Classical Music | Tenor

Recorded on 12/31/1969, uploaded on 04/09/2009

Musician's or Publisher's Notes

With the success of Aida, Giuseppe Verdi planned to end his career as one of Italy’s most successful operatic composers. Verdi’s publisher, Guilio Ricordi, however, thought the composer’s retirement premature, a waste of his talents and even more importantly, of profits. Thus, Ricordi set out to coax him out of retirement. Knowing that only an impressive libretto with the proper dramatic elements could tempt Verdi to compose again, Ricordi enlisted the aid of Arrigo Boito to craft a suitable libretto from William Shakespeare’s play Othello and an outline of the libretto was shortly thereafter presented to Verdi. Though interested, Verdi initially displayed skepticism towards the project and little work was accomplished. However, once Verdi realized Boito’s abilities as a librettist, he became increasingly more dedicated to the project.

Aspects and preparation of the opera, which originally was to be titled Iago after the play’s villain, were kept a secret right up until its premiere, and Verdi even maintained the right to cancel the performance at the last minute. However, word of a new opera by the retired Verdi inevitably reached the public creating a buzz of expectancy. The premiere, on February 5, 1887 at La Scala, nearly 15 years to the day after that of Aida, was an outstanding success with Verdi giving twenty curtain calls at its conclusion.

Considered today to be his most dramatic and mature opera, Otello is somewhat different in approach than its predecessors. Verdi, to a degree, adopted the practices of Richard Wagner in doing away with the standard set-pieces of recitatives and arias. Though, the distinctions are still more discernible in Otello than in any of the works of his German counterpart. Furthermore, the orchestra in Otello also plays a much larger role than in Verdi’s previous operas, being here elevated above the role of mere accompaniment to an important aspect in the portrayal of the narrative.

Gia nella notte densa (“Now in the dark night all is silenced”) is the final duet of Act I. Iago, with the aid of Rodrigo, has already put in motion his machinations to destroy Otello. Angry that Otello has named Cassio captain of the navy, Iago proceeds to get Cassio drunk, and then instigates a duel between him and Montano. As Otello enters, Cassio wounds Montano. When he is unable to give excuse for his actions, Otello becomes angry though does not yet demoted his new captain. However, as Desdemona, Otello’s wife, enters, Otello becomes even more enraged that his wife’s rest has been disturbed by the brawl and finally dismisses Cassio has the captain of the navy. The Cypriots then leave the tavern while Otello and Desdemona remain behind to sing their duet. They recall why they fell in love and then return to the castle as the act comes to a close.        Joseph DuBos