Othello is the highest achievement of Verdi's operatic realism. To the centenary of Mario del Monaco. Opera by G. Verdi "Otello"

D. Verdi opera "Othello"

"Othello" is one of the best tragedies of W. Shakespeare. Naturally, composers could not ignore such an outstanding work.

When an offer was made to write an opera based on this outstanding work, Giuseppe Verdi hesitated for some time, since the deep philosophical side of Othello required significant musical reflection. Tragedy in the transcription of A. Boito, who wrote the libretto, and Verdi, who created inimitable music, has undergone considerable changes. Many plot moves and episodes were transformed. The structural laws of the opera genre require the obligatory presence of the choir, so a line was introduced connecting Othello, as the governor of Cyprus, and the people subordinate to him. Four acts serve to unfold the storyline, the main musical characteristics of the characters and the tragic ending.

Summary

The plot takes place on the island of Cyprus in the fifteenth century.

Moor Othello returns victorious to the Venetian Republic. He is received with honors. Only Iago and Roderigo, his old ill-wishers, who, due to negligent service, suffered from the commander at one time, are not happy with him. He is completely absorbed in love for Desdemona and does not notice the intrigue weaving around him.

To carry out his plans, Iago persuades the officer Cassio to petition for his slow promotion in front of Desdemona, whom he has known for a long time, and at the same time makes sure that Othello becomes a witness to this conversation. At the same time, he inspires him with thoughts that their conversation is not at all innocent. Othello tries to find out from his wife what the conversation was about, but her story kindles even stronger jealousy in him. Desdemona, worried about her husband, ties a handkerchief around his forehead, but the Maurus, without looking, throws him away. Emilia, Desdemona's maid and Iago's wife, picks up the handkerchief.

Iago, who was watching this scene, tells Othello that the thing was a gift from Desdemona to Cassio and advises him to demand from his wife that she get a handkerchief. In the event that the spouse cannot do this, then the suspicions are not in vain. Othello has complete faith in Iago. Desdemona, unaware of her husband's anger, tries to plead for Cassio. Othello demands to see the handkerchief, but Desdemona does not have it. The Moor is furious.

In the palace, Iago, having previously invited Othello, talks with Cassio about the famous courtesan and assures the Maurus that it is about Desdemona. Blinded by jealousy, he does not notice the catch. Meanwhile, Cassio accidentally takes out a handkerchief thrown to him by Iago. Othello, unable to bear the sight, faints.

The final action takes place in the bedroom. Othello enters and begins the famous monologue with the words: "Have you prayed ...". Desdemona, realizing that her husband is completely poisoned by jealousy and is plotting to kill her. She begs to believe her, as she loves Othello with all her heart and is completely faithful to him. The Moor does not believe her and, unable to control himself, strangles her. Gradually, he realizes his mistake, but nothing can be corrected and Othello stabs himself.

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Interesting Facts

• After the triumphant success of "Aida" Giuseppe Verdi was in seclusion for a long time. Othello helped him regain his leading position in the music world.
• The composer wrote this work at the age of seventy-four.
• The creation of the opera took six years.
• The first act of the play by W. Shakespeare is dedicated to the love and flight of Othello and Desdemona. Here it is completely excluded.
• Compared to the tragedy, the presence and significance of the image of Iago is significantly increased. D. Verdi and A. Boito intended to name their work after this character, who involuntarily moved to the center of the action.
• There was already an opera written earlier by D. Rossini, with the same name.
• The first act is accompanied by bad weather and peals of thunder, which Verdi himself created with the help of a sheet of iron.The enthusiasm of the public was so great that it drowned out this imitation of bad weather.
• "Otello" is rightfully considered the best creation of D. Verdi.
• Despite the huge success, this work did not take its strong place in the repertoires of theaters, significantly inferior in terms of the number of productions " Rigoletto», « La Traviate" or " Aide».

Popular arias and numbers:

Desdemona's aria "Mia madre aveva una povera ancella" (listen)

Othello's aria "Niun mi tema s" anco armato mi vede (listen)

Prayer of Desdemona from act 4 "Ave Maria, piena di grazia" (listen)

History of creation

By the time Othello was written Verdi no longer engaged in such an active musical activity.

