Otello - Knowledge (XXG)

818: 595: 1806:/ "Open up!") announcing that Cassio has killed Roderigo. Desdemona softly calls out that she has been unjustly accused, but refuses to blame Otello. She dies. Emilia calls Otello a murderer; he retorts that Iago gave him proof of Desdemona's infidelity. Otello begins to threaten Emilia, who calls for help. Iago, Cassio, and Lodovico enter. Emilia demands that Iago deny Otello's accusation; he refuses. Otello says that the handkerchief Desdemona gave to Cassio is proof enough. Emilia, horrified, explains that Iago stole the handkerchief from her—Cassio confirms that the handkerchief appeared mysteriously in his lodgings. Montano enters and says that Roderigo, with his dying breath, has revealed Iago's plot. Iago, brandishing his sword, runs away. 1080:

my voice was nothing like his. Twenty years earlier, Del Monaco had been warned not to sing Otello because his voice was nothing like that of Ramon Vinay, who was then performing the opera all over the world. Vinay, of course, had heard that only a tenor with a piercing sound like Giovanni Martinelli's ought to sing the part. Some years earlier, Martinelli had had Antonin Trantoul, who had sung Otello at La Scala in the twenties, held up to him as a shining example; but at La Scala, those who still remembered the very first Otello, Francesco Tamagno, had found Trantoul completely unsatisfactory. But there exists a letter from Verdi to his publisher in which the composer makes it quite clear that Tamagno left a great deal to be desired.

836: 1659:/ "Come, the hall is deserted"). Iago asks him to tell of his adventures with that woman. Cassio asks which woman, and, softly, so that Otello cannot hear, Iago says "Bianca" (the name of Cassio's actual lover). As Cassio laughs about his romantic adventures, Otello assumes he is speaking of Desdemona. In a conversation only partially heard, Cassio seems to be telling Iago that another woman, a secret admirer, left him a handkerchief as a token. At Iago's urging, Cassio produces it, whereupon Iago seizes it—for it is Desdemona's—and holds it out where he knows Otello can see it. He then returns it to Cassio and teases him, while in his hiding place Otello fumes (Iago, Cassio, Otello: 1724: 441: 465:

and other issues. Throughout 1882 and 1883 very little happened, although during the winter of 1883 Verdi and Boito met in Genoa where the Verdis spent their winters, but it prompted Ricordi for three Christmases in a row to send a cake to Verdi with the figure of the Moor—in chocolate—on the top. In order to keep information about the composition within the group, this gesture may have been the cause for the name given to the project for many years, "chocolate", as in Boito's letter of 1864 noting that "the manufacture of chocolate was going ahead".

1408: 1620: 1758: 1546: 1698:/ "That innocent one is without feeling or gesture of hatred"). In a fury, Otello orders everyone to leave. Desdemona goes to comfort him, but Lodovico pulls her away as Otello curses her. As the others leave, Otello raves about the handkerchief, then collapses. Outside, the crowd of Cypriots hails the victory and glory for Otello, whom they call "the Lion of Venice". Iago presses Otello's forehead with his heel, and snarls, with contemptuous irony: 261:, to be a waste of talent and possible profits. Thus a plot of sorts was hatched in order to coax the composer out of retirement to write another opera. Because of the importance of the dramatic aspects of opera to the composer, Verdi was especially selective in his choice of subjects. Consequently, if he were to agree to create another opera after a decade of retirement, the libretto would need to be one that would capture his interest. 61: 4215: 528:"It seems impossible, but it's true all the same! I'm busy, writing!! ... without purpose, without worries, without thinking of what will happen next..." So Verdi wrote to Boito, with a request for a few more lines for act two, to which the librettist immediately responded: "One can't escape one's destiny, and by a law of intellectual affinity that tragedy of Shakespeare's is predestined for you". 860: 617: 1498: 356: 222: 2042: 1598:/ "Now and forever farewell, holy memories"). Iago returns, and the jealous Otello demands proof of Desdemona's infidelity. Iago says that once, when he and Cassio were sleeping in the same room, he heard Cassio talking to Desdemona in a dream. In the dream, says Iago, Cassio told Desdemona that they must be careful to conceal their love. (Iago: 3894: 1694:, Iago urges Otello to take his revenge as soon as possible, while he will take care of Cassio. He advises Roderigo that the only way to prevent Desdemona from leaving is for Cassio, the new Duke, to die, and suggests that Roderigo murder Cassio that night. (Emilia, Cassio, Desdemona, Roderigo, Lodovico, Iago, Otello, chorus: 913: 540:

blush to say it) I've done nothing!" It was during this time that the fourth act was pulled together. Walker speculates that Boito's visit and his conversations with the composer must have had some effect on Verdi because, on 5 October, Verdi made the announcement: "I have finished the fourth act, and I breathe again".

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Bugles sound, announcing the arrival of the Venetian ambassador, Lodovico. Iago warns Cassio that he should leave unless he wants to see Otello. Cassio exits, and Otello asks Iago how he should kill his wife. Iago advises Otello to kill Desdemona by suffocating her in her bed, while he will take care

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Desdemona enters and reminds Otello of Cassio's request. Otello says that his headache has returned, and asks Desdemona to wrap her handkerchief around his head. When Desdemona produces a different handkerchief, Otello demands the one with strawberries. When she says she does not have it, Otello says

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Desdemona carries Cassio's request for reinstatement to Otello. Otello sourly tells her to ask him another time; as she persists, he grows impatient and says he has a headache. Desdemona offers to wrap his head in a handkerchief Otello once gave her, linen embroidered with strawberries. Otello throws

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As to the other question — that of singing roles that, according to self-proclaimed experts, we ought not to be singing — I have a little story to tell. When I decided to sing Otello, many people told me that I was crazy. Mario Del Monaco, they said, had had the proper kind of voice for the role, and

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Verdi's second burst of creative energy lasted until mid-April 1885, and was followed by the usual summer break and a lack of any activity. He confesses to Boito in a letter of 10 September of that year, when he invites him to come to Sant'Agata the following Sunday, stating "since I've been here (I

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By late August 1881, it appears that the text of the finale of act 3, over which there had been some considerable discussion (with ideas exchanged between both men) was sent to Verdi, who responded in a long letter from Milan regarding his feelings about its overall structure, the role of the chorus,

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The Cypriots leave Otello alone with Desdemona. Together Otello and Desdemona recall why they fell in love. Otello, in an ecstasy of joy, invites death, fearing that he will never know such happiness again. Desdemona prays that their love will remain unchanged. They kiss, overcome with love for each

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Otello orders Montano and Cassio to lower their swords. He then asks "honest Iago" to explain how the duel began, but Iago says he doesn't know. Otello then turns to Cassio, who is embarrassed and cannot excuse his actions. When Otello discovers that Montano is wounded, he becomes enraged. Desdemona

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In May, Verdi "hit upon the precise form of one of the most famous entrances in all opera" – Otello's "Esultate" – in act 1. Boito modified his verses accordingly. Other minor changes and proposed revisions were wrapped up into September so that Verdi could write to Ricordi on 9 September: "Tomorrow

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in a benefit performance at La Scala. He received the great acclaim of the public, which included the La Scala orchestra playing outside his hotel. Walker assumes that it was both Ricordi and Faccio who stage managed the effects to give the composer the sense of being welcome and respected in Milan.

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which had been given in 1865 and was revived in February 1871. Nothing came of this approach, although Ricordi persevered in various ways, as seen by the composer's gruff response to the publisher's statement "The whole salvation of the theatre and the art is in your hands" when Verdi wrote in April

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Silently, Otello enters, with a sword. He kisses his wife three times; she awakens. Otello asks her if she has prayed tonight; she must die, and he does not wish to condemn her soul. She asks God for mercy, both for her and for Otello. Otello accuses her of sin, saying that he must kill her because

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Lodovico, Desdemona, Emilia, Roderigo, and other dignitaries enter. When Lodovico notes Cassio's absence, Iago tells him that Cassio is out of favor. Desdemona interrupts, telling Lodovico that she hopes he will soon be restored. Otello calls her a demon and almost strikes her violently but is held

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Montano enters and calls for Cassio to begin his watch; he is surprised to find Cassio drunk and barely able to stand upright. Iago lies to Montano, telling him that this is how Cassio spends every evening. Roderigo laughs at Cassio's drunkenness and Cassio attacks him. Montano tells Cassio to calm

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Upon the completion of the opera, preparations for the initial performance were conducted in absolute secrecy and Verdi reserved the right to cancel the premiere up to the last minute. In particular, the composer expressed reservations about Tamagno's softer singing, though not about the power and

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Suggestions were made, despite initial skepticism on the part of the composer, that Boito would be interested in creating a new libretto based upon the play. Within several days, Ricordi approached Verdi with the request that he would like to visit Sant' Agata "with a friend" in September. Verdi's

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Early the following year, Verdi began to compose and on 20 March 1884, in a letter from Boito to Ricordi, the librettist announced that Verdi had begun with the "opening of first act and seems to be working with fervor". There then occurred an event which unsettled both Verdi and Boito, and which

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himself. When Verdi read this in a Milan newspaper, he was horrified and, in a letter to Faccio (rather than directly confronting Boito) stated that he wanted Faccio to directly tell the librettist that "I will give him his manuscript intact, without a shadow of resentment, without rancor of any

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Otello enters the room; Iago, pretending not to notice him, says that he is deeply troubled. Cassio sees Otello from afar and goes discreetly away. Otello asks what's wrong, but Iago gives only vague answers. Finally, he hints that Cassio and Desdemona are having an affair. Otello begins to get

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Meanwhile, Boito began work on the libretto in spite of illness and, by late October/early November had sent a copy of the work so far. After appealing to Giuseppina, Ricordi was told that the Verdis would be coming to Milan and that he would meet privately with Boito. However, she noted in her

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in July/August 1881. However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. It wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work

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Desdemona is preparing for bed with the assistance of Emilia. She asks Emilia to put out the bridal gown she used on her wedding day, and says that if she dies, she wants to be buried in it. Emilia tells her not to talk about such things. Desdemona recalls how her mother's servant Barbara was

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was based on a desire to "test the possibility" of working with Boito before possibly embarking on the larger project. Frank Walker expresses much the same thoughts, noting that "some of the results, such as the magnificent scene in the Council Chamber and the villainous Paolo's Iago-like

1602:/ "It was night, Cassio was sleeping".) Iago says that dreams don't prove anything, but remarks that he saw Cassio carrying Desdemona's strawberry-embroidered handkerchief just the day before. Otello swears vengeance on Desdemona and Cassio, and Iago joins him in his vow (Otello, Iago: 817: 1555: 1456:/ "Roderigo, let's drink!"). Iago offers Cassio more wine, but Cassio says he has had enough. Iago pressures him and offers a toast to Otello and Desdemona. Cassio gives in. Iago sings a drinking song and continues to pour Cassio wine (Iago, Cassio, Roderigo, chorus: 3303: 1655:/ "God, you could have thrown every evil at me" ). When Iago calls out "Cassio is here!" Otello hides as Iago and Cassio enter. Cassio says he had hoped to see Desdemona here, for he wanted to know whether she had been successful with Otello (Iago, Cassio, Otello: 274:, and he even suggested in a letter of February 1870 to Verdi that, with Boito's permission, he set it to music. Verdi ignored it, and so Ricordi tried again in January 1871, enclosing with his letter a copy of Boito's libretto for Boito's friend and collaborator 669:

As the Italian public became aware that the retired Verdi was composing another opera, rumors about it abounded. At the same time, many of the most illustrious conductors, singers and opera-house managers in Europe were vying for an opportunity to play a part in

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For many years it was common for white singers to wear dark makeup when playing Otello. The Metropolitan Opera stopped the practice in 2015. Some have argued that using dark makeup for the character is a matter of costuming, and not a true example of racist

1690:/ "Fallen! yes, in the foul mud..."). The various characters express their feelings: Emilia and Lodovico express their sympathy for Desdemona, Cassio marvels at his sudden change of fortune, and Roderigo laments that Desdemona will soon depart. In separate 1539:/ "I bring a petition from one who suffers under your displeasure"). Emilia picks up the handkerchief. Desdemona asks for Otello's forgiveness. Aside, Iago demands that Emilia give him the handkerchief. When she refuses, Iago forcibly takes it from her. 1747:

she loves Cassio. Desdemona denies it and asks that he summon Cassio to testify to her innocence. Otello says that Cassio is already dead. Desdemona, horrified, pleads for mercy, but Otello tells her it's too late and strangles her (Otello, Desdemona:

309:. 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". 459:

in three comparatively short bouts of composition: the first, very brief, was at Genoa in March 1884 ; the second, the principal one, at Genoa from December 1884 to April 1885; the third at Sant' Agata from the middle of September to early October

1426:/ "A sail!"). For a moment it seems as if Otello's ship will founder, to the delight of Otello's treacherous ensign, Iago, but Otello arrives safely and announces that the Turkish fleet has been destroyed, and the Cypriots cheer (Otello, chorus: 253:

notes, "he seemed to have entered in a mood of gloom and depression his letters at the time were full of complaints about the Italian theatre, Italian politics and Italian music in general seen by him as sinking beneath a tide of Germanism".

