN Ah! Unhappy bride!

LODOVICO (approaching Iago and speaking to him aside) Is this then the hero? Is this the warrior of such noble daring?

IAGO (to Lodovico, shrugging his shoulders) He’s that he is.

LODOVICO Explain what you mean.

IAGO It is better to hold one’s tongue.

OTHELLO (who has been watching the door fixedly) Here he is! ’Tis he! (Cassio appears.) (to Iago:) Watch him well. (aloud, to the company:) My lords!… The Duke… (aside to Desdemona, who is weeping:) oh well-painted passion (to the company:)… has recalled me to Venice.

RODERIGO (aside) Unjust fate!

OTHELLO And as my successor in Cyprus elects he who stood by my standard – Cassio.

IAGO (surprised, in a fierce aside) Death and the devil take it!

OTHELLO (continuing his speech and showing the document) The ducal command is our law.

CASSIO (bowing to Othello) I will obey.

OTHELLO (rapidly to Iago, nodding towards Cassio) You see?…The villain does not seem well pleased.

LODOVICO (pointing to Desdemona who approaches Othello supplicatingly) Othello, prithee comfort her, or you will break her heart.

OTHELLO (to Lodovico and Desdemona) We shall embark tomorrow. (He seizes Desdemona in fury. She falls.) (to Desdemona) Down!… And weep!

(Othello, in his act of violence, has thrown the document to the ground; Iago picks it up and reads it, taking care not to be seen. Lodovico and Emilia sympathetically support Desdemona.)

DESDEMONA Down!… yes… in the livid slime stricken… I lie… I weep … chilled by the icy touch of death upon my soul. And once upon a time my smile would quicken hope and kisses, and now… I have anguish in my face and agony in my heart! That sun so calm and bright that brings joy to sky and sea, can never dry the bitter drops of my pain!

EMILIA (aside) Innocent of heart, no word of hate she speaks, no gesture makes, but locks her pain within her heart with sorrowful restraint.

CASSIO (aside) Fate hangs upon the hour! A flash of lightning shows it on my path; the highest prize that fate affords is offered to my passive hand.

RODERIGO (aside) Darkness falls upon my world, mist shrouds my destiny; that angel sweet and golden-haired vanishes from my path.

LODOVICO (aside) His funerary fist he shakes and pants with rage, she her ethereal face turns weeping to the sky. To see such tears as these Pity itself might sigh, and a stirring of compassion melt an icy heart.

WOMEN (to Othello) Have pity!… Have pity!

MEN …’Tis strange!

EMILIA The tears fall silently upon her sorrowing cheek... no, he who weeps not for her has no pity in his heart.…

IAGO (Turning his attention to Roderigo.)

Your dreams will be upon the seas tomorrow, and you on the bitter shore!

(Iago draws close to Othello who has collapsed onto a chair.)

RODERIGO Ah, misery!

IAGO A word with you.

IAGO Ah stupidity! Stupidity! If you will, you may hope yet; come, show yourself a man! Gird your loins, and listen.

OTHELLO What is it?

IAGO Make haste! Let your vengeance be swift! Time flies.

OTHELLO You speak truly.

IAGO Angry words are idle gossip. Act! Aim at the objective, that alone! I shall deal with Cassio. He shall pay for his intrigues, and hell shall swallow up his guilty soul!

OTHELLO Who will pluck it from him?

IAGO I myself.

OTHELLO You? IAGO I have sworn.

OTHELLO So be it.

IAGO You shall hear more tonight.

CASSIO That which lifts me up so high is a storm-driven tidal wave.

Reeling Fortune presses hard upon the swift heels of time.

WOMEN Mortal care weighs sullenly upon these souls who writhe in long-drawn agony.

MEN This black man has a graveyard air, a sightless shadow sits within of death and terror made! His nails tear at his fearsome breast! His eyes are fixed upon the ground. Now his dusky fist he shakes at heaven, raising his shaggy face towards the darts of the sun.

RODERIGO I hear you.

IAGO The ship departs at first light. Now Cassio is governor.

However, if some accident should befall him, Othello must linger here. Your hand on your sword! When it is dark I’ll supervise his steps and watch his destination and the hour, the rest is up to you. I will be near.

A-hunting we will go! Arm yourself for the fray!

RODERIGO Yes! I have sold you my honor and faith. (The voices of Iago and Roderigo become lost among the others.)

WOMEN O cruel sight! He struck her! That saint-like face, so pale and gentle, is mutely bowed, and weeps and dies. In heaven do the angels shed such tears as these when before them, lost, the sinner lies.