In 1879, Arrigo Boito decided to compose a libretto based on Shakespeare's play. He offered cooperation to Giuseppe Verdi. The composer hesitated for a long time, although on the whole he liked the text. Nevertheless, the librettist managed to persuade him, and in 1881 work on the work began. It was very difficult to adapt a tragedy with a small number of characters to the opera stage.

A significant place was given to the people of Cyprus, and some episodes were cropped. In the center of the plot, however, as in the play, there was a passion that gripped Othello.

As a result, the score turned out to be so complicated that not all theaters took on its production. Only the greatest conductors dared to stage the opera, collaborating with excellent operatic talents, who also had a remarkable dramatic gift.

Productions

The opera was enthusiastically received all over the world. The Milan theater La Scala was the first to respond to its creation, which staged it on February 5, 1887. The parts were performed by such famous artists as F. Tamagno, V. Morel, R. Pantaleone and others.

In Europe, she made a splash. In 1888, the opera conquered Germany, in 1894 - France.

At the same time, Othello entered the Russian stage. On December 26, 1887, the Mariinsky Theater produced the premiere with great success. The roles were played by N. Figner, E. Pavlovskaya, A. Chernov, etc.

After the victory of the revolution, the opera was repeatedly staged on the stage of the already Soviet theater. The musical work was presented at the Bolshoi Theatre, the Kiev Shevchenko Theatre, the Leningrad Kirov and the Maly Opera Theatres. Leading roles were played by such luminaries of the scene as V. Atlantov, V. Volkov, N. Ozerov, V. Galuzin, etc.

In Europe, "Othello" was embodied on the stage by such amazing singers as P. Domingo, M. del Monaco, G. di Stefano, R. Tebaldi, etc.

There is also a film adaptation made by the legendary Franco Zeffirelli with P. Domingo in the title role. J. Diaz played the role of Iago, and K. Ricciarelli brilliantly embodied the part of Desdemona.

Opera "Otello" by Giuseppe Verdi

G. Marchesi

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

Characters:

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

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

Action one.

Castle by the sea. Evening. There is a storm at sea, the ship of Othello, appointed governor of the island, is approaching the shore, where a crowd of people has gathered, among them: the Venetian nobleman Roderigo, in love with Desdemona, who recently became Othello's wife, Iago, hostile towards the new governor, as he bypassed by his rank, Montano, former viceroy of the island. The storm calms down, as if having heard the prayers of the people ("Dio, fulgor della bufera!"; "The formidable lion of St. Mark!").

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

Action two.

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

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

Action three.

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

A delegation from Venice arrives: Othello is temporarily called to his homeland, Cassio is appointed instead. The Moor gives vent to his anger, insults Desdemona, makes her kneel, cry in the midst of general confusion (septet "A terra! .. si"; "On the ground ... Yes ... covered with shame ..!"). Left alone, he loses his senses.

Action four.

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

When the premiere performance at La Scala ended, the audience showered the author with a flurry of enthusiasm. The orchestra under the direction of Franco Faccio was magnificent, the staging and performance of the role of Iago by Morel were magnificent, the performances of Tamagno (Othello) and Pantaleoni (Desdemona) were less successful. Critics stormily praised the composer's skill and creative longevity, underestimating the true significance of the opera, which took its rightful place in the history of musical theater only in the first half of the 20th century, eclipsing even Verdi's other operas. The initial assessment of Othello was associated with the perception of the opera as belonging to the Wagnerian trend, then more and more - with the approval of many cultural figures - spread in Italy, captured by a wave of symphonism, the main conductor of which was Wagner. Today, looking at the entire operatic legacy of Verdi, one can more clearly imagine the place of this masterpiece in the evolution of the composer's various stylistic manners, in relation to which "Othello" is the result and at the same time has an independent meaning. The lesson of this opera, which is modern, has absorbed new achievements, but remains within the limits of the Italian tradition, will be learned by young musicians. Alberto Savigno wrote about the function of the orchestra, which, under the influence of Wagner, represents a big step forward, that is, different from the orchestra of Verdi's previous operas, that it "does nothing more than support from below, with its massive supports, the singing that soars above the stage, and the unisons become the richest and most meaningful ".