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I did... for my own comfort and personal satisfaction, because I felt the need of doing it". On 3 May, Verdi wrote back, calming this down: "Most beautiful this Credo; most powerful and wholly Shakespearian... it would be well to leave this

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that it was a talisman, and troubles will befall her if she loses it. Desdemona says that he is trying to ignore Cassio's plea, and as she asks him about Cassio, he demands the handkerchief ever more insistently. (Desdemona, Otello:

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has appeared in more video productions of the opera than any other tenor. Also, he has recorded the complete role several times on CD and appeared in numerous stage productions of the work on both sides of the Atlantic. In his book

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s premiere, despite the fact that Faccio and La Scala, Milan, had already been selected as the conductor and the venue for the first performance. The two male protagonists had been selected, too: Italy's foremost dramatic

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Verdi's response, which came right away was quite blunt: in addition to complaining of his age, his years of service, and raising other objections, he states: "The conclusion is that all this has cast a chill over this

835: 1468:/ "Captain, the guard awaits you on the ramparts".) Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Montano is wounded and the fight is stopped only by the appearance of Otello. 479:

as quiet as possible, appears to have been misquoted by another journalist who overheard part of the conversation. The key point was that Boito, himself a composer, appeared to want to compose the music for

2716: 516:, and stiffened the hand that had begun to trace out a few bars!", but, in total contrast, Boito appears to have simply decided to carry on. Albeit "somewhat disquieted", he immediately proposes "a sort of 1679:, announcing that he (Otello) has been called back to Venice and Cassio is to succeed him as governor of Cyprus. Enraged, Otello throws Desdemona to the ground. (Otello, Roderigo, Iago, Cassio, Lodovico: 582:! Poor Othello!... He won't come back here any more!!!" The librettist replied: "The Moor will come back no more to knock on the door of the Palazzo Doria , but you will go to meet the Moor at La Scala. 1631:

A herald brings news of the approach of ambassadors from Venice. Iago explains to Otello that he will lure Cassio here and talk with him while Otello watches, hidden. He leaves to go get Cassio. (Iago:

1775: 377:, subtly introduced the idea of a new opera to Verdi. During a dinner at Verdi's Milan residence during the summer of 1879, Ricordi and Faccio guided the conversation towards Shakespeare's play 594: 455:

The process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. As Walker charts it, the opera was completed:

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Scoring took another year which, from January 1886 onward, involved the librettist in re-writes and additions at Verdi's request. It was at this time that it was decided to call the opera

1512:/ "Do not fret"). Desdemona and Emilia can be seen walking the garden. Cassio approaches Desdemona. Watching from the room, Iago voices his nihilistic beliefs and hatred of humankind ( 578:) 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 the last acts of 1615:

The great hall of the castle. To the right, a large colonnade leading to a smaller hall, in the back of which is a balcony. Othello and Iago talking in the hall as a herald enters.

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to be the captain of the navy, a position that Iago hoped to have. The people of Cyprus celebrate the safe return of Otello and his men by lighting a bonfire and drinking (Chorus:

1719:, a table, a mirror, some chairs. A light burns in front of an image of the Madonna which hangs above the prie-dieu. To the right is a door. On the table a light. It is night. 507:

It is predestined for you. Create it. You had begun work upon it take up you pen again and write me soon: 'Dear Boito, do me the favour of altering these verses, etc. etc...'

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s debut proved to be a resounding success. The audience's enthusiasm for Verdi was shown by the 20 curtain calls that he took at the end of the opera. Further stagings of

1817:/ I still have another weapon!) and stabs himself. Others try to stop him, but it is too late. Before he dies, he drags himself next to his wife and kisses her (Otello: 324:

in 1847, although initially successful, was not well received when revised for performance in Paris in 1865. Because of its relatively straightforward story, the play

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On a stormy evening, the people of Cyprus anxiously await the arrival of the new governor, Otello, from a naval battle with the Turks (Chorus, Montano, Cassio, Iago,

318:. 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, 2793: 2740: 312:

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

249:, though he was easily the most popular, and possibly the wealthiest, composer in Italy at the time. However, Verdi's sixties were not good years: as musicologist 2651: 428:, due to the tradition—"an unwritten law of the theatre"—that any new opera would have a new title rather than that of one still in the repertoire, in this case 1508:

Iago suggests to Cassio that he should ask Desdemona to talk to Otello about his demotion; Desdemona can influence her husband to reinstate him (Iago, Cassio:

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in peace for a bit ... "we shall be able to talk it over again, and by then with the necessary calm". Boito did visit Verdi in September for three days.

5354: 5052: 1476:/ "Down with your swords".) He tells Iago to patrol the town to restore quiet, calls for help for Montano and orders everyone to return to their houses. 1403:

A town in Cyprus, outside the castle. An inn with a pergola, in the background the quayside and sea. It is evening. Lightning, thunder, gale force winds.

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I saw Verdi fix his eyes on me, with suspicion, but with interest. He had certainly understood; he had certainly reacted. I believed the time was ripe.

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The idea of a new opera arose during a dinner among friends, when I turned the conversation, by chance, on Shakespeare and on Boito. At the mention of

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enters, and, upon seeing that his bride's rest has been disturbed, Otello declares that Cassio is no longer Captain. (Otello, Iago, Cassio, Montano:

3340: 4526: 292:, 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 204:

finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of

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reaction was clearly non-committal: "I wish absolutely to avoid committing myself The best thing ... is for him to send me the finished poem".

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by introducing Boito as librettist and then to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for

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nearly caused the project to come to a complete stop. While attending a banquet in Naples following the successful presentation of his opera

4464: 2692: 784:. Verdi composed a short ballet for the finale of Act 3 (ceremony of welcome for the Venetian ambassadors). The production was directed by 300:

also tried, unsuccessfully, in March 1878 to interest Verdi, who replied: "For what reason should I write? What would I succeed in doing?"

3250: 1675:/ "The Doge and the Senate greet the triumphant hero".) Cassio enters and Otello reads (mixing in insults to Desdemona) a letter from the 1527:

A crowd of children, sailors, and Cypriots sing to Desdemona, praising her beauty and purity (Chorus, Iago, children, Desdemona, Otello:

4162: 932:) are among Verdi's most demanding, both vocally and dramatically, some of the most illustrious singers of the past 130 years have made 570:

But on 1 November 1886, in a laconic communication, Verdi was able to proclaim: "DEAR BOITO, It is finished! All honour to us! (and to

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letter of 7 November: "Between ourselves, what Boito has so far written of the African seems to please him, and is very well done."

1785:, the original Otello, sings "Niun mi tema" (Morte d'Otello). This 1903 recording dates from just two years before Tamagno's death. 2668: 285:

1875 that "I cannot take it as but a joke", continuing with "Oh no, never fear, composers for the theatre will never be lacking".

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in his seduction of Otello's wife, Desdemona – Iago envies Otello his success and longs to destroy the Moor (Iago, Roderigo:

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While he was attempting to get Verdi involved a new opera, in May 1879 Ricordi also tried to engage the composer in revising

2292:, pp. 486–487: Walker notes that there were no more letters concerning act 3 and assumes that the issues were resolved. 1407: 5349: 5236: 936:

part of their repertoire. Famous Otellos of the past have included Tamagno, the role's trumpet-voiced creator, as well as

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down, but Cassio draws his sword and threatens to crack open Montano's head. (Montano, Cassio, Iago, Roderigo, chorus:

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A long lineage of renowned baritones have sung Iago since 1887. Among them: Victor Maurel (the role's first exponent),

5224: 4664: 3922: 551:(as noted above). Verdi's letter to Boito in January settles the matter: "I would find it hypocritical not to call it 257:

Because of the immense popularity of Verdi's music in Italy by the 1870s, Verdi's retirement seemed to his publisher,

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After he realizes what has happened, Otello grieves over Desdemona's death. Initially he draws his scimitar (Otello:

1644:/ "God keep you merry, husband".) Desdemona protests that she is faithful; Otello sends her away (Desdemona, Otello: 1524:/ "That worries me..." "What did you say?") Iago warns Otello against jealousy, but also advises him to be vigilant. 1619: 5379: 5193: 4736: 4692: 4243: 4032: 3684: 2560: 1702:("This is the lion!"), and then walks away. (Otello, Desdemona, Emilia, Cassio, Roderigo, Lodovico, Iago, chorus: 1493:

A hall on the ground floor of the castle, divided by a glass partition from the garden at the back, with a balcony.

937: 2598: 870: 627: 5038: 4945: 4480: 4052: 3893: 3564: 3312: 1531:/ "Wherever you look, brightness shines..."). They present her with gifts and wish her happiness before leaving. 1520:

suspicious, but declares that he needs proof before believing that Desdemona has been unfaithful. (Iago, Otello:

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Iago proposes a toast to Otello and his wife, while Cassio praises Desdemona (Iago, Cassio, Chorus, Roderigo:

1441:/ "Well, Roderigo, what are you thinking?"). Among his grievances, Iago is outraged that Otello has appointed 800: 559:(Verdi's long-time assistant) tells Ricordi in March that the love duet in act 1 was finished and performed. 5001: 4969: 4542: 4218: 4122: 3957: 3938: 3930: 3831: 3504: 3326: 3120: 2798: 1623:

The Act 3 set at the 1887 premiere in Milan. Illustration by Ed. Ximenes after the original stage design by

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Otello dismisses the others, and declares that he now believes that Desdemona may be deceiving him (Otello:

1141: 877: 634: 5301: 5219: 3880: 3768: 3289: 2906: 1813:/ "That none fear me") but then relinquishes it. He then stealthily draws a dagger from his robe (Otello: 804: 4598: 1047:

achieved his greatest recognition as a dramatic tenor in Otello. For this performance he was awarded the

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back by Lodovico. Otello then calls for Cassio. (Lodovico, Otello, Desdemona, Emilia, Iago, chorus:

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Today, the opera is frequently performed throughout the world, a staple of the standard repertoire.

