VERDI". Iago explains to Otello that he will lure Cassio here and talk with him while Otello watches, hidden. Otello then turns to Cassio, who is embarrassed and cannot excuse his actions. Otello lui parle sans excès mais lorsqu'elle parle à nouveau de Cassio (Dio ti giocondi, o sposo/Dieu rend content, ou l'époux), il s'emporte et demande le mouchoir brodé de Desdemona. At first glance, the cuts seem drastic; for example, the entire first act is Iago, Cassio, and Lodovico enter. Contrit, l'ex-capitaine rentre chez lui tout comme la foule qui s'en va, l'enthousiasme douché par ces événements. Cette section est vide, insuffisamment détaillée ou incomplète. To the right is a door. Otello enters the room; Iago, pretending not to notice him, says that he is deeply troubled. A hall on the ground floor of the castle, divided by a glass partition from the garden at the back, with a balcony. Desdemona a des pensées sombres (Era più calmo?/Était-il plus calme? / "Roderigo, let's drink!"). (Otello, Iago, Cassio, Montano: Abbasso le spade / "Down with your swords".) Otello accuses her of sin, saying that he must kill her because she loves Cassio. 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. Alors s'élève un des plus beaux duos d'amour jamais composés par Verdi (Già nella notte densa/Déjà dans la nuit dense) où les époux chantent leur bonheur et leur amour sans nuages et se souviennent de leurs passés respectifs, moins roses que leur présent. G.

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. The audience's enthusiasm for Verdi was shown by the 20 curtain calls that he took at the end of the opera.

(Iago: Era la notte, Cassio dormia / "It was night, Cassio was sleeping".) Faisant encore monter la tension, Iago invente un récit : Cassio, endormi, aurait fait un songe où parlant à voix haute il aurait évoqué le nom de Desdemona et son amour (Era la notte, Cassio dormia/C'était la nuit, Cassio dormait) ; peut-être y a-t-il eu une aventure entre les deux jeunes gens mais il n'en est pas sûr.
Persisting with further attempts to convince the composer, Ricordi had also broached the idea of a collaboration with Boito for a new opera based on Shakespeare's Othello. Tous fuyez Othello) Otello, à grands cris congédie violemment l'assistance et maudit Desdemona qui quitte la salle, anéantie. In May, Verdi "hit upon the precise form of one of the most famous entrances in all opera"[31] – ), Stephen Langridge (m.e.s.

Together Otello and Desdemona recall why they fell in love. Iago commence à organiser sa terrible intrigue : d'abord gâcher la fête (Roderigo, beviam' !/Rodrigue, nous buvons !) How could Boïto have taken a He lies dead next to Desdemona. [36] At its first appearance in Vienna (14 March 1888), the title role was sung by Hermann Winkelmann, who had created the title role in Wagner's Parsifal at Bayreuth in 1882. Poor Othello!...He won't come back here any more!!!

), Scala - RAI Trade, 2003 - Vladimir Galouzine (Otello), Tamar Iveri (Desdemona), Jean-Philippe Lafong (Iago), Orchestre national de France, Evelino Pido (dir.

» demande-t-elle avant de le reconnaître. Many more examples could be cited to justify Albeit "somewhat disquieted", he immediately proposes "a sort of evil Credo [which] I did... for my own comfort and personal satisfaction, because I felt the need of doing it". Le sang bouillant de Cassio est plus fort que le rappel à l'ordre de Montano, prédécesseur d'Otello (Capitano, v'attende la fazione ai baluardi/Le capitaine, il attend la faction des remparts) et les deux hommes se battent en duel : Cassio blesse Montano et Iago fait tout dégénérer en défaveur du capitaine tout en feignant de remédier à la crise : résultat, l'émeute gagne la ville entière.

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