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

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

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

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

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

At the core plot - Shakespearean tragedy, which more than once attracted the attention of composers: several more operas were written on its basis, including Rossini's opera. The idea of ​​working on "Othello" belonged to Arrigo Boito, who offered Verdi a ready-made outline of the script. The composer liked this script very much, but he did not immediately agree to work. Nevertheless, the thought of "Othello" increasingly took possession of the composer's creative consciousness (for some time he kept it a secret: for the purpose of secrecy, the future composition was called "chocolate"). Since the autumn of 1880, active work began with the librettist, in which the leading role, as always, belonged to Verdi. He dictated his demands to Boito, which he carried out with enviable patience. The composer started composing music only after he received a version that completely satisfied him. libretto. It differs significantly from tragedy:

· the course of events is accelerated, conflict situations are aggravated;

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

On the other hand, some new scenes were introduced that Shakespeare did not have - a love duet in act I, a welcoming (“Cypriot”) choir of women in act II;

· enlarged the role of Iago, who is given demonic, "Mephistopheles" features. It was this image that Verdi perceived as the root cause of the tragedy (he even wanted to call his opera "Iago")%

Main subject operas are the tragedy of a person who loses faith in the purity and truthfulness of human relations. According to A.S. Pushkin, "Othello is not jealous by nature, on the contrary, he is trusting." Developing this idea, F. Dostoevsky notes that “Othello's whole worldview was clouded, because his ideal was lost. But Othello will not hide, spy, peep: he is gullible. On the contrary, he had to be led, pushed, inflamed by extraordinary efforts, so that he could only guess about the betrayal. Such is not the true jealous." Thus, the tragedy of Shakespeare is not a drama of jealousy, it is a tragedy of the loss of an ideal and deceived trust.

Dramatic Plan

The main thing that you immediately notice in this work is the rejection of the "numbered structure", which gives the musical flow a certain continuity. This is what Verdi always aspired to: the flow of music, free, logical, unexpected, like life itself.

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

There are three scenes in act I: conditionally "Storm", "Tavern", "Night". The extreme ones are devoted to showing a positive beginning, in the first place - Othello. The middle (“Tavern”) characterizes Iago, who provokes a skirmish between Captain Cassio and the Venetian patrician Rodrigo. The key moment of the 2nd scene is Iago's drinking song with the choir, which shows his ability to dominate the crowd.

The scene of The Tempest plays the role of a kind of prologue, replacing the missing overture. This is a grandiose vocal-symphonic picture, which immediately introduces you into the thick of intense struggle. The pinnacle of this scene is the appearance of Othello.

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

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

The nervously intense music of the duet is sharply opposed by the calm chorus of the inhabitants of Cyprus, welcoming Desdemona. His dramatic role is detente, braking. It complements the characterization of Desdemona, which seems to give rise to a bright perception of the world around her, and also calms Othello himself (“their song humbles my spirit”). But right there - a new rise in drama, a clash of conflicting passions (as in the famous Rigoletto ensemble) in the quartet Iago - Emilia - Othello - Desdemona.

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

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

Othello's monologue;

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

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

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

The entire final duet of the main characters is united by ostinato string phrases that create a heavy, "stuffy" atmosphere. The stern speech of Othello is contrasted with the excited lyrical intonations of Desdemona.

After the death of Desdemona, Othello does not think of life, and this is the strength of his love. His faith in the ideal is revived, and the former Othello is also revived, as the mournfully restrained, noble intonations of his speech clearly speak. The final phrases sound like a kind of tragic reprise of the radiant lyricism of the love duet of the first duet.