RODERIGO (walking away from Iago) The die is cast! Undaunted, I await the final outcome, hidden destiny. Love spurs me on, and yet my path is plagued by death’s dark planet, avid, menacing.

IAGO (aside, watching Roderigo) Go, chase the rainbow! Your enfeebled sense is by a web of lying dreams enmeshed. Follow the scheme my shrewd, swift wit presents, deluded lover, I follow but myself.

OTHELLO (rising and turning on the crowd with menacing fury) Hence, avaunt!

ALL Heaven!

OTHELLO (hurling himself upon the crowd) All flee Othello!

IAGO (to everyone) He is assailed by some enchantment that deprives him of his wits.

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OTHELLO Whoever does not remove himself is in rebellion against me!

LODOVICO (trying to drag Desdemona away) Come with me.

MEN (in the distance) Hurrah! (Fanfares are heard in the distance.)

DESDEMONA (tearing herself away from Lodovico and running to Othello) My lord!

OTHELLO My soul, I curse you!

MEN AND WOMEN Oh horror! (Overwhelmed by horror, all leave the hall; Desdemona leaves supported by Lodovico and Emilia. Iago and Othello remain alone.)

OTHELLO I alone cannot flee myself! Blood!… O vile thought! (becoming breathless) I like not that! (convulsively, raving) To see them clasped together… The handkerchief! The handkerchief! O! O! O! (faints)

IAGO (aside) My poison’s working.

MEN (within) Long live Othello!

IAGO (listening to the cries) His victory is hailed…

MEN Hurrah! Hurrah!

IAGO … for the last time.

MEN Hurrah!

IAGO (eyeing Othello stretched on the ground unconscious) Who can stop me crushing this head beneath my heel? Men (nearer) Hurrah! Long live Othello! Hail to the Lion of Venice! (standing erect and, with a loathsome gesture of triumph, pointing to the inert Othello) Behold the Lion!

This section is Track 7 on the music CD. Willow Song: “Era più calmo?...Mi parea.”

ACT FOUR Desdemona’s bedroom.

A bed, a prie-dieu, a table, a mirror and some chairs. A lighted lamp hangs before the image of the Madonna above the prie-dieu. On the right is a door. It is night.

(Emilia helps Desdemona prepare for bed.)

EMILIA Was he calmer?

DESDEMONA He seemed so to me. He commanded me to go to bed and there await him. Emilia, I pray you, lay upon my bed my white wedding nightgown. (Emilia does so.) Listen. If I should die before you, lay me to rest in one of those veils.

EMILIA Put such thoughts from you.

DESDEMONA I am so sad, so sad. (seating herself mechanically before the mirror) My mother had a poor maidservant, she was in love and pretty; her name was Barbara; she loved a man who then abandoned her. She used to sing a song, the song of “The Willow”. (to Emilia) Unbind my hair.

This evening my memory is haunted by that old refrain.

“She wept as she sang on the lonely heath, the poor girl wept, O Willow, Willow, Willow! She sat with her head upon her breast, Willow, Willow, Willow! Come sing!

Come sing! The green willow shall be my garland.” (to Emilia) Make haste; Othello will soon be here.

“The fresh streams ran between the flowery banks, she moaned in her grief, in bitter tears which through her eyelids sprang her poor heart sought relief. Willow!

Willow! Willow! Come sing! Come sing! The green willow shall be my garland. Down from dark branches flew the birds towards the singing sweet. Sufficient were the tears that she did weep that stones her sorrow shared.” (to Emilia, taking a ring from her finger) Lay this ring by. (rising) Poor Barbara! The story used to end with this simple phrase: “He was born for glory, I to love…” (to Emilia) Hark! I heard a moan. (Emilia takes a step or two.) Hush... Who knocks upon that door?

EMILIA ‘Tis the wind.

DESDEMONA “I to love him and to die. Come sing! Come sing!

Emilia, farewell. How mine eyes do itch! That bodes weeping. Good night. (Emilia turns to leave.) Ah! Emilia, Emilia, farewell! Emilia, farewell! (Emilia returns and Desdemona embraces her. Emilia leaves.)

This section is Track 8 on the music CD. Ave Maria (kneeling at the prie-dieu) Hail Mary, full of grace, blessed amongst wives and maids art thou, and blessed is the fruit, o blessed one, of thy maternal womb, Jesu. Pray for those who kneeling adore thee, pray for the sinner, for the innocent and for the weak oppressed; and to the powerful man, who also grieves, thy sweet compassion show. Pray for him who bows beneath injustice and ‘neath the blows of cruel destiny; for us, pray thou for us, pray for us always, and at the hour of our death pray for us, pray for us, pray!

