Lesson Two: Iago’s Credo Big Idea: Identity is explored, expressed and impacted through arts experiences Category: Before the opera, In-Depth Overview: Arrigo Boito added Iago’s “Credo” to the libretto; the speech does not exist in Shakespeare’s original. It is, however, considered by many to be a masterful addition, and Verdi’s musical setting of the text is equally inspired. In this exercise, students will tackle the complexities of setting music to text using the “Credo” before examining Verdi’s resolution to the same problem. Objective: Students will study Boito’s “Credo” text before creating their own musical settings. They will then listen to and discuss Verdi’s setting of the same text.
Activity: 1. Read Iago’s Credo (see Materials section) out loud with the students. Have them read as dramatically as possible! The Credo is divided into 4 sections. Assign small groups (2-4 students) to each sectio. More than one group can work on each section if needed 2. The students read their sections of the Credo, and determine four of Iago’s characteristics, beliefs or themes that it expresses. For example the text could demonstrate Iago’s obsession, cruelty or cynicism. 3. The students now have the task of creating a performance of their texts. They discuss how each of their characteristics might be expressed musically or theatrically, using only the means they have in the classroom. Tips and examples:
• Chanting could represent religion, destiny as a gong-like sound. • Aspects of texts can be repeated – a word or phrase could become the underlying rhythm of a spoken word reading.
• Is the text read chorally or by individuals? How loudly? How can changes in diction be utilized?
4. The students present their performed texts to the class, following the order of the original Credo. The following discussion can explore how the meaning of the text was impacted by the way in which it was performed. What worked particularly well? What didn’t? How did the experience deepen the students’ interpretation of the text? Were some texts easier or more difficult to set to music? Why or why not? 5. Listen to Verdi’s version of the Credo as a class, being sure to select a version with English subtitles (there is a version on YouTube with Wesley Thomas playing Iago). Discuss Verdi’s setting of the text. Did you he use any of the same techniques as the students? Did he use any new ones? How effective is his text setting?
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