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Motivation/Role Play Exercises

Jealousy
Choral Moments

Jealousy:

Much of Otello focuses on jealousy and its consequences. Iago, Otello's ensign, is furious that the promotion he feels he deserves has gone to Cassio, Otello's lieutenant. Early in Act I, Iago plots his revenge on both Cassio and Otello. The first step in his plan is to get Cassio drunk and provoke him to start a fight. Iago leads a drinking song, "Innaffia l'ugola." Unlike a traditional Verdian drinking song, such as the famous "Brindisi" in La Traviata, the orchestra here does not introduce the main theme. Instead a rollicking 6/8 time is established as a background rhythm as Iago invites Cassio and Roderigo-a Venetian gentleman-to participate (Ex. #1a). There are three stanzas to this song, each one in binary, or A B, form. The A section is in a minor key and the B part in a major key. Particularly noteworthy is a descending snake-like chromatic run that implies Iago's sinister motives (Ex. #1b). By the third verse, Cassio, who didn't want to drink in the first place, is inebriated and susceptible to Iago's suggestions. There is increased rhythmic activity in the orchestral accompaniment as Rodrigo insults Cassio and a fight breaks out. Montano, who tries to stop the fight, is instead drawn into it and wounded. Otello is summoned. When he arrives, Otello is so shocked at Cassio's conduct that he promptly dismisses him and orders Iago to take over. The first step in Iago's plot has succeeded.

In order to emphasize the depths to which Otello ultimately descends, it is important to show the hero at his peak: a powerful ruler, adulated by his people, passionately devoted to his wife Desdemona. Otello makes his first appearance after arriving home safely from a battle at sea. His entrance music shows him in all his glory (Ex. #2). With an upward leap of a major 6th in the exotic key of C sharp major, Otello announces that the Turkish fleet has been defeated. Later in the act he appears to break up the fight between Cassio and Montano. In another forceful outburst, sung a cappella, he orders them to drop their swords (Ex. #3). Otello's word demands immediate compliance.

The duet between Otello and Desdemona at the end of Act I is the only love duet in all of Verdi's operas between a husband and wife. It is not restrained or hurried-these lovers are not being kept apart, and are not afraid of being caught. Verdi develops a serenely calm scene in which Otello and Desdemona, in an extended duet, express their unbridled love-- a love that will soon be shattered. Otello is mature, yet impetuous. Desdemona is serene but passionate. From its opening line, "Già nella notte densa" ("Now in the dark night"), Verdi paints a scene of matrimonial bliss (Ex. #4), culminating in the famous bacio or "kiss" motif. Here, in a Wagnerian style "Tristan" progression of unresolved chords, Otello gives his Desdemona a kiss and yet another (Ex. #5). (This motif will play a significant role in Act IV, when Otello comes to kill her.)

In the opening music of Act II the bassoons and the cellos play a short twisty motif as a prelude to the stealthy maneuverings which are about to occur (Ex. #6a). This is transformed into a kind of snarl (Ex.#6b) in the introduction to Iago's subsequent aria-"Credo" ("I Believe"), the monologue in which he tells the audience that he believes in a cruel God and that "man (is) the plaything of a wicked fate, from the germ of the cradle to the worm of the grave." Also prominent in the "Credo" is this forceful statement in unison by the orchestra culminating in a savage 6-measure trill as Iago expounds his twisted philosophy (Ex. #7).

Cassio, having been demoted after his drunken brawl in Act I, wants his commission back. Iago suggest that he ask Otello's wife, Desdemona, to intercede on his behalf. As luck would have it, Otello happens to see Cassio pleading with his wife. Iago's off-hand remark upon seeing them, "I like not that," sows the first seed of doubt in Otello's mind. His suspicion aroused, Otello begins to question Iago further (Ex. #8). Iago warns him of a demon called "jealousy." He describes it as a "dark creature poisoning itself in its own venom." He concludes his description with a sinister trill (Ex. #9).