(She remains kneeling and, with her head bowed on the prie-dieu, repeats the prayer silently, so that only the first words and the last are audible. ) Hail Mary ... and at the hour of our death. Hail! Amen!

(She rises from her knees and goes to bed.)

Soprano Norah Amsellem makes her debut with the Opera Company of singing the role of Desdemona in Otello for the first time. She’s known for the dramatic intensity and emotion she brings to her work and the beauty of her voice. She has performed with the greatest orchestras and conductors, and the most prestigious theaters all over the world: Metropolitan Opera, La Scala, London’s Royal Opera, Covent Garden and many others.

Photo by: Cosimo Magliocca

Willow! Willow! Willow!”

Born in Paris, France, the soprano started her musical studies at age five when she started playing the harp and piano. At the age of eight, she joined the prestigious French children’s choir “Maitrise de Radio France” with whom she performed with many great artists. During that time, she participated in recordings for film versions of Bizet’s Carmen and Puccini’s La bohème. As a child she also recorded various solo roles with the Maitrise de Radio France. She received her end of studies diploma in Classical harp and musical formation, and then went on to graduate school in Princeton, USA, where she obtained a Bachelor of Arts and was a member of the Metropolitan Opera’s Lindemann Young Artist Development Program.

(Othello enters by a secret door, places a scimitar on the table, and pauses before the light, undecided whether to extinguish it. He looks at Desdemona. He puts out the light. The scene is illuminated only by the light from the prie-dieu. Othello, driven by a sudden burst of fury, approaches the bed; there he pauses. He gazes at Desdemona who is sleeping. He kisses her three times. At the third kiss, Desdemona awakens.)

DESDEMONA Talk you of killing?

DESDEMONA Who’s there? (raising herself) Othello?

OTHELLO Amen.

OTHELLO Ay! … Have you prayed tonight?

DESDEMONA And you have mercy too!

DESDEMONA I prayed…

OTHELLO Think on your sins.

OTHELLO If you remember some sin you have committed that has yet to be forgiven from heaven, beg for it now.

DESDEMONA My sin is love.

DESDEMONA What mean you?

OTHELLO Be brief! I would not kill your spirit.

OTHELLO I do.

DESDEMONA Then God have mercy on me!

OTHELLO For that you die!

DESDEMONA Because I love you you would kill me?

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OTHELLO Cassio is your love!

OTHELLO You strive in vain.

DESDEMONA No! By my life and soul!

DESDEMONA Let me live… longer, let me live longer, let me live!

OTHELLO That handkerchief which I gave you you gave to him.

DESDEMONA It is not true!

OTHELLO I saw it in his hand.

DESDEMONA I am not guilty!

OTHELLO Confess!

DESDEMONA I swear it!

OTHELLO Take heed of perjury. Think that you are on your deathbed.

DESDEMONA But not to die.

OTHELLO To die now.

OTHELLO Down, fall, down, fall, strumpet!

DESDEMONA Mercy!

OTHELLO Die!!

DESDEMONA Let me live tonight…

OTHELLO No! DESDEMONA One hour…

OTHELLO No! DESDEMONA An instant.

OTHELLO No!

DESDEMONA God help me! I do not love Cassio. Send for him hither… let him speak.

DESDEMONA But while I say one prayer.

OTHELLO His mouth is stopped for ever.

OTHELLO It is too late! (He smothers her.)

DESDEMONA What!… is he dead?

DESDEMONA Ah! …

OTHELLO Dead.

(A knocking is heard at the door on the right.)

DESDEMONA, I am undone, and he betrayed!

OTHELLO And you dare to weep for him?

DESDEMONA Othello, do not kill me…

OTHELLO (contemplating the inert form of Desdemona) As quiet as the grave. (further knocking at the door) EMILIA (without) Unlock the door!

OTHELLO (starting) Who is there? Who knocks?

EMILIA (knocking again) O, good my lord, I do beseech that I may speak with you… Unlock the door!

EMILIA I fear you not.

OTHELLO (opening the door) Emilia! What’s the matter?

OTHELLO (seizing her) Take care!

EMILIA (entering) Yonder’s foul murder done! Cassio has killed Roderigo!

EMILIA Ho there! Help, ho! Help! (freeing herself she runs toward the door, crying out) Othello has killed Desdemona!

