Otello

Otello - Giuseppe Verdi | Opera

Approximate Running Time: 3 hours, including a 20-minute intermission
Language: Performed in Italian, with surtitles in Czech and English
Premiere: September 26, 2024
Suitable for audiences aged 14 and above

Shakespeare (and Boito) and Verdi lead the title hero into an ever-deeper abyss. The opera opens with a powerful storm scene and the jubilant entry of Otello, commander of the Venetian Navy, who, in spite of all the natural forces, returns to Cyprus and announces victory over the Ottoman Empire. The hero, however, makes the fatal error of trusting an evil man. Iago, a ruthless schemer devoured by lust for power, turns Otello’s life into a hell. Lost in his own delusions, Iago’s intrigues drive the feted general to blind jealousy, ultimately resulting in murder. Verdi was well aware of the extraordinary quality of Boito’s libretto, the finest he encountered during his career as a composer. He believed that together they had created a masterpiece – and he was right.

The premiere, on 5 February 1887 at La Scala in Milan, was a triumph, following which Otello set out on its glorious journey around the world. On 7 January 1888, owing to the promptitude of its director, František Adolf Šubert, the opera was staged, in Czech, at the National Theatre in Prague. The State Opera first presented it on 20 December 1911, conducted by Pietro von Stermich. Our new production has been undertaken by the distinguished drama director Martin Čičvák, who has previously gained acclaim at the State Opera with adaptations of Verdi’s opera Macbeth, Paul Abraham’s operetta Ball im Savoy and Dmitry Shostakovich’s opera Lady Macbeth of Mtsensk.

Synopsis

Act one
People in Cyprus are expecting the return of the island’s new governor, Otello, general of the Venetian fleet, from a naval battle with the Turks. Regardless of raging storm (“Una vela!”), the vessels manage to land. Otello steps onto the shore and declares their triumph over the Turkish navy (“Esultate!”). The crowd exaltedly celebrate the safe return of Otello and his men (“Fuoco de gioia”). One of the present, however, does not rejoice: he is Otello’s ensign, Iago. He despises his commander for having promoted Cassio to the rank of captain, instead of himself, for which he intends to revenge. He begins to weave a diabolic web of intrigues, initially focusing on Roderigo, a young Venetian noble who has fallen in love with Otello’s wife, Desdemona. Iago strongly encourages him in his romantic pursuits. Subsequently, in a tavern, he continuously prods Cassio, of whose low alcohol tolerance he knows, into proposing ever new toasts to Otello and Desdemona. Cassio heaps praise on Desdemona’s charms, and Iago proceeds to cunningly whet Roderigo’s jealousy. The latter mocks the drunken Cassio, who eventually starts up and pounces on Roderigo. As the former governor of Cyprus, Montano, tries to separate the two, Cassio injures him. Amid the general tumult enters Otello, and also Desdemona who was awakened by the din of the brawl. Enraged, Otello takes away Cassio’s newly gained rank and commissions Iago to take care of peace and quiet on the island. With this, Iago has in fact achieved his first goal. Otello then orders everyone to return to their homes, before joining Desdemona in a recollection of their first meeting (“Già nella notte”).

Act two
Iago carries on with his vile plotting. He slyly advises the hapless Cassio to ask Desdemona to plead with Otello in his favour (“Non ti crucciar”). Alone now, he professes his intrinsic nihilism and all-encompasing misanthropy (“Credo”). Thereafter he attempts to implant in Otello’s mind the false idea of Cassio successfully courting Desdemona. Kind and guileless, Desdemona asks Otello to pardon Cassio, her request presently sowing a seed of suspicion in Otello’s jealous mind. He sternly turns her down, complaining of a headache, then throws to the ground an embroidered scarf that he previously gifted to Desdemona, and with which Desdemona was about to wipe his forehead. The scarf is afterwards lifted by Emilia, the wife of Iago and Desdemona’s companion from whom Iago obtains it, using force. Left alone with Otello, Iago stirs up the latter’s jealousy, claiming to have overheard Cassio sleep-talking of his love for Desdemona, and of its being returned (“Era la notte, Cassio dorme”). He moreover asserts that Cassio wears her scarf. Torn by rage, Otello vows revenge (“Sì, pel ciel marmoreo giuro”).

Act three
The herald announces the arrival of a ship carrying Venetian ambassadors. Iago suggests to Otello to hide and eavesdrop on the former’s conversation with Cassio, thereby obtaining further evidence of Desdemona’s betrayal. Desdemona, who knows nothing about Iago’s plottings, again pleads with Otello to forgive Cassio. This still intensifies Otello’s jealousy, all the more so as Desdemona is unable to explain the loss of her scarf. Otello insults her, and after her departure he sinks into despair (“Dio mi potevi scagliar”). Iago returns with Cassio. He turns to him with craftily spun references to Cassio’s girlfriend, Bianca, while Otello in hiding becomes convinced that Cassio speaks about Desdemona. Presently, when Otello notices Desdemona’s scarf in Cassio’s hand – furtively planted there Cassio by Iago –, he is certain that this is the ultimate proof of his wife’s unfaithfulness. He vows to kill her, whereupon Iago assures him that he will take care of Cassio.

The ambassador of the Republic of Venice, Lodovico, arrives, to announce that the Venetian doge summons Otello into his service, appointing Cassio as the new governor of Cyprus. Otello loses control of himself, heaps insults on Desdemona, and to the horror of the assembled crowd throws her to the ground. In the meantime, Iago approaches Roderigo and taking him aside talks him into the execution of a plan meant to achieve that Otello, and Desdemona with him, would remain in Cyprus. For that, Roderigo is bound to kill Cassio. Otello sends everybody out and, left to his boundless torments at the idea of Desdemona in Cassio’s arms, he faints. Noises from the outside are dominated by Cypriots’ chants of hail to the ‘lion of Venice‘, Otello. Iago, bent over Otello’s motionless body, triumphs: “Now see the lion!”

Act four
Desdemona prepares to go to bed. She is terrified by the sudden change of Otello’s behaviour. She confides in Emilia her premonition of death, recalling a song she knew as a child (“Salse, salse”/Willow Song). She then sends Emilia off and says a heartfelt prayer (“Ave Maria”). Otello enters and accuses Desdemona of loving Cassio. All Desdemona’s assurances of her faithfulness and pleas for mercy are in vain. Otello strangles her. Emilia rushes in bringing the news that Cassio has killed Roderigo. On seeing Desdemona’s body she calls the others in. She points at Otello as Desdemona’s killer, and points at her husband, Iago, as the ultimate villain. Overwhelmed by despair, Otello stabs himself over the dead body of his wife.

Program and cast

Conductor: Hermann Bäumer

Otello - Denys Pivnitskyi

Jago - Mikołaj Zalasiński

Desdemona - Olga Busuioc

Emilia - Kateřina Jalovcová

Cassio - Martin Šrejma

Roderigo - Josef Moravec

Lodovico - Iurie Maimescu; Oleg Korotkov

Montano - Jan Hnyk

Herald - Martin Kreuz; Libor Novák

Young widow (dancer) - Pavla Horká; Adéla Abdul Khaleg

State Opera Chorus
State Opera Orchestra
National Theatre Opera Ballet
Prague Philharmonic Children's Choir

Stage director: Martin Čičvák

Sets: Hans Hoffer

Costumes: Georges Vafias

Choreography: Silvia Beláková

Light design: Jan Dörner

Chorus master: Adolf Melichar

Dramaturgy: Jitka Slavíková