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When he heard of the newspaper report, Boito was horrified. Writing immediately to Verdi, he states:

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of the third; and thus with the fourth, already sent, perhaps three-fifths of the Moor are ready".

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in New York on 16 April 1888 and in the UK on 5 July 1889 in London. At its first appearance in

475:, Boito gave an interview to a journalist and, in trying to keep information about the proposed 3262: 5270: 5214: 5187: 4993: 4985: 4518: 4502: 3999: 3210: 3189: 3162: 3145: 3128: 3111: 3094: 3045: 3028: 3020: 3006: 2977: 2958: 2914: 2891: 2869: 2845: 2810: 2806: 2565: 1782: 1234: 1161: 1085: 965: 945: 941: 808: 683: 444: 240: 794: 5258: 5061: 4937: 4628: 4618: 4578: 4550: 4435: 4430: 4366: 4329: 4152: 4112: 3759: 3654: 3584: 2802: 1730:

set design by Giovanni Zuccarelli for Act IV as staged at the Teatro Costanzi in Rome, 1887.

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Verdi's refusals continued as the 1870s progressed. Knowing of his interest in the soprano

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in December 1871, Verdi decided that it was time for him to end his successful career as a

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Finally, after some plotting, Ricordi, in conjunction with Verdi's friend, the conductor

3238: 296:, who was to present the idea at an opportune time. But she confessed defeat yet again. 5308: 5138: 5075: 4425: 4284: 3971: 3702: 3454: 3444: 3374: 3349: 3037: 1676: 1501: 1442: 1173: 1153: 1149: 1137: 1133: 1117: 1113: 1101: 1093: 1044: 1024: 1016: 1009: 1005: 985: 977: 957: 761: 741: 556: 391: 270: 258: 190: 155: 52: 1821:/ A kiss.. another kiss...ah...and yet another kiss). He lies dead next to Desdemona. 5323: 5166: 4887: 4760: 4744: 4469: 4347: 4082: 4013: 4006: 3424: 2948: 2859: 2835: 2551: 2009: 1888: 1575: 1283: 1270: 1216: 1165: 1157: 1145: 1105: 1052: 1020: 1001: 949: 773: 687: 390:(whom Ricordi claimed to be a great fan of the play also). Ricordi told the story to 374: 289: 275: 250: 1189:. The Metropolitan decision led to calls for casting more people of color in opera. 5132: 4768: 4728: 4259: 3738: 3693: 3675: 3544: 3514: 3474: 3198: 3181: 3171: 3154: 3078: 2940: 2555: 2047: 1874: 1739:/ "Singing, she wept on the lonely hearth"). After Emilia leaves, Desdemona prays ( 1089: 1036: 777: 599: 563:

I shall send to Casa Ricordi, completely finished, all the first act and all scene

387: 336: 297: 163: 80: 5110: 3484: 2863: 2839: 1774: 1562: 1132:. Many lyric sopranos have also sung the role of Desdemona since 1887, including 1035:

also undertook the part (usually singing it in German). The Russian heroic tenor

17: 4961: 4784: 4276: 4200: 3985: 3978: 3554: 3202: 1984: 1902: 1571: 1097: 1040: 997: 859: 757: 616: 471: 448: 4752: 4072: 3992: 3624: 3494: 2056: 2037: 1794: 1586: 1208: 1121: 981: 769: 2928: 1735:

abandoned by her lover, and how she used to sing the Willow Song (Desdemona:

5096: 4445: 4415: 3534: 3524: 2602: 1957: 1848: 1716: 1497: 1186: 925: 492:

The theme and my libretto are yours by right of conquest. You alone can set

268:, Ricordi had come across Boito's partly finished libretto of his own opera 2999:

Conati, Marcello; Mario Medici (eds.) (translator: William Weaver) (1994),

355: 221: 1112:. Leading post-war exponents of the part have included Giuseppe Valdengo, 501:... no other subject in the world can distract me, not even Shakespeare's 335:

helped to convince Verdi of Boito's ability as a librettist. Musicologist

5124: 4440: 4296: 2021: 2015: 2003: 1931: 1923: 1881: 1434: 1419: 1373:

Chorus: Venetian soldiers and sailors; and Cypriot townsfolk and children

1265: 746: 691: 496:

to music—all the dramatic creations you have given us proclaim the truth.

384: 264:

During the period when a suitable story was being sought for what became

236: 177: 159: 124: 1063:

company's plans to stage the opera as a new vehicle for its star tenor.

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in 1871, and he retreated into retirement. It took his Milan publisher

172: 99: 2652:"Metropolitan Opera to Drop Use of Blackface-Style Makeup in 'Otello'" 2041: 183:

The composer was reluctant to write anything new after the success of

4305: 3594: 3414: 2865:

The Operas of Verdi. Vol 2: From Il trovatore to La forza del destino

2027: 1972: 1953: 1909: 1691: 1414:, act 1. Teatro Costanzi Rome-1887; set design by Giovanni Zuccarelli 1390: 733: 280: 193:

the next ten years, first to encourage the revision of Verdi's 1857

5030: 4267: 1980: 1976: 1829:

In 1894, Verdi composed a short ballet for a French production of

1496: 1406: 1229: 911: 679: 593: 530: 439: 354: 220: 151: 48: 3318: 2550:, Rowman and Littlefield, 1978, column 1127. For Winkelmann, see 1535:

it to the ground and says he doesn't need it (Desdemona, Otello:

841:

Set-design model by Marcel Jambon for Act 1 of the Paris premiere

720:

soon followed at leading theatres throughout Europe and America.

208:

soon followed at leading theatres throughout Europe and America.

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casting begs the question: Is whitewash better than blackface?"

1059:

when he died unexpectedly in 1921, thus thwarting the New York

2655: 853: 610: 1537:

D'un uom che geme sotto il tuo disdegno la preghiera ti porto

686:, was to sing Otello while the esteemed French singing-actor 2697:

Without Blackface Highlights an Enduring Tradition in Opera"

1756: 1544: 331:

Collaborations with Boito in the revision of the 1857 opera

176:. It was Verdi's penultimate opera, first performed at the 2564:(fourth edition, in German), p. 5067. Munich: K. G. Saur. 2530: 2528: 3142:

Nineteenth-Century Italian Opera: From Rossini to Puccini

698:, a well-known singing-actress, was assigned Desdemona's 2762: 2760: 1663:/ "This is a spiderweb in which your heart is caught"). 776:

conducting. It was performed in a French translation by

706:

ring of his vocalism in dramatic passages of the score.

2841:

The Operas of Verdi. Vol 3: From Don Carlos to Falstaff

1430:/ "Rejoice! The Muslim’s pride is buried in the sea"). 363:

Verdi visited Milan on 30 June 1879, and conducted his

3019:. Chicago & London: University of Chicago Press. 2251:

Giuseppina Strepponi to Ricordi, 7 November 1879, in

2152:, Verdi to Clara Maffei, 19 March 1878. p. 299. 1819:

Un bacio...un bacio ancora...ah!...un altro bacio...

1696:

