Soldiers and sailors of the Republic of Venice; men, women, and children of Venice and of Cyprus; heralds; soldiers of Greece, Dalmatia, and Albania; innkeeper and servants.

_Time_--End of fifteenth century.

_Place_--A port of the island of Cyprus.

Three years after the success of "Ada," Verdi produced at Milan his "Manzoni Requiem"; but nearly sixteen years were to elapse between "Ada" and his next work for the lyric stage. "Ada," with its far richer instrumentation than that of any earlier work by Verdi, yet is in form an opera. "Otello" more nearly approaches a music-drama, but still is far from being one. It is only when Verdi is compared with his earlier self that he appears Wagnerian. Compared with Wagner, he remains characteristically Italian--true to himself, in fact, as genius should be.

Nowhere, perhaps, is this matter summed up as happily as in Baker's _Biographical Dictionary of Musicians_: "Undoubtedly influenced by his contemporaries Meyerbeer, Gounod, and Wagner in his treatment of the orchestra, Verdi's dramatic style nevertheless shows a natural and individual development, and has remained essentially Italian as an orchestral accompaniment of vocal melody; but his later instrumentation is far more careful in detail and luxuriant than that of the earlier Italian school, and his melody more pa.s.sionate and poignant in expression."

"Otello" is a well-balanced score, composed to a libretto by a distinguished poet and musician--the composer of "Mefistofele." It has vocal melodies, which are rounded off and const.i.tute separate "numbers" (to employ an expression commonly applied to operatic airs), and its recitatives are set to a well thought out instrumental accompaniment.

It is difficult to explain the comparative lack of success with the public of Verdi's last two scores for the lyric stage, "Otello" and "Falstaff." Musicians fully appreciate them. Indeed "Falstaff," which followed "Otello," is considered one of the greatest achievements in the history of opera. Yet it is rarely given, and even "Otello" has already reached the "revival" stage, while "Ada," "Rigoletto," "La Traviata," and "Il Trovatore" are fixtures, although "Rigoletto" was composed thirty-six years before "Otello" and forty-two before "Falstaff." Can it be that critics (including myself) and professional musicians have been admiring the finished workmanship of Verdi's last two scores, while the public has discovered in them a halting inspiration, a too frequent subst.i.tution of miraculous skill for the old-time _flair_, and a lack of that careless but attractive occasional _laissez faire aller_ of genius, which no technical perfection can replace? Time alone can answer.

When "Otello" opens, _Desdemona_ has preceded her husband to Cyprus and is living in the castle overlooking the port. There are a few bars of introduction.

[Ill.u.s.tration: Photo by White

Alda as Desdemona in "Otello"]

Act I. In the background a quay and the sea; a tavern with an arbour; it is evening.

Through a heavy storm _Oth.e.l.lo's_ ship is seen to be making port.

Among the crowd of watchers, who exclaim upon the danger to the vessel, are _Iago_ and _Roderigo_. _Oth.e.l.lo_ ascends the steps to the quay, is acclaimed by the crowd, and proceeds to the castle followed by _Ca.s.sio_, _Montano_, and soldiers. The people start a wood fire and gather about it dancing and singing.

It transpires in talk between _Iago_ and _Roderigo_ that _Iago_ hates _Oth.e.l.lo_ because he has advanced _Ca.s.sio_ over him, and that _Roderigo_ is in love with _Desdemona_.

The fire dies out, the storm has ceased. _Ca.s.sio_ has returned from the castle. Now comes the scene in which _Iago_ purposely makes him drunk, in order to cause his undoing. They, with others, are grouped around the table outside the tavern. _Iago_ sings his drinking song, "Inaffia l'ugola! trinca tracanna" (Then let me quaff the n.o.ble wine, from the can I'll drink it).

[Music: Inaffia l'ugola! trinca, tracanna,]

Under the influence of the liquor _Ca.s.sio_ resents the taunts of _Roderigo_, instigated by _Iago_. _Montano_ tries to quiet him.

_Ca.s.sio_ draws. There follows the fight in which _Montano_ is wounded.

The tumult, swelled by alarums and the ringing of bells, brings _Oth.e.l.lo_ with _Desdemona_ to the scene. _Ca.s.sio_ is dismissed from the Moor's service. _Iago_ has scored his first triumph.

The people disperse. Quiet settles upon the scene. _Oth.e.l.lo_ and _Desdemona_ are alone. The act closes with their love duet, which _Desdemona_ begins with "Quando narravi" (When thou dids't speak).