After the triumph of "Aida" in the operatic work of Verdi, there was a break of 15 years. “The game is over”, “I am old, too old” - these words are the leitmotif in many letters of this period. The reasons for such a long creative silence are widely covered in the composer's monographs. Critics explained the high artistic merits of "Aida" by "the fruitful influence of Wagner." Verdi wrote it as an anti-Wagnerian work. The composer wrote to one of his acquaintances: “... Why, in fact, should I write? ... I would hear again that I can’t write, that I became a follower of Wagner. Enviable glory! After almost 40 years of work, end up as a wannabe!” That is why Verdi answered all the persuasion of his friends to write a new opera after Aida with a categorical refusal.

An interesting detail: Arrigo Boito - the composer is known, first of all, as the author of the opera Mephistopheles.

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

Opera in four acts

Libretto by Arrigo Boito

Russian text by Evg.Gerken

Characters

Othello, Moor, commander of the Venetian troops (tenor)

Iago, midshipman (baritone)

Cassio, squadron leader (tenor)

Roderigo, Venetian patrician (tenor)

Lodovico, Ambassador of the Venetian Republic (bass)

Montano, Othello's predecessor in the administration of the island of Cyprus (bass)

Herold (bass)

Desdemona (soprano)

Emilia, Iago's wife (mezzo-soprano)

Soldiers and sailors of the Venetian Republic, patricians and patricians of Venice, the people of Cyprus, armed Greeks, Dalmatians, Albanians, children of the island, the owner of the tavern, four servants of the tavern, attendants at the galleys.

The action takes place in the seaside town of the island of Cyprus at the end of the 15th century.

Act one

(A rocky seashore, a pier, a tavern with a gazebo, a palace nearby. Evening. Thunderstorm, hurricane; lightning flashes and thunder rumbles every now and then. On the shore there are Cypriots, among them Montano, Cassio, Iago, Roderigo.)

CYPRUS

It's a sail! White sail!

The winged lion flies!

He enters into a formidable battle.

CYPRUS

Those are pipes!

(A gunshot is heard.)

Terrible cannon roar.

Here is the commander's ship.

Now he disappeared ... he is visible again ...

Again flying over the waves.

CYPRUS

That ship is swallowed up by the abyss,

then he rises again, like a newt.

Wind! Storm! Shower!

Thunderous roar and lightning!

The wind is picking up! The waves are splashing!

Death awaits the unfortunate.

Woe to those who in this storm

will fight with the sea,

woe to those who this night

must be in the sea!

(Women appear on the shore. At the sight of a ship in distress, exclamations of despair escape from them.)

The waves are groaning, arguing with the wind,

lightning shine for a moment pierces the darkness, -

and again the shroud of the storm hides everything.

Waves crash on the shore.

Angered Aquilon flies over the abyss,

like all the gods of the universe

he called for a fight.

WOMEN AND MEN

Terrible lion of St. Mark!

Our stronghold and patron!

You will save your vassals

You will save the Venetian banner!

You are on a marble column

reign over Venice!

And from the wrath of Poseidon

you will protect your ship!

The storm broke the steering wheel!

RODERIGO

The ship must crash on the rocks!

WOMEN AND MEN

For help! For help!

(to Roderigo)

At the bottom of the sea the ship will find its grave!

WOMEN AND MEN

For help! For help!

(away)

Get the boats down!

We need to save them! Boats!

Row to them! All help!

(away)

Row to them, bolder!

Salvation!

(away)

Salvation!

(on the coast and away)

O joy!

(Othello comes ashore from the ship, surrounded by sailors and soldiers.)

Honor and glory!

We defeated the fleet of enemies in a sea battle.

The enemy fought bravely

but the hurricane helped put an end to the enemy.

You, Othello, we praise!

Victory! Victory!

(Othello heads for the palace, followed by Cassio, Montano, and soldiers. The storm begins to subside.)

Victory! Salvation!

The enemy was struck by our winged lion

in a sea battle.

We will glorify the names of the dead soldiers,

let the heroes rest peacefully in the abyss of the sea.

Victory! Victory!

The squadron of infidels perished ingloriously.

Broken, the formidable lion slew all Venice,

our island is saved!

Victory! O joy! Victory!

The storm has passed... Everything is quiet.