Quell'innocente un fremito d'odio non ha nè un gesto

5280: 5251: 5205: 5157: 5150: 5068: 5012: 4903: 4880: 4862: 4842: 4795: 4716: 4678: 4640: 4561: 4490: 4454: 4401: 4340: 4295: 4266: 4175: 4094: 4023: 3914: 3852: 3749: 3666: 3365: 3015:De Van, Gilles (translator: Gilda Roberts) (1998), 108: 94: 86: 76: 42: 4813:Othello Ballet Suite/Electronic Organ Sonata No. 1 3161:, Oxford & New York: Oxford University Press. 3127:, London & New York: Oxford University Press. 2497:(There is a note that "Him" refers to Shakespeare) 850:Roles, their demands, and the singers who met them 339:speculates that Verdi's final agreement to revise 1484:/"Now in the dark night all noise is silenced".) 1433:Iago offers to help the young Venetian gentleman 418:At this point the opera was being referred to as 2957:. Vol. 3. Oxford: Oxford University Press. 2522:, Boito to Verdi, 21 December 1886. p. 322. 1673:Il Doge ed il Senato salutano l'eroe trionfatore 436:From libretto to first performance: 1879 to 1887 3313:Synopsis, commentary, music analysis, anecdotes 2658:. 4 August 2015. Retrieved on 26 November 2015. 2456:, Verdi to Boito, 21 January 1886. p. 319. 2405:, Verdi to Boito, 9 December 1884. p. 318. 1683:/ "Gentlemen! The Doge recalls me to Venice".) 1428:Esultate! L'orgoglio musulmano sepolto è in mar 229:After the completion and premiere of his opera 5046: 4374: 4244: 3334: 3017:Verdi's Theater: Creating Drama Through Music 1043:Otello in his native country. His compatriot 586:exists. The great dream has become reality". 8: 3965:Orchestra Sinfonica di Milano Giuseppe Verdi 2414:Boito to Verdi, (undated) December 1884, in 2164:, Verdi to Ricordi, 2 May 1879. p. 255. 2060:, a stage play dramatizing the inception of 1667:of Cassio. Otello promotes Iago to Captain. 1482:Già nella notte densa s'estingue ogni clamor 920:Since the three leading roles of the opera ( 736:(14 March 1888), the title role was sung by 3159:The New Grove Guide to Verdi and His Operas 3042:Divas and Scholar: Performing Italian Opera 1648:/ "Terrified, I face your dreadful look"). 243:had done after the completion of the opera 5154: 5053: 5039: 5031: 4381: 4367: 4359: 4251: 4237: 4229: 3341: 3327: 3319: 3093:(1983), New York: Dodd, Mead and Company. 1751:/ "Have you said your prayers tonight?"). 1646:Esterrefatta fisso lo sguardo tuo tremendo 1466:Capitano, v'attende la fazione ai baluardi 728:The opera was first seen in the US at the 344:recitatives, foreshadow the later opera." 59: 39: 3234:International Music Score Library Project 2791:Meucci, Renato (2001). "Cimbasso (It.)". 1844:is scored for the following instruments: 1661:Questa è una ragna dove il tuo cuor casca 1606:/ "Yes, by the marble heavens I swear"). 900:Learn how and when to remove this message 657:Learn how and when to remove this message 3188:New York: Oxford University Press: 1992 3044:, Chicago: University of Chicago Press. 2976:. Chicago: University of Chicago Press. 2580: 2578: 1722: 1618: 1196: 3005:, Chicago: University of Chicago Press 2807:10.1093/gmo/9781561592630.article.05789 2721:in blackface, should be issue in opera" 2639: 2534: 2477:Verdi to Ricordi, 9 September 1886, in 2081: 1389:Place: A coastal city on the island of 916:Romilda Pantaleoni, the first Desdemona 813: 2779: 2766: 2519: 2507: 2490: 2478: 2465: 2453: 2441: 2428: 2427:Verdi to Boito, 10 September 1885, in 2415: 2402: 2390: 2377: 2364: 2351: 2338: 2325: 2313: 2301: 2289: 2276: 2264: 2252: 2239: 2226: 2209: 2197: 2185: 2173: 2161: 2149: 2137: 2125: 2112: 2100: 2088: 1792: 1681:Messeri! il Doge mi richiama a Venezia 1584: 535:Baritone Victor Maurel, the first Iago 5294:Arturo Toscanini: Hymn of the Nations 2586:L'Opéra au Palais Garnier (1875–1962) 145: 7: 3245:Vocal score with English translation 3241:(in Italian and English translation) 2506:Verdi to Boito, 1 November 1886, in 1802:Emilia knocks at the door, (Emilia: 1653:Dio! mi potevi scagliar tutti i mali 1596:Ora e per sempre addio sante memorie 882:adding citations to reliable sources 756:was given its Paris premiere by the 740:, who had created the title role in 639:adding citations to reliable sources 27:Opera in four acts by Giuseppe Verdi 5375:Race-related controversies in opera 3144:, Portland, Oregon: Amadeus Press. 2440:Verdi to Boito, 5 October 1885, in 1749:Diceste questa sera le vostre preci 1686:Desdemona, on the ground, laments ( 1329:ambassador of the Venetian Republic 447:as Otello in a costume designed by 348:Verdi is introduced to the idea of 216: 3176:Giuseppe Verdi: His Life and Works 2363:Verdi to Boito, 26 April 1884, in 1279:wife of Iago and maid of Desdemona 505:, could distract me from my theme. 25: 5355:Opera world premieres at La Scala 3304:Images from the Parisian premiere 2954:The New Grove Dictionary of Opera 2868:(2nd ed.). London: Cassell. 2844:(2nd ed.). London: Cassell. 2376:Boito to Verdi, date unknown, in 2124:Verdi to Ricordi, April 1875, in 1715:Desdemona's bedchamber. A bed, a 1199:Roles, voice types, premiere cast 328:was selected as a likely target. 4214: 4213: 4164:Giuseppe Verdi's Rigoletto Story 3892: 3110:, New York: Da Capo Press, Inc. 3091:Verdi: His Music, Life and Times 2717:"The rarity of black faces, not 2588:, Paris: Slatkine, 1962, p. 165. 2223:Giulio Ricordi e I soi musicisti 2040: 1793:Problems playing this file? See 1772: 1737:Piangea cantando nell'erma landa 1688:A terra! … sì … nel livido fango 1585:Problems playing this file? See 1560: 858: 834: 816: 615: 3083:National Philharmonic Orchestra 2933:The Opera Goer's Complete Guide 2890:. Littlehampton Book Services. 2673:, Blackface and Casting Trends" 2389:Verdi to Boito, 3 May 1884, in 1636:/ "Here I will bring Cassio".) 1516:/ "I believe in a cruel God"). 869:needs additional citations for 626:needs additional citations for 5020:Cultural references to Othello 4465:Della descrittione dell’Africa 3405:I Lombardi alla prima crociata 3375:Oberto, Conte di San Bonifacio 3207:Verdi: The Man and His Letters 3186:The Oxford Dictionary of Opera 3002:The Verdi–Boito Correspondence 1556:"Sì, pel ciel marmoreo giuro!" 1213:Premiere cast, 5 February 1887 30:For the opera by Rossini, see 1: 2493:, Verdi to Boito. p. 322 709:Verdi need not have worried: 359:Boito and Verdi at Sant'Agata 180:, Milan, on 5 February 1887. 5288:Arturo Toscanini discography 4184:Casa di Riposo per Musicisti 3929:Theatres named after Verdi ( 2913:. New York: Penguin Putnam. 1386:Time: The late 16th century. 690:would assume the villainous 394:, a librettist for three of 3923:Memorials to Giuseppe Verdi 3108:The Complete Opera of Verdi 3058:, Cambridge Opera Handbooks 2911:The New Penguin Opera Guide 2337:Verdi to Faccio, date?, in 1604:Sì, pel ciel marmoreo giuro 1600:Era la notte, Cassio dormia 1529:Dove guardi splendono raggi 1480:other. (Otello, Desdemona: 799:and Eugène Gardy (Act II); 451:for the original production 217:Verdi's intended retirement 5396: 5220:Overture to Colas Breugnon 4033:Portrait of Giuseppe Verdi 3209:, New York, Vienna House. 2778:Synopsis description from 2350:Boito to Verdi, date?, in 2288:Verdi to Boito, date?, in 1522:Ciò m'accora... Che parli? 1439:Roderigo, ebben che pensi? 938:Giovanni Battista De Negri 829:of the 1894 Paris premiere 574:!!). Farewell. G. VERDI".( 29: 5370:Operas adapted into films 4210: 4053:Verdi, the King of Melody 3881:String Quartet in E minor 3356: 3054:Hepokoski, James (1987), 2548:Annals of Opera 1597–1940 2225:, Milan, 1933, p. 64, in 1743:) and then falls asleep. 1651:Otello laments his fate ( 1371: 1345:former Governor of Cyprus 113:5 February 1887 58: 47: 5365:Libretti by Arrigo Boito 5330:Operas by Giuseppe Verdi 5265:Wanda Toscanini Horowitz 4582:(1816; opera by Rossini) 4475:"Un Capitano Moro" from 3721:Libiamo ne' lieti calici 3121:Phillips-Matz, Mary Jane 1859:(the third doubles as a 1642:Dio ti giocondi, o sposo 764:on 12 October 1894 with 5360:Operas based on Othello 5335:Italian-language operas 3958:Giuseppe Verdi Monument 3685:Bella figlia dell'amore 3505:La battaglia di Legnano 2972:Walker, Frank (1982) . 2905:Kimbell, David (2001). 2799:Oxford University Press 1657:Vieni; l'aula è deserta 602:for Desdemona in Act IV 5302:Toscanini: The Maestro 4592:(1887; opera by Verdi) 3565:Les vêpres siciliennes 3056:Giuseppe Verdi: Otello 1761: 1731: 1628: 1549: 1514:Credo in un Dio crudel 1505: 1460:/ "Wet your throat"). 1415: 1082: 1027:, Alexander Kirchner, 917: 724:Subsequent productions 603: 536: 509: 462: 452: 408: 360: 226: 143:Italian pronunciation: 5118:La fanciulla del West 4390:William Shakespeare's 3730:Un dì, felice, eterea 2238:Verdi to Ricordi, in 1760: 1726: 1622: 1548: 1500: 1410: 1313:a gentleman of Venice 1180:Blackface controversy 1077: 915: 750:at Bayreuth in 1882. 