OTHELLO And Cassio?

(Lodovico, Cassio and Iago enter, followed later by Montano and some armed men.)

EMILIA Lives.

CASSIO, IAGO, LODOVICO What cries are these! (seeing Desdemona) O horror, horror!

OTHELLO Cassio lives!!

EMILIA (to Iago) Iago, disprove this vile murderer. Did you believe Desdemona was false? Speak!

DESDEMONA (from the bed) Falsely… falsely killed…

EMILIA (running towards the bed) What cry is that?… O horror!

DESDEMONA A guiltless death I die…

EMILIA Great God! Who did this deed?

DESDEMONA Nobody… I myself… Commend me to my lord… A guiltless death I die… Farewell… (dies)

IAGO Such I believed her.

OTHELLO That handkerchief that I had given her she gave to Cassio.

EMILIA O heavenly powers!

IAGO (to Emilia) Hold your tongue!

EMILIA No, I will reveal all!

OTHELLO O liar! ’Twas I that killed her.

IAGO Hold your tongue!

EMILIA Murderer!

EMILIA No! He tore that handkerchief from my hand by force.

OTHELLO She was Cassio’s whore. Ask Iago else.

CASSIO And in my lodging I found the handkerchief.

EMILIA Iago?

MONTANO (entering and pointing to Iago) Roderigo revealed the man’s devilish plot as he died.

OTHELLO Iago.

OTHELLO (to Iago) Ah! Vindicate yourself!

EMILIA O dolt! And you believed him?

IAGO (fleeing) No!

OTHELLO (about to strike Emilia) Dare you deny it?

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LODOVICO Stop!

OTHELLO (with a bound, reaching and grasping his sword) And has the heaven no more thunder bolts?

MONTANO After him! (Several leave to pursue Iago.)

LODOVICO Give me the sword!

CASSIO, LODOVICO Seize him!

OTHELLO Would you dare?

This section is Track 9 on the music CD. Otello’s death scene: “Niun mi tema” OTHELLO Let no one fear me though he see me armed. Here is my journey’s end … Oh! Glory! Othello’s day is done.

(Letting his sword fall to the ground, he goes to the bed and gazes at Desdemona.) And thou… how pale thou art! And weary, and mute, and beautiful, pious creature, born ‘neath an evil star. Cold, even like thy chastity, and gathered into heaven. Desdemona! Desdemona! Ah!…

Dead! Dead! Dead! (furtively producing a dagger from his robe) I have another weapon! (stabs himself)

CASSIO Ah, stop!

LODOVICO, MONTANO O bloody period!

OTHELLO Before I killed thee, wife, I kissed thee thus. Now dying… in the shadow where I lie… a kiss… another kiss… ah!… another kiss… (dies)

Translation Avril Bardoni _ 1978 Decca Music Group Limited.

All rights reserved. Reproduced by permission of EMI Classics, Ltd.

Glossary Underlined words are used in the libretto and are underlined in the libretto as well. act (akt) n. one of the main divisions of a play or opera. abhor (ab-hawr) v. to regard with extreme repugnance or aversion; detest utterly; loathe; abominate. allegro (uh-leg-roh) adv. musical term for fast and lively. alto (al-toh) n. the range of the female voice between mezzo-soprano and contralto. ambiguity (am-bi-gyoo-i-tee) n. doubtfulness or uncertainty of meaning or intention: to speak with ambiguity. andante (ahn-dahn-tey) adv. a musical term meaning in moderately slow time. antagonist (an-tag-o-nist) n. an adversary or opponent of the main character or protagonist in an opera, play, or other drama. ardent (ahr-dnt) adj. having, expressive of, or characterized by intense feeling; passionate; fervent: an ardent vow; ardent love. aria (ahr-ee-uh) n. an operatic song for one voice. avaunt (uh-vawnt) adj. away; hence.

