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Shakespeare’s Othello text
Rossini’s Otello libretto
Rossini 's Otello synopsis
Joyce diDonato sings the Willow Song
The prolific Rossini (1792-1868)
We've met Rossini already - have a read of our 2017 web page about this prolific composer.
Mozart had just died when he was born - in 1792 - so baroque opera was well in the past and the Italian style was for comic opera. Rossini obliged: think of his often-performed La Cenerentola which we have looked at (here's our 2017 web page) and Il Barbiere di Siviglia (another 2017 page). We also covered the witty but less known Le Comte Ory (here).
With 40 or so operas to his credit, it's no wonder he often borrowed off himself - and others. But he is generally regarded as creating the bel canto tradition of beautiful - and difficult - singing with orchestral demands to match. Donizetti and Bellini followed on, but it was Verdi who later pioneered a more romantic and emotional style in Italy.
Otello (1816)
"the watershed between opera of the 18th century and that of the 19th" (Gossett)
His Otello - quite early, written between Cinderella and The Barber - is replete with typically bel canto singing, as we shall see. But is it the Shakespeare story? Rossini strayed further from Shakespeare than Verdi was to go. (We'll pr0bably look at Verdi's version later.) In fact the first two acts are Shakespeare's only in the names of the principal characters. The opera is set in Venice, not Cyprus, and starts in the Doge's palace with the Doge conferring citizenship on Otello. Meanwhile Desdemona's father, the scheming Elmiro, plots with Otello's equally wily and bitter ensign Jago and the Doge's son Rodrigo to force Desdemona to marry the latter and advance their own fortunes at court. This change of plot, with much heavier political masculinist and racist components, makes the antagonism between Otello and Jago, and Otello's distrust of Desdemona, perhaps more plausible than in Othello. The portrayal of aristocracy as manipulators and schemers fits with Rossini's own republicanism which got him into trouble.
These departures need some explanation and an excellent essay by Peter Tregear of Melbourne University does just that.
Though innovative in its musical style and its serious not-just-romantic theme, Rossini's plot has the time-honoured elements of Italian opera - the intercepted letter (not handkerchief!), father who uses daughter as political fodder, rivalry culminating in a duel, and a disloyal scheming aide. Nevertheless like Verdi he brought Desdemona's Willow Song from Shakespeare and the final tragic act is close to Shakespeare.
Rossini's Otello is not often staged, but the busy and innovative Melbourne Opera put on its Australian premiere last last year, directed by Bruce Beresford. Here's a very favourable review of it.
Our Production
We'll be using the DVD of the fine Zurich modern-dress production of 2012. Desdemona, a mezzo soprano role, is Cecilia Bartoli - "Ms. Bartoli radiates a kind of charismatic diligence. It is obvious that she has plotted out every musical and dramatic moment: every subtle diminuendo, every gesture." (New York Times). Try this video for an example of her unmatched bel canto brilliance. Otello is John Osborn, Rodrigo is Javier Camarena and Jago Edgardo Rocha - all high tenors. Desdemona's father Elmiro is bass Peter Kalman and Desdemona's confidante Emilia is the mezzo Lilian Nikiteanu. All under the baton of Muhai Tang.