597: 534: 490: 457: 443: 400: 358: 224: 69:Alexandre-Marie Colin 5350:Operas set in Cyprus 5151:Orchestral premieres 4871:Beast with two backs 4831:The Othello Syndrome 4816:(1967; ballet suite) 4622:(1998; ballet score) 4192:Verdi Transcriptions 3842:Un ballo in maschera 3788:La forza del destino 3615:La forza del destino 3605:Un ballo in maschera 3359:List of compositions 2888:My First Forty Years 2705:. 20 September 2015. 2561:Großes Sängerlexikon 1073:My First Forty Years 878:improve this article 635:improve this article 65:Otello and Desdemona 5180:Essay for Orchestra 4978:Goodnight Desdemona 4024:Cultural depictions 3903:Quattro pezzi sacri 3751:Opera discographies 2726:The Washington Post 2609:on 5 September 2015 2546:Alfred Loewenberg, 2304:, pp. 314–315. 2115:, pp. 298–299. 1201: 1039:was a renowned pre- 974:Giacomo Lauri-Volpi 962:Giovanni Martinelli 805:Auguste Alfred Rubé 786:Alexandre Lapissida 768:in the title role, 590:Performance history 212:Composition history 5305:(1985 documentary) 5173:Adagio for Strings 5069:Operatic premieres 3951:Milan Conservatory 3872:Inno delle nazioni 3853:Other compositions 3575:I vespri siciliani 3385:Un giorno di regno 3315:, opera-inside.com 3282:– Characteristics" 3125:Verdi: A Biography 2794:Grove Music Online 2750:The Globe and Mail 2729:. 16 October 2015. 2702:The New York Times 2678:The New York Times 2629:Otello discography 2599:"Opera statistics" 2393:, pp. 490–491 2354:, pp. 489–490 2242:, pp. 474–475 2128:, pp. 469–470 1762: 1732: 1629: 1570:1914 recording by 1550: 1506: 1449:/ "Fire of joy"). 1416: 1366:Angelo Lagomarsino 1337:Francesco Navarini 1253:Romilda Pantaleoni 1197: 1061:Metropolitan Opera 954:Giovanni Zenatello 940:, Albert Alvarez, 918: 823:Illustration from 772:as Desdemona, and 738:Hermann Winkelmann 696:Romilda Pantaleoni 604: 598:Costume design by 537: 453: 361: 239:of opera, much as 227: 5380:Blackface theatre 5317: 5316: 5271:Vladimir Horowitz 5247: 5246: 5028: 5027: 4986:An Imaginary Tale 4609:The Moor's Pavane 4503:The Duke of Milan 4356: 4355: 4226: 4225: 4066:(1982 miniseries) 4063:The Life of Verdi 4000:Verdi, California 3712:La donna è mobile 3178:, New York: Knopf 3167:978-0-19-531314-7 2964:978-0-19-522186-2 2897:978-0-297-78291-9 2816:978-1-56159-263-0 2681:. 1 October 2015. 1815:Ho un'arma ancor! 1783:Francesco Tamagno 1777: 1634:Qui trarrò Cassio 1565: 1454:Roderigo, beviam! 1378: 1377: 1353:Napoleone Limonta 1289:Ginevra Petrovich 1235:Francesco Tamagno 1225:a Moorish general 1162:Katia Ricciarelli 1086:Mattia Battistini 984:, Jose Luccioni, 966:Aureliano Pertile 946:Giuseppe Borgatti 910: 909: 902: 826:Le Monde illustré 809:Philippe Chaperon 684:Francesco Tamagno 667: 666: 659: 445:Francesco Tamagno 178:Teatro alla Scala 147:[oˈtɛllo] 134: 133: 125:Teatro alla Scala 18:Othello the opera 16:(Redirected from 5387: 5259:Walter Toscanini 5155: 5062:Arturo Toscanini 5055: 5048: 5041: 5032: 4938:Men Are Not Gods 4835: 4817: 4633: 4623: 4613: 4603: 4602:(1892; overture) 4593: 4583: 4538: 4511:Love's Sacrifice 4483: 4477:Gli Hecatommithi 4383: 4376: 4369: 4360: 4253: 4246: 4239: 4230: 4217: 4216: 4203: 4196: 4186: 4176:Related articles 4168: 4158: 4148: 4138: 4128: 4118: 4108: 4095:Film adaptations 4087: 4077: 4067: 4057: 4047: 4037: 4016: 4009: 4002: 3995: 3988: 3981: 3974: 3967: 3960: 3953: 3946: 3925: 3907: 3897: 3896: 3889:Messa da Requiem 3884: 3876: 3866: 3845: 3836: 3827: 3818: 3809: 3800: 3791: 3782: 3773: 3764: 3752: 3742: 3733: 3724: 3715: 3706: 3697: 3688: 3679: 3659: 3649: 3639: 3629: 3619: 3609: 3599: 3589: 3585:Simon Boccanegra 3579: 3569: 3559: 3549: 3539: 3529: 3519: 3509: 3499: 3489: 3479: 3469: 3459: 3449: 3439: 3429: 3419: 3409: 3399: 3389: 3379: 3343: 3336: 3329: 3320: 3300: 3298: 3297: 3288:. Archived from 3286:giuseppeverdi.it 3273: 3271: 3270: 3261:. Archived from 3259:giuseppeverdi.it 3232:: Scores at the 3184:and West, Ewan, 3138:Pistone, Danièle 3104:Osborne, Charles 3089:Martin, George, 3086: 3085:. New York: RCA. 3063:Marek, George R. 2987: 2968: 2936: 2924: 2901: 2884:Domingo, Plácido 2879: 2855: 2821: 2820: 2797:(8th ed.). 2788: 2782: 2776: 2770: 2764: 2755: 2754: 2753:. 7 August 2015. 2737: 2731: 2730: 2713: 2707: 2706: 2689: 2683: 2682: 2665: 2659: 2649: 2643: 2637: 2631: 2625: 2619: 2618: 2616: 2614: 2605:. Archived from 2595: 2589: 2584:Stéphane Wolff, 2582: 2573: 2544: 2538: 2532: 2523: 2517: 2511: 2504: 2498: 2496: 2488: 2482: 2475: 2469: 2463: 2457: 2451: 2445: 2438: 2432: 2425: 2419: 2412: 2406: 2400: 2394: 2387: 2381: 2374: 2368: 2361: 2355: 2348: 2342: 2335: 2329: 2323: 2317: 2311: 2305: 2299: 2293: 2286: 2280: 2274: 2268: 2262: 2256: 2249: 2243: 2236: 2230: 2221:Giuseppe Adami, 2219: 2213: 2207: 2201: 2195: 2189: 2183: 2177: 2171: 2165: 2159: 2153: 2147: 2141: 2135: 2129: 2122: 2116: 2110: 2104: 2098: 2092: 2086: 2050: 2045: 2044: 1779: 1778: 1759: 1567: 1566: 1547: 1474:Abbasso le spade 1458:Inaffia l'ugola! 1321:Vincenzo Fornari 1297:Otello's captain 1202: 1200: 1110:Lawrence Tibbett 1029:Lauritz Melchior 1014:Second World War 990:Mario Del Monaco 905: 898: 894: 891: 885: 862: 854: 838: 820: 798: 782:Camille Du Locle 730:Academy of Music 715: 676: 662: 655: 651: 648: 642: 619: 611: 333:Simon Boccanegra 306:Simon Boccanegra 196:Simon Boccanegra 154:in four acts by 149: 144: 128: 120: 118: 63: 40: 21: 5395: 5394: 5390: 5389: 5388: 5386: 5385: 5384: 5320: 5319: 5318: 5313: 5276: 5243: 5208: 5201: 5160: 5159:World premieres 5146: 5064: 5059: 5029: 5024: 5008: 4905: 4899: 4894:Filming Othello 4876: 4858: 4838: 4828: 4810: 4791: 4719: 4712: 4674: 4636: 4626: 4616: 4606: 4596: 4586: 4576: 4569: 4557: 4533: 4493: 4486: 4474: 4450: 4397: 4387: 4357: 4352: 4336: 4291: 4262: 4257: 4227: 4222: 4206: 4199: 4189: 4182: 4171: 4161: 4151: 4141: 4131: 4121: 4111: 4101: 4090: 4080: 4070: 4060: 4050: 4040: 4030: 4019: 4012: 4005: 3998: 3991: 3984: 3977: 3970: 3963: 3956: 3949: 3928: 3921: 3910: 3900: 3887: 3879: 3869: 3862:Suona la tromba 3859: 3848: 3839: 3830: 3821: 3812: 3803: 3794: 3785: 3776: 3767: 3758: 3750: 3745: 3736: 3727: 3718: 3709: 3700: 3691: 3682: 3673: 3662: 3652: 3642: 3632: 3622: 3612: 3602: 3592: 3582: 3578:(December 1855) 3572: 3562: 3552: 3542: 3532: 3522: 3512: 3502: 3492: 3482: 3472: 3462: 3452: 3442: 3435:Giovanna d'Arco 3432: 3422: 3412: 3402: 3392: 3382: 3372: 3361: 3352: 3347: 3295: 3293: 3276: 3268: 3266: 3249: 3224: 3219: 3077:(liner notes). 3061: 3038:Gossett, Philip 2995: 2993:Further reading 2990: 2984: 2971: 2965: 2939: 2927: 2921: 2904: 2898: 2882: 2876: 2858: 2852: 2834: 2830: 2825: 2824: 2817: 2790: 2789: 2785: 2777: 2773: 2765: 2758: 2739: 2738: 2734: 2715: 2714: 2710: 2691: 2690: 2686: 2667: 2666: 2662: 2650: 2646: 2638: 2634: 2626: 2622: 2612: 2610: 2597: 2596: 2592: 2583: 2576: 2545: 2541: 2537:, p. 1008. 2533: 2526: 2518: 2514: 2505: 2501: 2494: 2489: 2485: 2476: 2472: 2464: 2460: 2452: 2448: 2439: 2435: 2426: 2422: 2413: 2409: 2401: 2397: 2388: 2384: 2375: 2371: 2362: 2358: 2349: 2345: 2336: 2332: 2324: 2320: 2312: 2308: 2300: 2296: 2287: 2283: 2275: 2271: 2263: 2259: 2250: 2246: 2237: 2233: 2220: 2216: 2208: 2204: 2196: 2192: 2184: 2180: 2172: 2168: 2160: 2156: 2148: 2144: 2136: 2132: 2123: 2119: 2111: 2107: 2099: 2095: 2087: 2083: 2078: 2046: 2039: 2036: 1966:thunder machine 1839: 1837:Instrumentation 1827: 1804:Aprite! Aprite! 1800: 1799: 1791: 1789: 1788: 1787: 1786: 1780: 1773: 1770: 1763: 1757: 1712: 1700:"Ecco il Leone! 1612: 1592: 1591: 1583: 1581: 1580: 1579: 1578: 1568: 1561: 1558: 1551: 1545: 1510:Non ti crucciar 1490: 1447:Fuoco di gioia! 