Bacchic (bak-ik) adj. Greek & Roman Mythology of or relating to the god Bacchus. bar (bahr) n. a division of music containing a set number of beats. baritone (bar-i-tohn) n. the range of the male voice between tenor and bass. bass (beys) n. the lowest male singing voice. bastion (bas-tee-uhn) n. A projecting part of a fortification ; the safest part of a fort, ship etc. beat (beet) n. the basic pulse of a piece of music. cavort (kuh-vawrt) v. to behave in a high-spirited, festive manner; make merry. charlatan (shahr-luh-tn) n. a person who pretends or claims to have more knowledge or skill than he or she possesses; quack. chord (kord) n. a group of notes played at the same time in harmony. chorus (kawr-uhs) n. 1. a group of singers. 2. a piece of music for these. chronological (kron-oh-loj-i-kuhl) adj. a method of arrangement that puts events in order of occurrence. cherubin (cher-uh-bim) n. an order of angels. cleave (kleev) v. to adhere closely; stick; cling. (usually fol. by to) colonnade (kol-uh-neyd) n. a series of regularly spaced columns supporting an entablature and usually one side of a roof. consecrate (kon-si-kreyt) v. to make or declare sacred; set apart or dedicate to the service of a deity. contralto (cuhn-tral-toh) n. the lowest female singing voice. convulsively (kuhn-vuhl-siv) adv. producing or accompanied by convulsion: convulsive rage. cosmos (koz-muhs) n. the world or universe regarded as an orderly, harmonious system. dissemble (dih-sem-buhl) v. to give a false or misleading appearance to; conceal the truth or real nature of. delude (dih-lood) v. to mislead the mind or judgment of; deceive: His conceit deluded him into believing he was important. dolt (dohlt) n. a dull, stupid person; blockhead. enfeebled (en-fee-buhl) adj. weakened, not well, or below par. enmesh (en-mesh) v. to catch, as in a net; entangle: He was enmeshed by financial difficulties. ethereal (ih-theer-ee-uhl) adj. extremely delicate or refined: ethereal beauty. expedient (ik-spee-dee-uhnt) adj. conducive to advantage or interest, as opposed to right. fanfare (fan-fair) n. a flourish or short air played on trumpets or the like. flat (b) (flat) adj. a half-step lower than the corresponding note or key of natural pitch. forte (f) (for-tay) adv. loudly. fortissimo (ff) (for-tee-see-moh) adv. a musical term for very loud. funerary (fyoo-nuh-rer-ee) adj. of or pertaining to a funeral or burial. furtive (fur-tiv) adj. taken, done, used, etc., surreptitiously or by stealth; secret. gird your loins idiom preparing to do something difficult or dangerous. hindrance (hin-druhns) n. an impeding, stopping, preventing, or the like. hydra (hahy-druh) n. Classical Mythology - a water or marsh serpent with nine heads, each of which, if cut off, grew back as two. inexorable (in-ek-ser-uh-buhl) adj. unyielding; unalterable: inexorable truth; inexorable justice. intercede (in-ter-seed) v. to attempt to reconcile differences between two people or groups; mediate.

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jovial (joh-vee-uhl) adj. endowed with or characterized by a hearty, joyous humor or a spirit of good-fellowship. key (kee) n. the basic note of the main scale used in a piece of music. In the key of G, for example, G is the fundamental note; the music often returns to it and comes to rest on it. kirtles (kur-tl) n. a woman's loose gown, worn in the Middle Ages. knave (neyv) n. a man of humble position. largo (lahr-goh) adv. a musical term meaning in slow time and dignified style. leitmotiv (lahyt-mo-teev) n. a melodic passage or phrase associated with a specific character, situation, or element. libretto (li-bret-oh) n. the words of an opera or other long musical. malice (mal-is) n. desire to inflict injury, harm, or suffering on another, either because of a hostile impulse or out of deep-seated meanness: the malice and spite of a lifelong enemy. manna (man-uh) n. divine or spiritual food. mast (mast) n. a spar or structure rising above the hull and upper portions of a ship or boat to hold sails, spars, rigging, booms, signals, etc., at some point on the fore-and-aft line, as a foremast or mainmast. major (mahy-jer) adj. music in a major key uses a major scale, in which the first three notes are the key note followed by intervals of a tone and then another tone (for example, C, D, E). It often has a cheerful, strong sound. mire (mahyuhr) n. a tract or area of wet, swampy ground; bog; marsh. minor (my-ner) adj. music in a minor key uses a minor scale, in which the first three notes are the key note followed by intervals of a tone and then a semitone ( for example A, B, C). It often has a sad, melancholic sound.