(There is great excitement on the shore: sailors carry weapons and luggage from the ship to the palace, several soldiers with lit torches light the way for them. People carry branches for fires to the shore; a curious crowd surrounds the fires with noise.)

(to Roderigo)

Roderigo, what are you dreaming about?

RODERIGO

I am not happy…

It's silly to be discouraged by women, mate!

RODERIGO

I'm so in love!

Believe me, you will not have to suffer long;

the love of such a husband will oppose - and soon - Desdemona.

Is it possible to give happiness to this woman

the black slave is the bastard of the infamous Moors!

My Roderigo, believe that Iago knows women very well,

I will be glad to give you advice in a difficult matter.

When I set a goal for myself,

I go to her steadily

and let the devil himself interfere with me,

believe, my dear, I will achieve my goal.

(Cassio comes out of the palace and joins the group of soldiers.)

Listen, if you knew how much I hate Othello...

Do you want to know the reason?

Here she is, listen.

Do you see Cassio the captain? He took my rank

the despicable Moor forgot about the formidable battles,

where I fought heroically;

he was partial to me;

he, in front of his person, only ordered me to be an adjutant!

I can't forgive such an insult.

(pointing to himself)

And if I were Othello in place,

such a friend

I wouldn't have chosen!

Do you understand me?

(The smoke of the fires rises higher and higher, the fire flares up. The clouds in the sky gradually dissipate. The tavern attendants light lanterns in the gazebo.)

The flame is burning, the sparks are sparkling

and disperse the dusk of the night,

merry songs sound tunes,

soldiers go to the fire.

It smells of resin and smells of laurel,

sparks sparkle, bonfires burn,

palm trees blaze under the starry sky,

and the sparks of the fires blaze brightly.

A soldier must warm himself with wine;

soldiers can warm up here,

Here you can drink a glass of wine.

The flame will go out, the sparks will go out,

the songs will be silent, the night will fall.

Shines, plays, sparkles, plays,

shines, fires play in the fires.

The fires will go out, the songs will be silent,

everything will be silent, and the night will come to us,

the fires will go out.

(The fires are gradually going out. In the tavern, near one of the tables, Iago, Roderigo, Cassio and several armed soldiers are sitting; several people are standing.)

(to Cassio)

I drink to your success!

Where is the captain's bowl?

No, I dont drink alcohol.

(clinking glasses with Cassio)

We drink the last cup.

(pushing his glass away)

Drink up, because today is the day of victory!

We're right to have fun. Let's drink!

Full! I drank a glass and my head was spinning.

Yes? So you have to drink again.

I drink to the happiness of Othello and Desdemona!

(raising glass)

Like a bright beam of Aurora,

She won us over with her smile!

(Sips a little.)

(to Roderigo; quietly)

Do you hear?

RODERIGO

Her modesty is so charming!

Yes, no one can compete with her!

(to Roderigo; quietly)

Listen.

(to Cassio; loudly)

You sing her praises.

I'm sorry I wasn't born a poet.

(to Roderigo; quietly)

He loves her passionately.

RODERIGO

He cannot hide his feelings;

believe me, he is madly in love with Desdemona,

he is your only rival, he is more dangerous than Othello ...

RODERIGO

If only he drank more...

(to servants)

Hey, pour us some wine!

(Servants carry the wine. Iago fills three glasses: for himself, Roderigo and Cassio; then he rises with a glass in his hand. The crowd moves closer and looks at him with curiosity.)

(to Cassio)

My cup is filled with amber wine.

Let him intoxicate young blood with desire!

(to Iago; with a glass in his hand)

I accept the toast with all my heart

and I drink wine for the gift of the gods - I drink for love!

(to all)

he drinks with me

drinks with me.

Drink, drink! Drink with me!

Drink a glass and be drunk.

RODERIGO

Drink a glass and be drunk.

Wine in itself is fraught with all the bitterness of knowledge

and all the irony of words caustic and evil.

Reflection of past hopes and secret desires!

Your toast reminded me of them again!

(Drinks.)

Who will like my toast

he drinks with me

drinks with me.

Drink, drink! Drink with me!