In a bona fide aria, "Ora per sempre addio" ("Now and forever farewell"), accompanied by two harps and pizzicato strings in a crisp 4/4 meter, Otello voices his grief at the loss of his peace of mind and fond memories (Ex. #10). The crisp pizzicato chords on each beat create a martial-like quality and a rustling inner string melody provides a restless energy.

Otello wants irrefutable proof that Desdemona is unfaithful, so Iago continues his fabrications and insinuations. He whispers in Otello's ear that he overheard Cassio speak lovingly of Desdemona in his dreams (Ex. #11). Iago slyly depicts Cassio's longing in a chromatic, suggestive slide down the scale.

For clinching proof he suggests that Otello ask Desdemona for her handkerchief (which Iago now has in his possession, having it demanded it from his wife Emilia, who picked it up when Desdemona dropped it accidentally.) If Desdemona cannot produce the handkerchief, Iago says, then perhaps she has given it to Cassio as a love token. This thought works Otello to a jealous rage. Together with Iago, Otello pledges to revenge himself on his wife. They raise their hands in solemn oath, and in a fiery duet, they sing first in harmony then in melodic imitiation, "Si pel ciel" ("Yes, by heaven") (Ex. #12).

In Act III, Desdemona innocently pleads to Otello to restore Cassio's position as lieutenant. But Otello, tormented by Iago's accusations, asks her to produce the handkerchief he once gave her. (At this point it is in Cassio's possession, having been planted there by Iago to arouse Otello's ire.) In an outburst Otello demands that Desdemona swear she is chaste, "Giuro e ti danna" ("Swear it or be damned") (Ex. #13a). When Desdemona declares her innocence, he replies sarcastically: "Forgive me if I was mistaken, but I had thought you were that filthy whore who is Otello's wife." Believing his worst fear has come true, Otello soars to a high C, his highest note in the opera (Ex. #13b). Later Otello, now in a total state of shock and numbness, reflects on what is happening in a monologue, "Dio! mio potevi scagliar" ("God! You might have rained upon me"). Forlorn violin triplets set the mood of his inner torment (Ex. #14a). Exhausted from his mental turmoil, Otello mutters in a monotone (Ex. #14b). At the climax of this aria, Otello resolves that Desdemona must confess her sin, then die (Ex. #14c).

In the "Handkerchief Trio" Iago manages to get Cassio to talk about his girlfriend Bianca with Otello in earshot, but not close enough to hear everything clearly. Otello believes Cassio is talking about Desdemona. Verdi creates a light scherzo flavor (Ex. #15). At one point, Iago even gets Cassio to display the infamous handkerchief, finally convincing Otlelo of his wife's infidelity. As an off-stage chorus announces the arrival of Lodovico, the Venetian ambassador, Otello vows to strangle Desdemona that very night.

In the second scene of Act III, Lodovico arrives amid pomp and fanfare to recall Otello back to Venice and appoint Cassio governor of Cyprus. Otello, venting his pent-up rage on Desdemona, hurls her to the ground in a humiliating and debasing gesture. In a final moment of irony, as the crowd sings the praises of The Lion of Venice, Otello, in convulsions by now, continues to call for "il fazzoletto" ("the handkerchief"). Iago arrogantly points to his fallen master and declaims "Ecco il Leone" ("Here is the Lion") with a vicious snarl underscored by a sinister low trill in the orchestra (Ex. #16).