Moor (mor) n. a Muslim of the mixed Berber and Arab people inhabiting NW Africa. natural (nach-er-uhl) adj. a note that is neither flattened nor sharpened. octave (ok-tiv) n. a note that sounds twice as high in pitch as another, is an octave above the other note, and has the same letter naming it. ocular (ok-yuh-ler) adj. of, pertaining to, or for the eyes: ocular movements. opera (op-er-uh) n. a play in which the words are sung to musical accompaniment. orchestra (awr-keh-struh) n. a large body of people playing various musical instruments, including stringed and wind instruments. overture (oh-ver-chur) n. an orchestral composition forming a prelude to an opera or ballet. paragon (par-uh-gon) n. a model or pattern of excellence or of a particular excellence. perdition (per-dish-uhn) n. a state of final spiritual ruin; loss of the soul; damnation. pergola (pur-guh-luh) n. an arbor formed of horizontal trelliswork supported on columns or posts, over which vines or other plants are trained. pianissimo (pp) (pee-ah-nees-ee-moh) adv. a musical term meaning very softly. piano (p) (pi-an-oh) 1. adv. a musical term meaning softly. 2. n. keyed percussion instrument first named pianoforte because it could play both softly and loudly. pious (pahy-uhs) adj. characterized by a hypocritical concern with virtue or religious devotion; sanctimonious. pleiades (ply-uh-deez) n. Classical Mythology . seven daughters of Atlas and half sisters of the Hyades, placed among the stars to save them from the pursuit of Orion. One of them (the Lost Pleiad) hides, either from grief or shame. prelude (prel-yood) n. a preliminary to an action, event, condition, or work of broader scope and higher importance. prie-dieu (pree-dyoo) n. a piece of furniture for kneeling on during prayer, having a rest above, as for a book. presto (pres-toh) adv. a musical term meaning very fast. prithee (prith-ee) interj. pray thee. proffer (prof-er) v. to put before a person for acceptance; offer. prow (prou) n. the forepart of a ship or boat; bow. rampart (ram-pahrt) n. a broad elevation or mound of earth raised as a fortification around a place and usually capped with a stone or earth parapet. requiem (rek-wee-uhm) n. the Mass celebrated for the repose of the souls of the dead. reveille (rev-uh-lee) n. a signal, as of a drum or bugle, sounded early in the morning to awaken military personnel and to alert them for assembly. rogue (rohg) n. a dishonest, knavish person; scoundrel. scimitar (sim-i-ter) n. a curved, single-edged sword of Oriental origin. scale (skayl) n. a series of notes arranged in descending or ascending order of pitch.

semitone (sem-i-tohn) n. a half step or half tone, an interval midway between two whole tones. sharp (#) (shahrp) n. any note a semitone higher than another note. Also, slightly too high in pitch. sibyl (sib-uhl) n. any of certain women of antiquity reputed to possess powers of prophecy or divination soprano (so-prah-noh) n. the highest female or boy's singing voice. stage (stayj) n. a platform on which a public performance is given before an audience. staging (stay-jing) n. the presentation or production on the stage. sullen (suhl-uhn) adj. persistently and silently ill-humored; morose. symphony (sim-foh-nee) n. a long musical composition (usually in several parts) for a full orchestra. synopsis (si-nop-sis) n. a summary, a brief general survey. talisman (tal-is-muhn) n. a stone, ring, or other object, engraved with figures or characters supposed to possess occult powers and worn as an amulet or charm. tempest (tem-pist) n. a violent windstorm, esp. one with rain, hail, or snow. tone (tohn) n. 1. an interval equal to two semitones. 2. the sound quality of an instrument or voice. tocsin (tok-sin) n. a signal, esp. of alarm, sounded on a bell or bells. transmute (trans-myoot) v. to change from one nature, substance, form, or condition into another; transform. trireme (trahy-reem) n. a galley with three rows or tiers of oars on each side, one above another, used chiefly as a warship. tumult (too-muhlt) n. violent and noisy commotion or disturbance of a crowd or mob; uproar. usurp (yoo-surp) v. to seize and hold (a position, office, power, etc.) by force or without legal right. verismo (vuh-riz-moh ) n. realism in opera. vale (veyl) v. valley. vouchsafe (vouch-seyf) v. to grant or give, as by favor, graciousness, or condescension: to vouchsafe a reply to a question. whimsical (hwim-zi-kuhl) adj. erratic; unpredictable: He was too whimsical with regard to his work. zephyr (zef-er) n. a gentle, mild breeze.

From Dictionary.com. Based on the Random House Unabridged Dictionary, Š Random House, Inc. 2010.