(to Roderigo; pointing to Cassio)

Drink a glass and be drunk.

RODERIGO

Drink a glass and be drunk.

Only the cowardly avoids wine...

(interrupting)

Your challenge does not bother me at all!

(Drinks.)

... So that his secrets are not known.

There are no secrets that I must hide!

(Wobbling.)

Who cares... my toast will come...

He drinks with me...

Yes, that's right... I'm drinking...

(Many people laugh at Cassio.)

Great wine…

(Tries in vain to remember the first motive.)

Wine... wine... I drink...

My wine is great...

(to Roderigo; quietly)

He is drunk and barely holding on.

Don't delay, this is an opportunity

start a quarrel and take revenge

with one blow of the sword.

Remember that you will vomit

Othello is now out of the passionate embrace of his wife!

I'm drunk... drunk...

RODERIGO

(to Iago; quietly)

I thought about it.

Drunk ... And yet fine wine ...

(Many laugh.)

Drink, drink with me!

(Everyone drinks. Montano comes out of the palace.)

(to Cassio)

Captain, Othello entrusted the whole city to you tonight!

(staggering)

Oh devil!

You are drunk?

(to Montano)

The captain drinks to his madonna every evening.

I'll tell Othello.

I'll go on duty...

(Roderigo and the soldiers laugh.)

Are you funny?

RODERIGO

(defiantly)

Our boss is drunk...

You dare to laugh!

(He throws himself at Roderigo.)

You are insolent!

RODERIGO

(defensively)

You will answer with blood!

I will pierce your laughter with this sword!

(pulling them apart)

I beg you, leave, there is no place for quarrels!

(to Montano)

Don't you dare interfere with me, he must be punished!

You're drunk, get off your weapons!

I am drunk?!

(Cassio draws his sword, Montano also. The duel begins. Everyone retreats.)

(to Roderigo)

Run to the port, shout louder there

with a frightened look: “Rise! Rebellion!

Stop! Excite crowds of people!

You have to use the opportunity wisely.

(Roderigo runs away. Iago addresses the combatants.)

O brothers! Do you want to kill each other?

FIRST GROUP OF WOMEN

(running away)

How! Montano is wounded by the enemy!

O sky! What to do?

SECOND GROUP OF WOMEN

(also running away)

Fight!

Fools, Othello will know about this!

(to all)

Shout "Help!" - or it will be bad for them!

(The alarm sounds. The fight continues. Some women run away, others run in.)

IAGO AND CHORUS

For help! For help!

(Othello comes out of the palace, followed by people with torches. The alarm stops.)

Sheathe your swords!

(The fight ends.)

What's the noise here? Is this a battlefield?

What kind of example are you giving to soldiers?

What is the name of your act?

Now you, Iago, about everything that was here,

tell me honestly.

At first ... so peacefully we all joked,

danced, laughed, clinked glasses together and sang songs cheerfully.

Suddenly they, why - I don't know

took up swords and violently grabbed!

To be honest, it is difficult to say who was guilty.

Cassio! How dare you forget your duty of service?

Have pity... My fault is heavy...

(Soldier supports Montano.)

Montano…

I am hurt by them...

You are wounded!.. Unfortunate! What a crime!

How, having forgotten your duty, you could raise weapons against each other!

(Desdemona comes out of the palace. Othello hurries to meet her.)

You?! Oh dear Desdemona

Did you come to find out what happened here too?!

Cassio! You are no longer the captain!

(Cassio throws down his sword, Iago picks it up and hands it to the soldier.)

I have reached my goal!

Iago, hurry to the city

we must put a stop to rumors and unrest.

(Iago leaves.)

Help Montano!

(Montano is led into the palace.)

Go home everyone!

I give orders to everyone to restore order as soon as possible!

(Everyone disperses. Othello and Desdemona are left alone.)

Anxious day is over

it was replaced by night.

Here it is, that beautiful hour,

that we waited so long and so passionately.

Let rage control me in terrible battles,

your love gives me

peace, happiness and tranquility.

DESDEMONA

I am with you with all my heart.

It's all over -

days of sad separation, days of trials,

you are with me, again with me, my Othello.