1400: 1383: 1305:Giovanni Paroli 1261:Otello's ensign 1214: 1198: 1195: 1182: 1126:Sherrill Milnes 1068:Plácido Domingo 1019:tenors such as 994:James McCracken 970:Francesco Merli 906: 895: 889: 886: 875: 863: 852: 842: 839: 830: 821: 803:(Act III); and 801:Eugène Carpezat 792: 726: 713: 674: 663: 652: 646: 643: 632: 620: 609: 592: 506: 498: 497: 438: 353: 219: 214: 142: 130: 129: 123: 121: 116: 114: 103: 72: 66: 38: 28: 23: 22: 15: 12: 11: 5: 5393: 5391: 5383: 5382: 5377: 5372: 5367: 5362: 5357: 5352: 5347: 5342: 5337: 5332: 5322: 5321: 5315: 5314: 5312: 5311: 5309:Guido Cantelli 5306: 5298: 5290: 5284: 5282: 5278: 5277: 5275: 5274: 5268: 5262: 5255: 5253: 5249: 5248: 5245: 5244: 5242: 5241: 5240: 5239: 5237:Symphony No. 7 5229: 5228: 5227: 5225:Symphony No. 2 5222: 5211: 5209: 5206: 5203: 5202: 5200: 5199: 5198: 5197: 5185: 5184: 5183: 5176: 5163: 5161: 5158: 5152: 5148: 5147: 5145: 5144: 5143: 5142: 5130: 5129: 5128: 5121: 5114: 5102: 5101: 5100: 5088: 5087: 5086: 5085:(as a cellist) 5072: 5070: 5066: 5065: 5060: 5058: 5057: 5050: 5043: 5035: 5026: 5025: 5023: 5022: 5016: 5014: 5010: 5009: 5007: 5006: 4998: 4990: 4982: 4974: 4966: 4958: 4950: 4942: 4934: 4926: 4918: 4909: 4907: 4901: 4900: 4898: 4897: 4890: 4884: 4882: 4878: 4877: 4875: 4874: 4866: 4864: 4860: 4859: 4857: 4856: 4848: 4846: 4840: 4839: 4837: 4836: 4826: 4818: 4808: 4799: 4797: 4793: 4792: 4790: 4789: 4781: 4773: 4765: 4757: 4749: 4741: 4737:All Night Long 4733: 4724: 4722: 4714: 4713: 4711: 4710: 4705: 4700: 4695: 4690: 4688:1964 Australia 4684: 4682: 4676: 4675: 4673: 4672: 4667: 4662: 4657: 4652: 4646: 4644: 4638: 4637: 4635: 4634: 4624: 4614: 4612:(1949; ballet) 4604: 4594: 4584: 4573: 4571: 4559: 4558: 4556: 4555: 4547: 4539: 4531: 4523: 4515: 4507: 4498: 4496: 4488: 4487: 4485: 4484: 4472: 4460: 4458: 4452: 4451: 4449: 4448: 4443: 4438: 4433: 4428: 4423: 4418: 4413: 4407: 4405: 4399: 4398: 4388: 4386: 4385: 4378: 4371: 4363: 4354: 4353: 4351: 4350: 4344: 4342: 4338: 4337: 4335: 4334: 4326: 4318: 4310: 4301: 4299: 4293: 4292: 4290: 4289: 4281: 4272: 4270: 4264: 4263: 4258: 4256: 4255: 4248: 4241: 4233: 4224: 4223: 4211: 4208: 4207: 4205: 4204: 4197: 4187: 4179: 4177: 4173: 4172: 4170: 4169: 4159: 4149: 4139: 4129: 4119: 4109: 4098: 4096: 4092: 4091: 4089: 4088: 4078: 4068: 4058: 4048: 4043:Giuseppe Verdi 4038: 4027: 4025: 4021: 4020: 4018: 4017: 4010: 4003: 3996: 3989: 3982: 3975: 3972:Verdi (crater) 3968: 3961: 3954: 3947: 3926: 3918: 3916: 3912: 3911: 3909: 3908: 3898: 3885: 3877: 3867: 3856: 3854: 3850: 3849: 3847: 3846: 3837: 3828: 3819: 3810: 3801: 3792: 3783: 3774: 3765: 3755: 3753: 3747: 3746: 3744: 3743: 3734: 3725: 3716: 3707: 3703:Di quella pira 3698: 3689: 3680: 3670: 3668: 3667:Opera excerpts 3664: 3663: 3661: 3660: 3650: 3640: 3630: 3620: 3610: 3600: 3590: 3580: 3570: 3560: 3550: 3540: 3530: 3520: 3510: 3500: 3490: 3480: 3470: 3460: 3450: 3440: 3430: 3420: 3410: 3400: 3390: 3380: 3369: 3367: 3363: 3362: 3357: 3354: 3353: 3350:Giuseppe Verdi 3348: 3346: 3345: 3338: 3331: 3323: 3317: 3316: 3310: 3301: 3274: 3247: 3242: 3236: 3223: 3222:External links 3220: 3218: 3217: 3196: 3179: 3169: 3152: 3135: 3118: 3101: 3087: 3059: 3052: 3035: 3013: 2996: 2994: 2991: 2989: 2988: 2982: 2969: 2963: 2949:Sadie, Stanley 2937: 2925: 2919: 2907:Holden, Amanda 2902: 2896: 2880: 2874: 2860:Budden, Julian 2856: 2850: 2836:Budden, Julian 2831: 2829: 2826: 2823: 2822: 2815: 2783: 2771: 2769:, p. 322. 2756: 2732: 2708: 2684: 2660: 2644: 2642:, p. 127. 2632: 2620: 2590: 2574: 2539: 2524: 2512: 2499: 2483: 2470: 2468:, p. 320. 2458: 2446: 2433: 2420: 2407: 2395: 2382: 2369: 2356: 2343: 2330: 2328:, p. 488. 2318: 2316:, p. 315. 2306: 2294: 2281: 2279:, p. 493. 2269: 2267:, p. 319. 2257: 2244: 2231: 2214: 2212:, p. 473. 2202: 2200:, p. 484. 2190: 2188:, p. 382. 2178: 2176:, p. 111. 2166: 2154: 2142: 2140:, p. 471. 2130: 2117: 2105: 2103:, p. 295. 2093: 2091:, p. 486. 2080: 2079: 2077: 2074: 2073: 2072: 2064: 2052: 2051: 2035: 2032: 2031: 2030: 2025: 2019: 2013: 2007: 2000: 1989: 1988: 1969: 1943: 1936: 1932:trombone basso 1927: 1920: 1913: 1906: 1899: 1892: 1885: 1878: 1871: 1864: 1838: 1835: 1826: 1823: 1790: 1781: 1771: 1768:"Niun mi tema" 1766: 1765: 1764: 1755: 1754: 1753: 1711: 1708: 1625:Carlo Ferrario 1611: 1608: 1582: 1569: 1559: 1554: 1553: 1552: 1543: 1542: 1541: 1502:Arnold Azrikan 1489: 1486: 1399: 1396: 1395: 1394: 1387: 1382: 1379: 1376: 1375: 1369: 1368: 1363: 1360: 1356: 1355: 1350: 1347: 1340: 1339: 1334: 1331: 1324: 1323: 1318: 1315: 1308: 1307: 1302: 1299: 1292: 1291: 1286: 1281: 1274: 1273: 1268: 1263: 1256: 1255: 1250: 1245: 1238: 1237: 1232: 1227: 1220: 1219: 1211: 1206: 1194: 1191: 1181: 1178: 1174:Sonya Yoncheva 1154:Margaret Price 1150:Kiri Te Kanawa 1138:Leonie Rysanek 1134:Renata Tebaldi 1118:Robert Merrill 1114:Leonard Warren 1102:Pasquale Amato 1094:Antonio Scotti 1045:Arnold Azrikan 1025:Heinrich Knote 1010:Carlo Cossutta 1006:Jeffrey Lawton 978:Frank Mullings 958:Renato Zanelli 942:Francesc Viñas 908: 907: 866: 864: 857: 851: 848: 844: 843: 840: 833: 831: 822: 815: 762:Palais Garnier 725: 722: 694:role of Iago. 665: 664: 623: 621: 614: 608: 605: 591: 588: 557:Emanuele Muzio 437: 434: 392:Giuseppe Adami 352: 346: 259:Giulio Ricordi 225:Verdi, c. 1870 218: 215: 213: 210: 191:Giulio Ricordi 158:to an Italian 156:Giuseppe Verdi 132: 131: 122: 112: 110: 106: 105: 104:by Shakespeare 96: 92: 91: 88: 84: 83: 78: 74: 73: 64: 56: 55: 53:Giuseppe Verdi 45: 44: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5392: 5381: 5378: 5376: 5373: 5371: 5368: 5366: 5363: 5361: 5358: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5327: 5325: 5310: 5307: 5304: 5303: 5299: 5296: 5295: 5291: 5289: 5286: 5285: 5283: 5279: 5272: 5269: 5266: 5263: 5260: 5257: 5256: 5254: 5250: 5238: 5235: 5234: 5233: 5230: 5226: 5223: 5221: 5218: 5217: 5216: 5213: 5212: 5210: 5204: 5196: 5195: 5191: 5190: 5189: 5186: 5182: 5181: 5177: 5175: 5174: 5170: 5169: 5168: 5165: 5164: 5162: 5156: 5153: 5149: 5141: 5140: 5136: 5135: 5134: 5131: 5127: 5126: 5122: 5120: 5119: 5115: 5113: 5112: 5108: 5107: 5106: 5103: 5099: 5098: 5094: 5093: 5092: 5089: 5084: 5083: 5079: 5078: 5077: 5074: 5073: 5071: 5067: 5063: 5056: 5051: 5049: 5044: 5042: 5037: 5036: 5033: 5021: 5018: 5017: 5015: 5011: 5004: 5003: 4999: 4996: 4995: 4991: 4988: 4987: 4983: 4980: 4979: 4975: 4972: 4971: 4967: 4964: 4963: 4959: 4956: 4955: 4951: 4948: 4947: 4946:A Double Life 4943: 4940: 4939: 4935: 4932: 4931: 4927: 4924: 4923: 4919: 4916: 4915: 4911: 4910: 4908: 4902: 4896: 4895: 4891: 4889: 4888:Othello error 4886: 4885: 4883: 4879: 4872: 4868: 4867: 4865: 4861: 4855: 4854: 4850: 4849: 4847: 4845: 4841: 4834:(2008; album) 4833: 4832: 4827: 4824: 4823: 4819: 4815: 4814: 4809: 4806: 4805: 4801: 4800: 4798: 4794: 4787: 4786: 4782: 4779: 4778: 4774: 4771: 4770: 4766: 4763: 4762: 4758: 4755: 4754: 4750: 4747: 4746: 4745:Catch My Soul 4742: 4739: 4738: 4734: 4731: 4730: 4726: 4725: 4723: 4721: 4715: 4709: 4706: 4704: 4701: 4699: 4696: 4694: 4691: 4689: 4686: 4685: 4683: 4681: 4677: 4671: 4668: 4666: 4663: 4661: 4658: 4656: 4653: 4651: 4648: 4647: 4645: 4643: 4639: 4632:(1999; opera) 4631: 4630: 4625: 4621: 4620: 4615: 4611: 4610: 4605: 4601: 4600: 4595: 4591: 4590: 4585: 4581: 4580: 4575: 4574: 4572: 4568: 4564: 4560: 4553: 4552: 4548: 4545: 4544: 4543:Catch My Soul 4540: 4536: 4535:Catch My Soul 4532: 4529: 4528: 4524: 4521: 4520: 4516: 4513: 4512: 4508: 4505: 4504: 4500: 4499: 4497: 4495: 4489: 4482: 4478: 4473: 4471: 4470:Leo Africanus 4467: 4466: 4462: 4461: 4459: 4457: 4453: 4447: 4444: 4442: 4439: 4437: 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4414: 4412: 4409: 4408: 4406: 4404: 4400: 4396: 4395: 4391: 4384: 4379: 4377: 4372: 4370: 4365: 4364: 4361: 4349: 4348:Camillo Boito 4346: 4345: 4343: 4339: 4332: 4331: 4327: 4324: 4323: 4319: 4316: 4315: 4311: 4308: 4307: 4303: 4302: 4300: 4298: 4294: 4287: 4286: 4282: 4279: 4278: 4274: 4273: 4271: 4269: 4265: 4261: 4254: 4249: 4247: 4242: 4240: 4235: 4234: 4231: 4221: 4220: 4209: 4202: 4198: 4195: 4193: 4188: 4185: 4181: 4180: 4178: 4174: 4166: 4165: 4160: 4156: 4155: 4150: 4146: 4145: 4140: 4136: 4135: 4130: 4126: 4125: 4120: 4116: 4115: 4110: 4106: 4105: 4100: 4099: 4097: 4093: 4085: 4084: 4083:Risorgimento! 