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Pennsylvania Department of Education Academic Standards Pennsylvania’s public schools shall teach, challenge and support every student to realize his or her maximum potential and to acquire the knowledge and skills needed to: Academic Standards for Reading, Writing, Speaking and Listening 1.1. Learning to Read Independently GRADE 5 D. Identify the basic ideas and facts in text using strategies (e.g., prior knowledge, illustrations and headings) and information from other sources to make predictions about text. 1.1.8. GRADE 8 E. Expand a reading vocabulary by identifying and correctly using idioms and words with literal and figurative meanings. Use a dictionary or related reference. 1.1.11. GRADE 11 H. Demonstrate fluency and comprehension in reading. Read a variety of genres and types of text. Demonstrate comprehension. 1.2. Reading Critically in All Content Areas GRADES 5, 8, 11. A. Read and understand essential content of informational texts and documents in all academic areas. 1.3. Reading, Analyzing and Interpreting Literature GRADE 5 E. Analyze drama as information source, entertainment, persuasion or transmitter of culture. 1.3.8. GRADE 8 E. Analyze drama to determine the reasons for a character’s actions, taking into account the situation and basic motivation of the character. 1.3.11. GRADE 11 E. Analyze how a scriptwriter’s use of words creates tone and mood, and how choice of words advances the theme or purpose of the work. 1.4. Types of Writing GRADES 5, 8, 11. GRADE 5 A. Write poems, plays and multi-paragraph stories (GRADES 8 & 11 - and short stories). 1.4.5, 8, 11.

C. Write persuasive pieces (Review of Opera Experience, p. 78). 1.5. Quality of Writing GRADES 5, 8, 11 A. Write with a sharp, distinct focus.

1.6. Speaking and Listening GRADES 5, 8, 11. B. Listen to selections of literature (fiction and/or nonfiction).C. Speak using skills appropriate to formal speech situations. E. Participate in small and large group discussions and presentations. F. Use media for learning purposes. 1.8.

Research GRADES 5, 8, 11. A. Select and refine a topic for research. B. Locate information using appropriate sources and strategies. C. Organize, summarize and present the main ideas from research.

Academic Standards for Mathematics 2.1. Numbers, Number Systems and Number Relationships 2.1.8. GRADE 8 A. Represent and use numbers in equivalent forms (e.g., integers, fractions, decimals, percents, exponents, scientific notation, square roots). 2.2. Computation and Estimation 2.2.5. GRADE 5 A. Create and solve word problems involving addition, subtraction, multiplication and division of whole numbers. 2.5 Mathematical Problem Solving and Communication 2.5.11. GRADE 11 A. Select and use appropriate mathematical concepts and techniques from different areas of mathematics and apply them to solving non-routine and multi-step problems.

Academic Standards for Science and Technology 3.1. Unifying Themes 3.1.10. GRADE 10 E. Describe patterns of change in nature, physical and man made systems. •Describe how fundamental science and technology concepts are used to solve practical problems (e. g., momentum, Newton’s laws of universal gravitation, tectonics, conservation of mass and energy, cell theory, theory of evolution, atomic theory, theory of relativity, Pasteur’s germ theory, relativity, heliocentric theory, gas laws, feedback systems). 3.2. Inquiry and Design GRADE 7 Apply process knowledge to make and interpret observations. GRADE 10 Apply process knowledge and organize scientific and technological phenomena in varied ways. GRADE 12 Evaluate experimental information for appropriateness and adherence to relevant science processes. 3.3. Biological Sciences 3.3.10. GRADE 10 D. Explain the mechanisms of the theory of evolution. 3.7. Technological Devices 3.7.7. GRADE 7 E. Explain basic computer communications systems. Describe the organization and functions of the basic parts that make up the World Wide Web. (Check operaphila.org to see photos of the rehearsals and sets.) See Teacher’s Guide for additional science lessons.

Academic Standards for Civics and Government 5.2. Rights and Responsibilities of Citizenship 5.2.12. GRADE 12 C. Interpret the causes of conflict in society and analyze techniques to resolve those conflicts.

Academic Standards for Geography 7.1. Basic Geographic Literacy 7.1.6. GRADE 6 A. Describe geographic tools and their uses. •Basis on which maps, graphs and diagrams are created. 7.3. The Human Characteristics of Places and Regions 7.3.6. GRADE 6 B. Explain the human characteristics of places and regions by their cultural characteristics.