I will keep the memory of all your past sufferings.

I remember your battle stories

about battle glory, about your labors,

about days in captivity, about slavery and deprivation,

about the terrible life on the wild islands.

Yes, my life was full of suffering,

my story about her would be sad,

in distant campaigns disastrous and furious battles

I have met death many times.

DESDEMONA

You drew me a sandstorm whirlwind

starry sky, burning desert heat,

and the splash of the wave, and the brilliance of the blue of the sea, -

everything that you lived, free, in your native country.

You listened to my words with participation and compassion,

you took pity on me.

In your eyes for the first time I read your confession,

I became dear to you.

DESDEMONA

With you we will no longer know separation,

we will keep our love forever.

You loved me for the pain

I you - for compassion for them.

DESDEMONA

Yes, I loved you for the torment,

you me - for compassion for them.

You loved and I loved you forever.

DESDEMONA

I loved you with all my heart.

Death is not terrible to me, I am ready to give my life

for the bright gift of love and for this moment!

(The sky is completely clear, the stars are visible, the rising moon is shown on the horizon.)

You gave me so much happiness that my heart is full

bliss without end, without edge;

all words of love are insignificant in comparison with that feeling,

that owns me.

DESDEMONA

Your love is my lot;

she is as bright as a moon in a dark sky.

Let the sky heed the oaths

my whole life is full of you alone.

DESDEMONA

All life is with you.

Oh! What a blessing this moment is...

What a blessing!..

DESDEMONA

I breathe with you.

(looking at the sky)

The sky sends us a crown of radiant stars.

DESDEMONA

The night has come.

Venus shines on us.

DESDEMONA

(Embracing, they head towards the palace.)

Opera "Otello" by Giuseppe Verdi

G. Marchesi

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

Characters:

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

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

Action one.

Castle by the sea. Evening. There is a storm at sea, the ship of Othello, appointed governor of the island, is approaching the shore, where a crowd of people has gathered, among them: the Venetian nobleman Roderigo, in love with Desdemona, who recently became Othello's wife, Iago, hostile towards the new governor, as he bypassed by his rank, Montano, former viceroy of the island. The storm calms down, as if having heard the prayers of the people ("Dio, fulgor della bufera!"; "The formidable lion of St. Mark!").

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

Action two.

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

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

Action three.

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

A delegation from Venice arrives: Othello is temporarily called to his homeland, Cassio is appointed instead. The Moor gives vent to his anger, insults Desdemona, makes her kneel, cry in the midst of general confusion (septet "A terra! .. si"; "On the ground ... Yes ... covered with shame ..!"). Left alone, he loses his senses.

Action four.

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

When the premiere performance at La Scala ended, the audience showered the author with a flurry of enthusiasm. The orchestra under the direction of Franco Faccio was magnificent, the staging and performance of the role of Iago by Morel were magnificent, the performances of Tamagno (Othello) and Pantaleoni (Desdemona) were less successful. Critics stormily praised the composer's skill and creative longevity, underestimating the true significance of the opera, which took its rightful place in the history of musical theater only in the first half of the 20th century, eclipsing even Verdi's other operas. The initial assessment of Othello was associated with the perception of the opera as belonging to the Wagnerian trend, then more and more - with the approval of many cultural figures - spread in Italy, captured by a wave of symphonism, the main conductor of which was Wagner. Today, looking at the entire operatic legacy of Verdi, one can more clearly imagine the place of this masterpiece in the evolution of the composer's various stylistic manners, in relation to which "Othello" is the result and at the same time has an independent meaning. The lesson of this opera, which is modern, has absorbed new achievements, but remains within the limits of the Italian tradition, will be learned by young musicians. Alberto Savigno wrote about the function of the orchestra, which, under the influence of Wagner, represents a big step forward, that is, different from the orchestra of Verdi's previous operas, that it "does nothing more than support from below, with its massive supports, the singing that soars above the stage, and the unisons become the richest and most meaningful ".

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

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

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

Bibliography

For the preparation of this work, materials from the site http://www.belcanto.ru/