4079: 4075: 4074: 4069: 4065: 4064: 4059: 4055: 4054: 4049: 4045: 4044: 4039: 4035: 4034: 4029: 4028: 4026: 4022: 4015: 4014:Verdi, Nevada 4011: 4008: 4007:Verdi, Kansas 4004: 4001: 3997: 3994: 3990: 3987: 3983: 3980: 3976: 3973: 3969: 3966: 3962: 3959: 3955: 3952: 3948: 3944: 3940: 3936: 3932: 3927: 3924: 3920: 3919: 3917: 3913: 3905: 3904: 3899: 3895: 3890: 3886: 3882: 3878: 3874: 3873: 3868: 3864: 3863: 3858: 3857: 3855: 3851: 3844: 3843: 3838: 3835: 3834: 3829: 3826: 3825: 3820: 3817: 3816: 3811: 3808: 3807: 3802: 3799: 3798: 3793: 3790: 3789: 3784: 3781: 3780: 3775: 3772: 3771: 3766: 3763: 3762: 3757: 3756: 3754: 3748: 3740: 3735: 3731: 3726: 3722: 3717: 3713: 3708: 3704: 3699: 3695: 3690: 3686: 3681: 3677: 3672: 3671: 3669: 3665: 3657: 3656: 3651: 3647: 3646: 3641: 3637: 3636: 3631: 3627: 3626: 3621: 3617: 3616: 3611: 3607: 3606: 3601: 3597: 3596: 3591: 3587: 3586: 3581: 3577: 3576: 3571: 3567: 3566: 3561: 3557: 3556: 3551: 3547: 3546: 3541: 3537: 3536: 3531: 3527: 3526: 3521: 3517: 3516: 3511: 3507: 3506: 3501: 3497: 3496: 3491: 3487: 3486: 3481: 3477: 3476: 3471: 3467: 3466: 3461: 3457: 3456: 3451: 3447: 3446: 3441: 3437: 3436: 3431: 3427: 3426: 3425:I due Foscari 3421: 3417: 3416: 3411: 3407: 3406: 3401: 3397: 3396: 3391: 3387: 3386: 3381: 3377: 3376: 3371: 3370: 3368: 3364: 3360: 3355: 3351: 3344: 3339: 3337: 3332: 3330: 3325: 3324: 3321: 3314: 3311: 3309: 3305: 3302: 3292:on 2016-05-31 3291: 3287: 3283: 3281: 3275: 3265:on 2016-05-31 3264: 3260: 3256: 3254: 3248: 3246: 3243: 3240: 3237: 3235: 3231: 3230: 3226: 3225: 3221: 3216: 3215:0-8443-0088-8 3212: 3208: 3204: 3200: 3199:Werfel, Franz 3197: 3195: 3194:0-19-869164-5 3191: 3187: 3183: 3182:Warrack, John 3180: 3177: 3173: 3172:Toye, Francis 3170: 3168: 3164: 3160: 3156: 3155:Parker, Roger 3153: 3151: 3150:0-931340-82-9 3147: 3143: 3139: 3136: 3134: 3133:0-19-313204-4 3130: 3126: 3122: 3119: 3117: 3116:0-306-80072-1 3113: 3109: 3105: 3102: 3100: 3099:0-396-08196-7 3096: 3092: 3088: 3084: 3080: 3076: 3072: 3068: 3064: 3060: 3057: 3053: 3051: 3050:0-226-30482-5 3047: 3043: 3039: 3036: 3034: 3033:0-226-14370-8 3030: 3026: 3025:0-226-14369-4 3022: 3018: 3014: 3012: 3011:0-226-85304-7 3008: 3004: 3003: 2998: 2997: 2992: 2985: 2983:0-226-87132-0 2979: 2975: 2974:The Man Verdi 2970: 2966: 2960: 2956: 2955: 2950: 2946: 2942: 2941:Parker, Roger 2938: 2934: 2930: 2926: 2922: 2920:0-14-029312-4 2916: 2912: 2908: 2903: 2899: 2893: 2889: 2885: 2881: 2877: 2875:9780198162629 2871: 2867: 2866: 2861: 2857: 2853: 2851:0-304-30740-8 2847: 2843: 2842: 2837: 2833: 2832: 2827: 2818: 2812: 2808: 2804: 2800: 2796: 2795: 2787: 2784: 2781: 2775: 2772: 2768: 2763: 2761: 2757: 2752: 2751: 2746: 2744: 2736: 2733: 2728: 2727: 2722: 2720: 2712: 2709: 2704: 2703: 2698: 2696: 2688: 2685: 2680: 2679: 2674: 2672: 2664: 2661: 2657: 2653: 2648: 2645: 2641: 2636: 2633: 2630: 2624: 2621: 2608: 2604: 2600: 2594: 2591: 2587: 2581: 2579: 2575: 2571: 2570:9783598115981 2567: 2563: 2562: 2557: 2553: 2552:Kutsch, K. J. 2549: 2543: 2540: 2536: 2531: 2529: 2525: 2521: 2516: 2513: 2510:, p. 493 2509: 2503: 2500: 2492: 2487: 2484: 2481:, p. 493 2480: 2474: 2471: 2467: 2462: 2459: 2455: 2450: 2447: 2444:, p. 493 2443: 2437: 2434: 2431:, p. 491 2430: 2424: 2421: 2418:, p. 491 2417: 2411: 2408: 2404: 2399: 2396: 2392: 2386: 2383: 2380:, p. 490 2379: 2373: 2370: 2367:, p. 490 2366: 2360: 2357: 2353: 2347: 2344: 2341:, p. 489 2340: 2334: 2331: 2327: 2322: 2319: 2315: 2310: 2307: 2303: 2298: 2295: 2291: 2285: 2282: 2278: 2273: 2270: 2266: 2261: 2258: 2255:, p. 476 2254: 2248: 2245: 2241: 2235: 2232: 2229:, p. 473 2228: 2224: 2218: 2215: 2211: 2206: 2203: 2199: 2194: 2191: 2187: 2182: 2179: 2175: 2170: 2167: 2163: 2158: 2155: 2151: 2146: 2143: 2139: 2134: 2131: 2127: 2121: 2118: 2114: 2109: 2106: 2102: 2097: 2094: 2090: 2085: 2082: 2075: 2071: 2069: 2065: 2063: 2059: 2058: 2054: 2053: 2049: 2043: 2038: 2033: 2029: 2026: 2023: 2020: 2017: 2014: 2011: 2008: 2005: 2001: 1998: 1994: 1993: 1992: 1986: 1982: 1978: 1974: 1970: 1967: 1963: 1959: 1955: 1951: 1947: 1944: 1941: 1937: 1934: 1933: 1928: 1925: 1921: 1918: 1914: 1911: 1907: 1904: 1900: 1897: 1893: 1890: 1889:bass clarinet 1886: 1883: 1879: 1876: 1872: 1869: 1865: 1862: 1858: 1854: 1853: 1852: 1850: 1845: 1843: 1836: 1834: 1832: 1824: 1822: 1820: 1816: 1812: 1807: 1805: 1798: 1796: 1784: 1769: 1752: 1750: 1744: 1742: 1738: 1729: 1725: 1721: 1720: 1718: 1709: 1707: 1706:/ "Begone".) 1705: 1701: 1697: 1693: 1689: 1684: 1682: 1678: 1674: 1668: 1664: 1662: 1658: 1654: 1649: 1647: 1643: 1637: 1635: 1626: 1621: 1617: 1616: 1609: 1607: 1605: 1601: 1597: 1590: 1588: 1577: 1576:Enrico Caruso 1573: 1557: 1540: 1538: 1532: 1530: 1525: 1523: 1517: 1515: 1511: 1503: 1499: 1495: 1494: 1487: 1485: 1483: 1477: 1475: 1469: 1467: 1461: 1459: 1455: 1450: 1448: 1444: 1440: 1436: 1431: 1429: 1425: 1421: 1413: 1409: 1405: 1404: 1397: 1392: 1388: 1385: 1384: 1380: 1374: 1370: 1367: 1364: 1361: 1358: 1357: 1354: 1351: 1348: 1346: 1342: 1341: 1338: 1335: 1332: 1330: 1326: 1325: 1322: 1319: 1316: 1314: 1310: 1309: 1306: 1303: 1300: 1298: 1294: 1293: 1290: 1287: 1285: 1284:mezzo-soprano 1282: 1280: 1276: 1275: 1272: 1271:Victor Maurel 1269: 1267: 1264: 1262: 1258: 1257: 1254: 1251: 1249: 1246: 1244: 1240: 1239: 1236: 1233: 1231: 1228: 1226: 1222: 1221: 1218: 1217:Franco Faccio 1212: 1210: 1207: 1204: 1203: 1192: 1190: 1188: 1179: 1177: 1175: 1171: 1170:Renée Fleming 1167: 1166:Cheryl Studer 1163: 1159: 1158:Renata Scotto 1155: 1151: 1147: 1146:Mirella Freni 1143: 1142:Gwyneth Jones 1139: 1135: 1131: 1127: 1123: 1119: 1115: 1111: 1107: 1106:Carlo Galeffi 1103: 1099: 1095: 1091: 1087: 1081: 1076: 1074: 1069: 1064: 1062: 1058: 1055:was studying 1054: 1053:Enrico Caruso 1050: 1046: 1042: 1038: 1034: 1030: 1026: 1022: 1021:Jacques Urlus 1018: 1015: 1011: 1007: 1003: 1002:David Rendall 999: 995: 991: 987: 983: 979: 975: 971: 967: 963: 959: 955: 951: 950:Antonio Paoli 947: 943: 939: 935: 931: 927: 923: 914: 904: 901: 893: 883: 879: 873: 872: 867:This section 865: 861: 856: 855: 849: 847: 837: 832: 828: 827: 819: 814: 812: 810: 806: 802: 796: 791: 787: 783: 779: 775: 774:Paul Taffanel 771: 767: 766:Albert Saléza 763: 759: 755: 751: 749: 748: 743: 739: 735: 731: 723: 721: 719: 712: 707: 703: 701: 697: 693: 689: 688:Victor Maurel 685: 681: 673: 661: 658: 650: 640: 636: 630: 629: 624:This section 622: 618: 613: 612: 606: 601: 596: 589: 587: 585: 581: 577: 573: 568: 566: 560: 558: 554: 550: 546: 541: 533: 529: 526: 524: 519: 515: 508: 504: 499: 495: 489: 486: 483: 478: 474: 473: 466: 461: 456: 450: 446: 442: 435: 433: 431: 427: 423: 422: 416: 412: 407: 405: 399: 397: 393: 389: 386: 382: 381: 376: 375:Franco Faccio 371: 368: 367: 357: 351: 347: 345: 342: 338: 334: 329: 327: 323: 322: 317: 316: 310: 308: 307: 301: 299: 295: 291: 290:Adelina Patti 286: 283: 282: 277: 276:Franco Faccio 273: 272: 267: 262: 260: 255: 252: 251:Julian Budden 248: 247: 242: 238: 234: 233: 223: 211: 209: 207: 202: 198: 197: 192: 188: 187: 181: 179: 175: 174: 169: 165: 161: 157: 153: 148: 140: 139: 126: 111: 107: 102: 101: 97: 93: 89: 85: 82: 79: 75: 70: 62: 57: 54: 50: 46: 41: 36: 34: 19: 5300: 5293: 5273:(son-in-law) 5232:Shostakovich 5207:US premieres 5194:Feste romane 5192: 5178: 5171: 5137: 5123: 5116: 5109: 5095: 5081: 5080: 5000: 4992: 4984: 4976: 4968: 4960: 4952: 4944: 4936: 4930:The Deceiver 4928: 4920: 4912: 4904:Story within 4892: 4851: 4829: 4825:(1986; film) 4820: 4811: 4807:(1906; film) 4802: 4783: 4775: 4767: 4759: 4751: 4743: 4735: 4727: 4627: 4617: 4607: 4597: 4588: 4587: 4577: 4549: 4541: 4534: 4525: 4517: 4509: 4501: 4476: 4463: 4392: 4328: 4321: 4320: 4312: 4304: 4283: 4275: 4260:Arrigo Boito 4212: 4191: 4163: 4153: 4143: 4133: 4123: 4113: 4103: 4086:(2011 opera) 4081: 4071: 4061: 4051: 4041: 4031: 3915:Recognitions 3901: 3870: 3860: 3841: 3832: 3824:Il trovatore 3823: 3814: 3805: 3796: 3787: 3778: 3769: 3760: 3739:Va, pensiero 3694:Celeste Aida 3676:Anvil Chorus 3653: 3644: 3643: 3633: 3623: 3613: 3603: 3593: 3583: 3573: 3563: 3553: 3545:Il trovatore 3543: 3533: 3523: 3515:Luisa Miller 3513: 3503: 3493: 3483: 3475:I masnadieri 3473: 3463: 3453: 3443: 3433: 3423: 3413: 3403: 3393: 3383: 3373: 3294:. Retrieved 3290:the original 3285: 3279: 3267:. Retrieved 3263:the original 3258: 3252: 3228: 3206: 3203:Stefan, Paul 3185: 3175: 3158: 3141: 3124: 3107: 3090: 3079:James Levine 3074: 3070: 3066: 3055: 3041: 3027:(hardback), 3016: 3001: 2973: 2952: 2944: 2932: 2910: 2887: 2864: 2840: 2828:Bibliography 2792: 2786: 2774: 2748: 2742: 2735: 2724: 2718: 2711: 2700: 2694: 2687: 2676: 2670: 2663: 2647: 2640:Domingo 1993 2635: 2623: 2611:. Retrieved 2607:the original 2593: 2585: 2559: 2556:Riemens, Leo 2547: 2542: 2535:Kimbell 2001 2515: 2502: 2486: 2473: 2461: 2449: 2436: 2423: 2410: 2398: 2385: 2372: 2359: 2346: 2333: 2321: 2309: 2297: 2284: 2272: 2260: 2247: 2234: 2222: 2217: 2205: 2193: 2181: 2169: 2157: 2145: 2133: 2120: 2108: 2096: 2084: 2067: 2061: 2055: 2048:Opera portal 1990: 1930: 1875:english horn 1846: 1841: 1840: 1830: 1828: 1818: 1814: 1811:Niun mi tema 1810: 1808: 1803: 1801: 1748: 1745: 1740: 1736: 1733: 1727: 1714: 1713: 1703: 1699: 1695: 1687: 1685: 1680: 1672: 1669: 1665: 1660: 1656: 1652: 1650: 1645: 1641: 1638: 1633: 1630: 1614: 1613: 1603: 1599: 1595: 1593: 1536: 1533: 1528: 1526: 1521: 1518: 1513: 1509: 1507: 1492: 1491: 1481: 1478: 1473: 1470: 1465: 1462: 1457: 1453: 1451: 1446: 1438: 1432: 1427: 1423: 1417: 1411: 1402: 1401: 1372: 1344: 1328: 1312: 1296: 1278: 1260: 1242: 1224: 1183: 1130:James Morris 1090:Mario Ancona 1083: 1078: 1072: 1065: 1056: 1049:Stalin Prize 1037:Ivan Yershov 1033:Franz Völker 933: 919: 896: 887: 876:Please help 871:verification 868: 845: 824: 778:Arrigo Boito 753: 752: 745: 727: 717: 710: 708: 