In Act IV, Otello's stealthy entrance into Desdemona's bedchamber to solo muted double basses has a chilling effect, foreshadowing her murder (Ex. #17). Although the key signature is in A flat, it is written in E major. Otello gazes on Desdemona, who is asleep as the orchestra plays the "kiss" motif (see Ex. #5 from Act I). He kisses her three times as she awakens. Otello asks her if she has prayed for her sins. As he works himself up to a frenzied rage, she pleads with him to let her live until morning... an hour…a moment… but to no avail. He chokes and kills her. Suddenly Emilia-Iago's wife-bursts in. Seeing her mistress dead, she summons Lodovico, Cassio, and Iago. Emilia reveals Iago's lie. When Otello finally learns the truth, he takes out a dagger and stabs himself. To the agonizingly poignant "kiss" motif, Otello stuggles for one final time to kiss his beloved and innocent wife, singing "Un bacio-un altro bacio" ("A kiss-another kiss") one final time. He expires on his final note.

Choral Moments:

The beginning of Otello provides the most exciting opening, musically and dramatically, of any Verdi opera--and perhaps of any opera in history. The inhabitants of Cyprus are awaiting the arrival of Otello, whose ship they see in the distance floundering amidst a violent storm. Verdi arranges the chorus in various groups who comment antiphonally on the turbulence of the storm. The very opening music of the opera, after an upward rising scale on the trumpets, is a dissonant chord of the 11th. Wild arpeggios, dissonances, syncopations, lightning figures in the flutes and piccolos, shuddering temolos and ringing fanfares in the brass all paint a picture of a ferocious storm. As it reaches its climax, the chorus cries out "Dio, fulgor della bufera!" ("Oh God, the blinding storm!")--expressing not only the fury of the elements, but the anxiety of the crowd on shore (Ex. #18). Descending trumpet fanfares add to the ferocity of the atmosphere. After Otello and his crew safely reach shore and the storm begins to subside, the chorus declares victory over the elements and over their enemies. It is a light, staccato, antiphonal chorus, heavily accented with sudden dynamic fluctuations (Ex. #19). It starts in E minor and changes to E major at cries of victory toward the center and concludes softly in E major as the storm ends.

The people start a bonfire and sing and dance around it "Fuoco di gioia" ("Fire of joy") (Ex. #20). It is a potpourri of melodies, many of them so short that they disappear before the listener has time to grasp them. Particularly prominent is the piccolo flickering like the sparks of flame it describes. The chorus also participates in Iago's drinking song described earlier. There are a total of three stanzas, and the chorus enters in unison on the refrain after each (Ex. #21). As Iago cajoles Cassio into drinking the chorus continues to partipate and react to the turn of events. They laugh "Ah, ah, ah" first antiphonally, then together as the music swirls more rapidly to signify Cassio's increased intoxication. These "ah, ah, ah"s increase in frequency and volume, never coming to a full cadence as Cassio and Rodrigo begin to fight.

In Act II a chorus of women, sailors and children, "Dove guardi" ("Wherever you gaze"), provides the only relief from the building dramatic tension. Iago has already planted the seeds of jealousy in Otello. Before Otello has a chance to confront Desdemona directly, he overhears the inhabitants of Cypress serenading her and presenting her with flowers. The choral writing is in seven parts- three soprano groups, two tenor groups, bass and a part for a group of children in unison (Ex. #22a). At the beginning of the chorus, as Iago directs Otello's attention to the approaching Desdemona, its only accompaniment is the drone of bagpipes. The tenors and basses generally provide the harmonic support for the sopranos' melody. As the children add their voices, Verdi adds an accompaniment for mandolins and guitars. This is in a 6/8 barcarolle style (Ex. #22b). At first just the children have the melody here above the predominantly chordal accompaniment of the men and women. Later on the men, then the women, take over the melody as each in turn presents gifts to Desdemona. At the return of the opening melody, in a brief reprise, soft strings provide the accompaniment, creating an ethereal effect-a peaceful repose amid the violent emotions that are raging. It also serves to emphasize how gentle, pure and innocent Desdemona is compared to the adulterous ogre Iago makes her out to be.

The final use of the chorus in the opera occurs in Act III, scene ii when the crowd of Cypriots gathers to receive the Venetian ambassador Lodovico. Otello, unable to control his jealous fury, has hurled Desdemona to the ground in front of the entire crowd. A huge ensemble develops in which everyone reacts to the turn of events. This starts with Desdemona's lament , "A terra" ("To the ground") over pizzicato strings and continues with a lyrical solo expressing her shock and humiliation (Ex. #23a).

