(Otello, Desdemona: Già nella notte densa s'estingue ogni clamor /"Now in the dark night all noise is silenced".). Emilia, horrified, explains that Iago stole the handkerchief from her—Cassio confirms that the handkerchief appeared mysteriously in his lodgings. It took his Milan publisher Giulio Ricordi the next ten years, first to encourage the revision of Verdi's 1857 Simon Boccanegra by introducing Boito as librettist and then to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881. I'm busy, writing!! Verdi admired the dramatic works of Shakespeare and had, throughout his career, desired to create operas based on his plays, although his one attempt at doing so, Macbeth in 1847, although initially successful, was not well received when revised for performance in Paris in 1865. The composer was reluctant to write anything new after the success of Aida in 1871, and he retreated into retirement. The immortal tale of the noble Moor and his beautiful young wife, and of his lieutenant, whose jealousy and lust for … L'esprit d'équipe est très important pour moi car seul on va plus vite mais en équipe on va plus loin. Iago warns Cassio that he should leave unless he wants to see Otello. He then returns it to Cassio and teases him, while in his hiding place Otello fumes (Iago, Cassio, Otello: Questa è una ragna dove il tuo cuor casca / "This is a spiderweb in which your heart is caught"). [He continues by discussing his own preoccupation with Emperor Nero and his love for the period of Ancient Roman history, pointing to his ongoing work on his own opera, Nerone], ... no other subject in the world can distract me, not even Shakespeare's Othello, could distract me from my theme. Otello orders Montano and Cassio to lower their swords. Le prix est de 101 € par nuit du 6 juin au 6 juin. It is evening. He then stealthily draws a dagger from his robe (Otello: Ho un'arma ancor! Among them: Victor Maurel (the role's first exponent), Mattia Battistini, Mario Ancona, Antonio Scotti, Titta Ruffo, Pasquale Amato, Carlo Galeffi and Lawrence Tibbett. Iago presses Otello's forehead with his heel, then walks away. COLSON (violin & cond. This suggestion, originally expressed ten years before but ignored, was once again shrugged off by Verdi, who sent a note saying that the 1857 score, which had been sent to the composer for review, would remain untouched "just as you sent it to me".[7]. When she says she does not have it, Otello says that it was a talisman, and troubles will befall her if she loses it. Otello exists. Vinay, of course, had heard that only a tenor with a piercing sound like Giovanni Martinelli's ought to sing the part. The Muslim’s pride is buried in the sea"). Aprite! The Cypriots leave Otello alone with Desdemona. L'orgoglio musulmano sepolto è in mar / "Rejoice! You alone can set Othello to music—all the dramatic creations you have given us proclaim the truth. Cassio says he had hoped to see Desdemona here, for he wanted to know whether she had been successful with Otello (Iago, Cassio, Otello: Vieni; l'aula è deserta / "Come, the hall is deserted"). Iago offers Cassio more wine, but Cassio says he has had enough. [36], Otello was given its Paris premiere by the Opéra at the Palais Garnier on 12 October 1894 with Albert Saléza in the title role, Rose Caron as Desdemona, and Paul Taffanel conducting. Knowing of his interest in the soprano Adelina Patti, Ricordi tried to entice him into writing an opera for her, but Verdi's refusal resulted in another approach via a letter to the composer's wife Giuseppina, who was to present the idea at an opportune time. Silently, Otello enters, with a sword. It wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. In a fury, Otello orders everyone to leave. Ici c'est le cas. Since the three leading roles of the opera (Otello, Desdemona and Iago) are among Verdi's most demanding, both vocally and dramatically, some of the most illustrious singers of the past 130 years have made Otello part of their repertoire. Verdi need not have worried: Otello's debut proved to be a resounding success. (sic)[32] This left only a few minor tweaks to be done, with Boito providing two more lines in December and Verdi writing to him on the 18th saying "I have just consigned to [Ricordi] the last acts of Otello! A town in Cyprus, outside the castle. Otello sourly tells her to ask him another time; as she persists, he grows impatient and says he has a headache. OSLO, Norway, Oct. 27, 2020 /PRNewswire/ -- Otello Corporation today reported financial results for the third quarter, which ended September 30, 2020. 106 «Ямби» «Jambes» 1561. 202. mick12 publié ... otello et Hypnia by edrob1319: 2. Directed by Franco Zeffirelli. Romilda Pantaleoni, a well-known singing-actress, was assigned Desdemona's soprano part. Performance & security by Cloudflare, Please complete the security check to access. Montano tells Cassio to calm down, but Cassio draws his sword and threatens to crack open Montano's head. Writing immediately to Verdi, he states: The theme and my libretto are yours by right of conquest. Cassio asks which woman, and, softly, so that Otello cannot hear, Iago says "Bianca" (the name of Cassio's actual lover). Verdi's famous opera is brought to life in this production. Among his grievances, Iago is outraged that Otello has appointed Cassio to be the captain of the navy, a position that Iago hoped to have. Site 101 nuits by ThomasCuervo: 27. Currently, Plácido Domingo has appeared in more video productions of the opera than any other tenor. Enrico Caruso was studying Otello when he died unexpectedly in 1921, thus thwarting the New York Metropolitan Opera company's plans to stage the opera as a new vehicle for its star tenor. Boito modified his verses accordingly. Persisting with further attempts to convince the composer, Ricordi had also broached the idea of a collaboration with Boito for a new opera based on Shakespeare's Othello. Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Iago offers to help the young Venetian gentleman Roderigo in his seduction of Otello's wife, Desdemona – Iago envies Otello his success and longs to destroy the Moor (Iago, Roderigo: Roderigo, ebben che pensi? "[33] The librettist replied: "The Moor will come back no more to knock on the door of the Palazzo Doria [Verdi's Genoa residence], but you will go to meet the Moor at La Scala. / I still have another weapon!) However, Verdi's sixties were not good years: as musicologist Julian Budden notes, "he seemed to have entered [those years] in a mood of gloom and depression [..and..] his letters at the time were full of complaints about the Italian theatre, Italian politics and Italian music in general [all] seen by him as sinking beneath a tide of Germanism".[2].