704: 671: 668: 653: 644: 633:Please help 628:verification 625: 600:Alfredo Edel 583: 579: 575: 571: 569: 564: 561: 552: 548: 547:rather than 544: 542: 538: 527: 522: 517: 513: 510: 502: 500: 493: 491: 487: 481: 476: 470: 467: 463: 458: 454: 425: 424:rather than 420: 419: 417: 413: 409: 403: 401: 388:Arrigo Boito 378: 372: 366:Requiem Mass 364: 362: 349: 340: 337:Roger Parker 332: 330: 325: 319: 313: 311: 304: 302: 298:Clara Maffei 287: 279: 269: 265: 263: 256: 246:William Tell 244: 230: 228: 205: 200: 194: 184: 182: 171: 164:Arrigo Boito 137: 136: 135: 98: 81:Arrigo Boito 32: 5340:1887 operas 5297:(1944 film) 5091:Leoncavallo 5005:(2015 film) 5002:The Dresser 4997:(2012 play) 4973:(1983 film) 4970:The Dresser 4965:(1980 play) 4962:The Dresser 4925:(1931 film) 4917:(1921 film) 4785:Jarum Halus 4720:adaptations 4570:adaptations 4494:adaptations 4314:La Gioconda 4277:Mefistofele 4201:Villa Verdi 4124:La Traviata 4076:(1985 play) 4056:(1953 film) 4046:(1938 film) 3986:Verdi Range 3979:Verdi Inlet 3906:(1889–1897) 3833:La traviata 3568:(June 1855) 3555:La traviata 3255:– Libretto" 2929:Melitz, Leo 2780:Melitz 1921 2767:Budden 1992 2520:Budden 1992 2508:Walker 1982 2491:Budden 2002 2479:Walker 1982 2466:Budden 1992 2454:Budden 2002 2442:Walker 1982 2429:Walker 1982 2416:Walker 1982 2403:Budden 1992 2391:Walker 1982 2378:Walker 1982 2365:Walker 1982 2352:Walker 1982 2339:Walker 1982 2326:Walker 1982 2314:Budden 1992 2302:Budden 1992 2290:Walker 1982 2277:Walker 1982 2265:Budden 1992 2253:Walker 1982 2240:Walker 1982 2227:Walker 1982 2210:Walker 1982 2198:Walker 1982 2186:Parker 1998 2174:Parker 1998 2162:Budden 2002 2150:Budden 1992 2138:Walker 1982 2126:Walker 1982 2113:Budden 1992 2101:Budden 1992 2089:Walker 1982 2070:discography 1985:double bass 1572:Titta Ruffo 1241:Desdemona, 1215:Conductor: 1172:(1996) and 1098:Titta Ruffo 1066:Currently, 1041:World War I 998:Jon Vickers 986:Ramón Vinay 793: [ 472:Mefistofele 449:Alfred Edel 383:and to the 168:Shakespeare 166:, based on 5324:Categories 5267:(daughter) 5215:Kabalevsky 4994:Red Velvet 4796:From Verdi 4753:Kaliyattam 4546:(UK; 1970) 4537:(US; 1969) 4519:Masquerade 4479:(1565) by 4468:(1550) by 4403:Characters 4194:(Finnissy) 4073:After Aida 3993:3975 Verdi 3770:Don Carlos 3628:(1867/84) 3625:Don Carlos 3618:(1862/69) 3495:Il corsaro 3468:(1847/65) 3296:2015-10-18 3269:2015-10-17 2669:"Debating 2613:14 October 2076:References 2057:After Aida 1991:Offstage: 1975:I and II, 1946:percussion 1795:media help 1587:media help 1504:as Otello 1327:Lodovico, 1311:Roderigo, 1209:Voice type 1122:Tito Gobbi 982:Leo Slezak 890:April 2018 811:(Act IV). 770:Rose Caron 647:April 2018 518:evil Credo 430:by Rossini 398:'s operas: 385:librettist 341:Boccanegra 294:Giuseppina 117:1887-02-05 77:Librettist 5111:La bohème 5097:Pagliacci 4954:Saptapadi 4844:Paintings 4551:Desdemona 4446:Brabantio 4416:Desdemona 3815:Rigoletto 3588:(1857/81) 3535:Rigoletto 3525:Stiffelio 3485:Jérusalem 3065:(1978). " 2943:(1998). " 2603:Operabase 2022:mandolins 2004:trombones 1971:strings ( 1958:bass drum 1924:trombones 1882:clarinets 1849:orchestra 1741:Ave Maria 1717:prie-dieu 1424:Una vela! 1359:A herald 1343:Montano, 1187:blackface 1051:in 1946. 1017:Wagnerian 926:Desdemona 35:(Rossini) 5188:Respighi 5125:Turandot 4922:Carnival 4914:Carnival 4629:Bandanna 4441:Roderigo 4330:Falstaff 4297:Libretti 4219:Category 3939:Florence 3931:Brindisi 3779:Falstaff 3655:Falstaff 3239:Libretto 3205:(1973), 3174:(1931), 3157:(2007), 3140:(1995), 3123:(1993), 3106:(1969), 3040:(2006), 2931:(1921). 2886:(1993). 2862:(2002). 2838:(1992). 2558:(2003). 2034:See also 2016:bagpipes 1997:trumpets 1917:trumpets 1896:bassoons 1704:Fuggite! 1435:Roderigo 1420:Roderigo 1381:Synopsis 1295:Cassio, 1277:Emilia, 1266:baritone 1243:his wife 1223:Otello, 1176:(2015). 1168:(1993), 1164:(1985), 1160:(1978), 1156:(1977), 1152:(1974), 1148:(1974), 1144:(1968), 1140:(1960), 1136:(1954), 747:Parsifal 692:baritone 607:Premiere 237:composer 170:'s play 160:libretto 150:) is an 109:Premiere 95:Based on 87:Language 5281:Related 5105:Puccini 5013:Related 4906:a story 4881:Related 4863:Phrases 4853:Othello 4619:Othello 4599:Othello 4527:Othello 4411:Othello 4394:Othello 4341:Related 4144:Macbeth 3943:Trieste 3935:Busseto 3891:(1874) 3797:Macbeth 3648:(1887) 3638:(1871) 3608:(1859) 3558:(1853) 3548:(1853) 3538:(1851) 3465:Macbeth 3395:Nabucco 3308:Gallica 3067:Othello 2951:(ed.). 2909:(ed.). 2741:"Met's 2028:guitars 1954:cymbals 1950:timpani 1910:cornets 1861:piccolo 1847:In the 1728:Otello: 1248:soprano 760:at the 700:soprano 503:Othello 494:Othello 485:kind". 404:Othello 396:Puccini 380:Othello 326:Othello 321:Macbeth 315:Othello 241:Rossini 173:Othello 127:, Milan 115: ( 100:Othello 90:Italian 5345:Operas 5252:Family 5167:Barber 5139:Nerone 5082:Otello 4989:(1990) 4981:(1988) 4957:(1961) 4949:(1947) 4941:(1936) 4933:(1931) 4822:Otello 4804:Otello 4788:(2008) 4780:(2006) 4777:Omkara 4772:(2004) 4764:(2001) 4756:(1997) 4748:(1974) 4740:(1962) 4732:(1956) 4589:Otello 4579:Otello 4567:ballet 4554:(2011) 4530:(1951) 4522:(1835) 4514:(1633) 4506:(1623) 4481:Cintio 4456:Source 4436:Bianca 4431:Emilia 4426:Cassio 4333:(1893) 4325:(1887) 4322:Otello 4317:(1876) 4309:(1865) 4306:Amleto 4288:(1924) 4285:Nerone 4280:(1868) 4268:Operas 4167:(2005) 4157:(1987) 4147:(1987) 4137:(1986) 4134:Otello 4127:(1983) 4117:(1953) 4107:(1906) 4104:Otello 4036:(1886) 3883:(1873) 3875:(1862) 3865:(1848) 3806:Otello 3658:(1893) 3645:Otello 3598:(1857) 3595:Aroldo 3528:(1850) 3518:(1849) 3508:(1849) 3498:(1848) 3488:(1847) 3478:(1847) 3458:(1846) 3455:Attila 3448:(1845) 3445:Alzira 3438:(1845) 3428:(1844) 3418:(1844) 3415:Ernani 3408:(1843) 3398:(1842) 3388:(1840) 3378:(1839) 3366:Operas 3280:Otello 3253:Otello 3229:Otello 3213: 3192: 3165: 3148: 3131: 3114: 3097: 3075:Otello 3071:Otello 3048: 3031: 3023: 3009: 2980: 2961: 2947:". In 2945:Otello 2917: 2894: 2872: 2848: 2813: 2743:Otello 2719:Otello 2695:Otello 2671:Otello 2568: 2495: 2068:Otello 2062:Otello 1973:violin 1857:flutes 1842:Otello 1831:Otello 1825:Ballet 1692:asides 1443:Cassio 1412:Otello 1391:Cyprus 1317:tenor 1301:tenor 1259:Iago, 1057:Otello 1012:. Pre- 934:Otello 922:Otello 790:Amable 754:Otello 742:Wagner 734:Vienna 718:Otello 711:Otello 702:part. 672:Otello 584:Otello 580:Otello 553:Otello 545:Otello 523:Otello 514:Otello 482:Otello 477:Otello 426:Otello 350:Otello 281:Amleto 271:Nerone 206:Otello 201:Otello 138:Otello 71:, 1829 43:Otello 33:Otello 5261:(son) 5133:Boito 5076:Verdi 4769:Souli 4729:Jubal 4642:Films 4563:Opera 4492:Stage 2010:organ 1981:cello 1977:viola 1903:horns 1868:oboes 1710:Act 4 1610:Act 3 1488:Act 2 1398:Act 1 1362:bass 1349:bass 1333:bass 1230:tenor 1205:Role 1193:Roles 797:] 758:Opéra 714:' 680:tenor 675:' 460:1885. 152:opera 49:Opera 4718:Film 4708:2001 4703:1994 4698:1990 4693:1981 4670:1995 4665:1965 4660:1955 4655:1951 4650:1922 4565:and 4421:Iago 4154:Aida 4114:Aida 3761:Aida 3635:Aida 3211:ISBN 3201:and 3190:ISBN 3163:ISBN 3146:ISBN 3129:ISBN 3112:ISBN 3095:ISBN 3069:and 3046:ISBN 3029:ISBN 3021:ISBN 3007:ISBN 2978:ISBN 2959:ISBN 2915:ISBN 2892:ISBN 2870:ISBN 2846:ISBN 2811:ISBN 2693:"An 2627:See 2615:2018 2566:ISBN 1962:gong 1940:harp 1677:Doge 1574:and 1128:and 1108:and 1031:and 1008:and 930:Iago 928:and 807:and 780:and 549:Iago 421:Iago 266:Aida 232:Aida 186:Aida 3073:". 2803:doi 2656:NPR 880:by 744:'s 637:by 576:sic 572:Him 278:'s 162:by 67:by 51:by 5326:: 4680:TV 3941:- 3937:- 3933:- 3306:, 3284:. 3257:. 3081:, 2809:. 2801:. 2759:^ 2747:. 2723:. 2699:. 2675:. 2654:. 2601:. 2577:^ 2554:; 2527:^ 2002:4 1995:6 1983:, 1979:, 1968:), 1964:, 1960:, 1956:, 1952:, 1938:1 1929:1 1922:3 1915:2 1908:2 1901:4 1894:4 1887:1 1880:2 1873:1 1866:2 1863:), 1855:3 1851:: 1422:: 1124:, 1120:, 1116:, 1104:, 1100:, 1096:, 1092:, 1088:, 1023:, 1004:, 1000:, 996:, 992:, 988:, 980:, 976:, 972:, 968:, 964:, 960:, 956:, 952:, 948:, 944:, 924:, 795:fr 682:, 565:vi 555:. 432:. 5054:e 5047:t 5040:v 4873:" 4869:" 4761:O 4382:e 4375:t 4368:v 4252:e 4245:t 4238:v 3945:) 3741:" 3737:" 3732:" 3728:" 3723:" 3719:" 3714:" 3710:" 3705:" 3701:" 3696:" 3692:" 3687:" 3683:" 3678:" 3674:" 3342:e 3335:t 3328:v 3299:. 3278:" 3272:. 3251:" 2986:. 2967:. 2935:. 2923:. 2900:. 2878:. 2854:. 2819:. 2805:: 2617:. 2572:. 2024:, 2018:, 2012:, 2006:, 1999:, 1987:) 1948:( 1942:, 1935:, 1926:, 1919:, 1912:, 1905:, 1898:, 1891:, 1884:, 1877:, 1870:, 1797:. 1627:. 1589:. 1393:. 903:) 897:( 892:) 888:( 874:. 660:) 654:( 649:) 645:( 631:. 141:( 119:) 37:. 20:)

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