Academic Standards for History 8.2. Pennsylvania History 8.2.9. GRADE 9 8.2.12. GRADE 12 Pennsylvania’s public schools shall teach, challenge and support every student... skills needed to analyze the interaction of cultural, economic, geographic, political and social relations to. A. Analyze the... cultural contributions of individuals... to Pennsylvania history from 1787 to 1914. • Cultural and Commercial Leaders (e.g., Academy of Music architects Napoleon Le Brun & Gustav Rungé, opera star Marian Anderson). 8.3. U.S. History 8.3.9 GRADE 9 B. Identify and analyze primary documents, material artifacts and historic sitesimportant in United States history from 1787 to 1914. • Historic Places (e. g., Academy of Music). 8.4. World History 8.4.6 GRADE 6 A. Identify and explain how individuals and groups made significant political and cultural contributions to world history. 8.4.12. GRADE 12 C. Evaluate how continuity and change throughout history has impacted belief systems and religions since 1450 C.E. Academic Standards for the Arts and Humanities 9.1. Production, Performance and Exhibition of Dance, Music,Theatre and Visual Arts A. Know and use the elements and principles of each art form to create works in the arts and humanities. I. Know where arts events, performances and exhibitions occur and how to gain admission. 9.2. Historical and Cultural Contexts C. Relate works in the arts to varying styles and genre and to the periods in which they were created (e.g., Renaissance, Classical, Modern, Post-Modern, Contemporary...). D. Analyze a work of art from its historical and cultural perspective. E. Analyze how historical events and culture impact forms, techniques and purposes of works in the arts. F. Know and apply appropriate vocabulary used between social studies and the arts and humanities.

The School District of Philadelphia School Reform Commission Robert L. Archie Jr., Esq., Chairman

Sounds of Learning™ was established by a generous grant from The Annenberg Foundation.

Denise McGregor Armbrister, member Joseph A. Dworetzky, member Amb. David F. Girard-diCarlo, Ret., member Johnny Irizarry, member Dr. Arlene C. Akerman Superintendent of Schools

Pamela Brown Interim Chief Academic Officer

Dennis W. Creedon, Ed.D. Administrator, Office of Creative and Performing Arts

Opera Company of Philadelphia Robert B. Driver Artistic Director

Corrado Rovaris Jack Mulroney Music Director

David B. Devan

Dedicated funding for the Sounds of Learning™ program has been provided by: $20,000 to $49,999 Hamilton Family Foundation Lincoln Financial Group Foundation Presser Foundation Universal Health Services

Director of Community Programs

The Opera Company of Philadelphia is supported by major grants from The William Penn Foundation, The Pew Charitable Trusts, and The Lenfest Foundation.

Additional support is provided by the Independence Foundation and the Horace W. Goldsmith Foundation.

The Opera Company of Philadelphia receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Michael Bolton Director of Community Programs

bolton@operaphila.org Aedín Larkin

$10,000 to $19,999 The ARAMARK Charitable Fund at the Vanguard Charitable Endowment Program Ethel Sergeant Clark Smith Memorial Fund Eugene Garfield Foundation GlaxoSmithKline The Hirsig Family Fund Morgan Stanley Foundation

Community Programs Intern

larkin@operaphila.org Special thanks to: Robert B. Driver Dr. Dennis W. Creedon Creator, Sounds of Learning™ Curriculum Consultant

Laura Jacoby

Executive Director

Michael Bolton

Written and produced by: Opera Company of Philadelphia Community Programs Department ©2010 1420 Locust Street, Suite 210 Philadelphia, PA, U.S.A. 19102 Tel: (215) 893-3600, ext. 6102460 Fax: (215) 893-7801 www.operaphila.org/community

$5,000 to $9,999 Alpin J. & Alpin W. Cameron Memorial Trust Bank of America Charitable Foundation Deluxe Corporation Foundation Wachovia Wells Fargo Foundation $1,000 to $4,999 Citizens Bank Foundation Dolfinger-McMahon Foundation Louis N. Cassett Foundation McLean Contributionship Quaker Chemical Foundation

Tullo Migliorini Maureen Lynch Operations Manager, Academy of Music

Cornell Wood Head Usher

Academy of Music Ushers Debra Malinics Advertising Design Concept

Kalnin Graphics Printing

Center City Film and Video R. A. Friedman The Historical Society of Pennsylvania Free Library of Philadelphia Print and Picture Department

2010 2011

Opera Company of Philadelphia

1420 Locust Street, Suite 210, Philadelphia, PA 19102 T (215) 893-3600 F (215) 893-7801 www.operaphila.org

OPERA at the Academy Otello

Romeo & Juliet

Tosca

October 1, 3m, 6, 10m & 15

February 11, 13m, 16, 18 & 20m

April 29, May 1m, 4, 6 & 8m

2010

2011

2011

OPERA @ the Perelman The Cunning Little Vixen * Phaedra March 16, 18 & 20m

2011

June 3, 5m & 8

2011

* The Kimmel Center Presents Curtis Opera Theatre’s production in association with Opera Company of Philadelphia