The secondary characters (Emilia, Cassio, Rodrigo and Lodovico) then have a short a cappella passage of reaction while the women proclaim "Pieta!" ("Mercy"), first in octaves, then in harmony. The men exclaim "Mistero" ("It's a mystery"). The ensemble then increases in complexity with up to twelve individual lines proceeding simultaneously. Iago's line appropriately moves with the quickest rhythm for he has the most to say. He is still scheming, first with Otello, then with Rodrigo. After the first few pages, Otello remains silent throughout the entire ensemble. A noted Verdi biographer, Dynely Hussey, wrote:

"Verdi has observed that in a conversation some people talk at ten words a minute and others at a hundred, while for both of them time goes by at the same speed. Thus he has given us a concertato in which each character expresses himself in the way dictated by his passion."

Near the end of the ensemble, the texture becomes more solid to provide a more unified effect near the end. Desdemona's melody is now echoed by Emilia, Cassio and the sopranos of the chorus. Iago, Lodovico and the basses of the chorus sing a counter melody in triplets while the rest of the people onstage supply the harmony (Ex. #23b). A final descending set of triplets in unison with doubling on the trombones, bassoons and strings brings this massive ensemble to an abrupt halt as Otello demands that they all leave. He is so infected with rage that there is no stopping him from his ultimate vengeance.

As the children add their voices, Verdi adds an accompaniment for mandolins and guitars. This is in a 6/8 barcarolle style (Ex. 22b). At first just the children have the melody here above the predominantly chordal accompaniment of the men and women. Later on the men, then the women, take over the melody as each in turn presents gifts to Desdemona. At the return of the opening melody, in a brief reprise, soft strings provide the accompaniment giving an ethereal effect—a peaceful repose amid the violent emotions which are raging. It also serves to point out in stark terms the contrast how gentle, pure and innocent Desdemona is compared to the adulterous ogre Iago points her out to be.

The final use of the chorus in the opera occurs in Act III, scene ii where the crowd of Cypriots is gathered to receive the Venetian ambassador Lodovico. Otello, unable to control his jealous fury, has hurled Desdemona to the ground in front of the entire crowd. A huge ensemble develops in which everyone reacts to the turn of events. This starts with Desdemona’s lament , "A terra" ("To the ground") over pizzicato strings and continues with a lyrical solo expressing her shock and humiliation (Ex. #23a).

The secondary characters (Emilia, Cassio, Rodrigo and Lodovico) then have a short a cappella passage of reaction while the women proclaim "Pieta!" ("Mercy"), first in octaves, then in harmony. The men exclaim "Mistero" ("It’s a mystery"). The ensemble then increases in complexity with up to twelve individual lines proceeding simultaneously. Iago’s line appropriately moves with the quickest rhythm for he has the most to say. He is still scheming, first with Otello, then with Rodrigo. After the first few pages, Otello remains silent throughout the entire ensemble. A noted Verdi biographer, Dynely Hussey, wrote:

"Verdi has observed that in a conversation some people talk at ten words a minute and others at a hundred, while for both of them time goes by at the same speed. Thus he has given us a concertato in which each character expresses himself in the way dictated by his passion."

Near the end of the ensemble, the texture becomes more solid to provide a more unified effect near the end. A melody sung earlier by Desdemona is now joined in by Emilia, Cassio and the sopranos of the chorus with Iago, Lodovico and the basses of the chorus having a counter melody in triplets while the rest supply the harmony (Ex. #23b). A final descending set of triplets in unison with doubling on the trombones, bassoons and strings brings this massive ensemble to an abrupt halt as Otello demands that they all leave. He is so infected with rage that there is no stopping him from his ultimate vengeance.