[Music]

Act II. A hall on the ground floor of the castle. _Iago_, planning to make _Oth.e.l.lo_ jealous of _Desdemona_, counsels _Ca.s.sio_ to induce the Moor's wife to plead for his reinstatement. _Ca.s.sio_ goes into a large garden at the back. _Iago_ sings his famous "Credo in un Dio crudel che m'ha creato" [Transcriber's Note: should be 'un Dio crudel,' but 'crudel' was possibly omitted deliberately, as 'cruel' is also missing from the translation] (I believe in a G.o.d, who has created me in his image). This is justly regarded as a masterpiece of invective. It does not appear in Shakespeare, so that the lines are as original with Boto as the music is with Verdi. Trumpets, employed in what may be termed a declamatory manner, are conspicuous in the accompaniment.

_Iago_, seeing _Oth.e.l.lo_ approach, leans against a column and looks fixedly in the direction of _Desdemona_ and _Ca.s.sio_, exclaiming, as _Oth.e.l.lo_ enters, "I like not that!" As in the corresponding scene in the play, this leads up to the questioning of him by _Oth.e.l.lo_ and to _Iago's_ crafty answers, which not only apply the match to, but also fan the flame of _Oth.e.l.lo's_ jealousy, as he watches his wife with _Ca.s.sio_.

Children, women, and Cypriot and Albanian sailors now are seen with _Desdemona_. They bring her flowers and other gifts. Accompanying themselves on the cornemuse, and small harps, they sing a mandolinata, "Dove guardi splendono" (Wheresoe'er thy glances fall). This is followed by a graceful chorus for the sailors, who bring sh.e.l.ls and corals.

The scene and _Desdemona's_ beauty deeply move the _Moor_. He cannot believe her other than innocent. But, unwittingly, she plays into _Iago's_ hand. For her first words on joining _Oth.e.l.lo_ are a plea for _Ca.s.sio_. All the _Moor's_ jealousy is re-aroused. When she would apply her handkerchief to his heated brow, he tears it from her hand, and throws it to the ground. _Emilia_ picks it up, but _Iago_ takes it from her. The scene is brought to a close by a quartet for _Desdemona_, _Oth.e.l.lo_, _Iago_, and _Emilia_.

_Oth.e.l.lo_ and _Iago_ are left together again. _Oth.e.l.lo_ voices the grief that shakes his whole being, in what Mr. Upton happily describes as "a pathetic but stirring melody." In it he bids farewell, not only to love and trust, but to the glories of war and battle. The trumpet is effectively employed in the accompaniment to this outburst of grief, which begins, "Addio sante memorie" (Farewell, O sacred memories).

[Music: Addio sante memorie, addio sublimi incanti del pensier]

To such a fury is the _Moor_ aroused that he seizes _Iago_, hurls him to the ground, and threatens to kill him should his accusations against _Desdemona_ prove false. There is a dramatic duet in which _Iago_ pledges his aid to _Oth.e.l.lo_ in proving beyond doubt the falseness of _Desdemona_.

Act III. The great hall of the castle. At the back a terrace. After a brief scene in which the approach of a galley with the Venetian amba.s.sadors is announced, _Desdemona_ enters. Wholly unaware of the cause of _Oth.e.l.lo's_ strange actions toward her, she again begins to plead for _Ca.s.sio's_ restoration to favour. _Iago_ has pretended to _Oth.e.l.lo_ that _Desdemona's_ handkerchief (of which he surrept.i.tiously possessed himself) had been given by her to _Ca.s.sio_, and this has still further fanned the flame of the _Moor's_ jealousy. The scene, for _Oth.e.l.lo_, is one of mingled wrath and irony. Upon her knees _Desdemona_ vows her constancy: "Esterrefatta fisso lo sguardo tuo tremendo" (Upon my knees before thee, beneath thy glance I tremble). I quote the phrase, "Io prego il cielo per te con questo pianto" (I pray my sighs rise to heaven with prayer).

[Music: Io prego il cielo per te con questo pianto]

_Oth.e.l.lo_ pushes her out of the room. He soliloquizes: "Dio! mi potevi scagliar tutti i mali della miseria" (Heav'n had it pleased thee to try me with affliction).

_Iago_, entering, bids _Oth.e.l.lo_ conceal himself; then brings in _Ca.s.sio_, who mentions _Desdemona_ to _Iago_, and also is led by _Iago_ into light comments on other matters, all of which _Oth.e.l.lo_, but half hearing them from his place of concealment, construes as referring to his wife. _Iago_ also plays the trick with the handkerchief, which, having been conveyed by him to _Ca.s.sio_, he now induces the latter (within sight of _Oth.e.l.lo_) to draw from his doublet. There is a trio for _Oth.e.l.lo_ (still in concealment), _Iago_, and _Ca.s.sio_.

The last-named having gone, and the _Moor_ having asked for poison with which to kill _Desdemona_, _Iago_ counsels that _Oth.e.l.lo_ strangle her in bed that night, while he goes forth and slays _Ca.s.sio_. For this counsel _Oth.e.l.lo_ makes _Iago_ his lieutenant.

The Venetian amba.s.sadors arrive. There follows the scene in which the recall of _Oth.e.l.lo_ to Venice and the appointment of _Ca.s.sio_ as Governor of Cyprus are announced. This is the scene in which, also, the _Moor_ strikes down _Desdemona_ in the presence of the amba.s.sadors, and she begs for mercy--"A terra--s--nel livido fango"

(Yea, prostrate here, I lie in the dust); and "Quel sol sereno e vivido che allieta il cielo e il mare" (The sun who from his cloudless sky illumes the heavens and sea).

[Music: Quel Sol sereno e vivido che allieta il cielo e il mare]

After this there is a dramatic s.e.xtet.

All leave, save the _Moor_ and his newly created lieutenant. Overcome by rage, _Oth.e.l.lo_ falls in a swoon. The people, believing that the _Moor_, upon his return to Venice, is to receive new honours from the republic, shout from outside, "Hail, Oth.e.l.lo! Hail to the lion of Venice!"

"There lies the lion!" is _Iago's_ comment of malignant triumph and contempt, as the curtain falls.

Act IV. The scene is _Desdemona's_ bedchamber. There is an orchestral introduction of much beauty. Then, as in the play, with which I am supposing the reader to be at least fairly familiar, comes the brief dialogue between _Desdemona_ and _Emilia_. _Desdemona_ sings the pathetic little willow song, said to be a genuine Italian folk tune handed down through many centuries.

[Music: Piangea cantando nell'erma landa, piangea la mesta.... O Salce!]

_Emilia_ goes, and _Desdemona_ at her prie-Dieu, before the image of the Virgin, intones an exquisite "Ave Maria," beginning and ending in pathetic monotone, with an appealing melody between.

[Music: Prega per chi adorando a te si prostra, Ave! Amen!]

_Oth.e.l.lo's_ entrance is accompanied by a powerful pa.s.sage on the double ba.s.ses.

Then follows the scene of the strangling, through which are heard mournfully reminiscent strains of the love duet that ended the first act. _Emilia_ discloses _Iago's_ perfidy. _Oth.e.l.lo_ kills himself.

FALSTAFF

Opera in three acts, by Verdi; words by Arrigo Boto, after Shakespeare's "Merry Wives of Windsor" and "King Henry IV."

Produced, La Scala, Milan, March 12, 1893. Paris, Opera Comique, April 18, 1894. London, May 19, 1894. New York, Metropolitan Opera House, February 4, 1895. This was the first performance of "Falstaff" in North America. It had been heard in Buenos Aires, July 19, 1893. The Metropolitan cast included Maurel as _Falstaff_, Eames as _Mistress Ford_, Zelie de Lussan as _Nannetta_ (_Anne_), Scalchi as _Dame Quickly_, Campanini as _Ford_, Russitano as _Fenton_.

Scotti, Destinn, Alda, and Gay also have appeared at the Metropolitan in "Falstaff." The London production was at Covent Garden.

CHARACTERS

SIR JOHN FALSTAFF _Baritone_ FENTON, a young gentleman _Tenor_ FORD, a wealthy burgher _Baritone_ DR. CAJUS _Tenor_ BARDOLPH } followers of Falstaff { _Tenor_ PISTOL } { _Ba.s.s_ ROBIN, a page in Ford's household MISTRESS FORD _Soprano_ ANNE, her daughter _Soprano_ MISTRESS PAGE _Mezzo-Soprano_ DAME QUICKLY _Mezzo-Soprano_

Burghers and street-folk, Ford's servants, maskers, as elves, fairies, witches, etc.