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* OminousPipeOrgan: Verdi calls for an ominous sustained organ chord to play under the opening scene, stopping only when the storm is over.
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* OminousPipeOrgan: Verdi calls for an ominous sustained organ chord pedal to play under the opening scene, scene (in theatres that have an organ, anyway), stopping only when the storm is over. over.
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* AlmostDeadGuy: Despite having been strangled by Otello, Desdemona manages to sing her last words in which she forgives him before dying.
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* AlmostDeadGuy: Despite As in the play, despite having been strangled by Otello, Desdemona manages to sing her last words in which she forgives him before dying.dying. However, unlike earlier operatic versions of this trope, she doesn't sing an aria and only manages a few lines in a very quiet voice.
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* BSODSong: Otello's "Dio, mi potevi scagliar", which is the equivalent of the "Had it pleased heaven to try me with affliction" soliloquy.
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* KarmaHoudini: After being exposed, Iago simply runs offstage after refusing to explain himself, and is not shown to be caught.
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* UncertainDoom: Iago is last seen running offstage after his plot is exposed, with Lodovico ordering men after him. Whether he gets away or is caught is left unclear.
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The opera had been adapted to film numerous times, the most famous being Creator/FrancoZeffirelli's [[https://www.imdb.com/title/tt0091699/ 1986 film]].
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* LetsDuet: Otello and Desdemona’s Act I duet, “Gia nella notte densa s’estingue ogni clamor”.
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* LetsDuet: LetsDuet:
** Otello and Desdemona’s Act I duet, “Gia nella notte densa s’estingue ogniclamor”.clamor”.
** Otello and Iago's duet, "Si, pel ciel" at the end of Act II.
* LyricalDissonance: At the end of Act II, Otello and Iago's duet where they swear vengeance against Desdemona is set to rousing, triumphant music.
** Otello and Desdemona’s Act I duet, “Gia nella notte densa s’estingue ogni
** Otello and Iago's duet, "Si, pel ciel" at the end of Act II.
* LyricalDissonance: At the end of Act II, Otello and Iago's duet where they swear vengeance against Desdemona is set to rousing, triumphant music.
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* {{Bowdlerize}}: In the original play, Othello calls his wife a "cunning whore." In the opera, this is changed to "vil cortigiana" (vile courtesan).
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* {{Bowdlerize}}: In the original play, Othello calls his wife a "cunning whore."whore." In the opera, this is changed to "vil cortigiana" (vile courtesan)."cortigiana" (courtesan).
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* OminousPipeOrgan: Verdi calls for an ominous sustained organ chord to play under the opening scene, stopping only when the storm is over.
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* {{Bowdlerize}}: In the original play, Othello calls his wife a "cunning whore." In the opera, this is changed to "vil cortigiana" (vile courtesan).
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* TenorBoy: Otello has some shades of this, but he’s a dramatic tenor, and is thus way more manly than boyish. Cassio, on the other hand, seems to fit the bill more.
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* TenorBoy: Otello has some shades of this, but he’s Cassio fits the bill more. Otello, meanwhile, is a dramatic tenor, and one of the most vocally and dramatically demanding roles for an operatic tenor, so he is thus way ''much'' more manly than boyish. Cassio, on the any other hand, seems to fit the bill more.tenor role.
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* SceneryPorn: Elijah Moshinsky's production at the Met Opera has some [[http://archives.metoperafamily.org/Imgs/otello1213.11.jpg very]] [[http://www.albertleacivicmusic.com/uploads/2/7/1/7/2717241/7455971_orig.jpg lush]] and [[http://archives.metoperafamily.org/Imgs/otello1213.20.jpg beautiful]] [[http://archives.metoperafamily.org/Imgs/otello1213.07.jpg backdrops]] for Cyprus.
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''Otello'' is a four-act opera by Music/{{Giuseppe Verdi}}, set to a libretto by Arrigo Boito, and based off Creator/{{William Shakespeare}}'s play ''Theatre/{{Othello}}''. It was Verdi's penultimate opera, one he wrote after ''Aida'' and which he came out of retirement to compose, and it had a successful premiere at the Teatro alla Scala in Milan on February 5th, 1887.
The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry. Enflamed with jealousy, Iago plots to destroy Otello by turning him against his trusted friends and his beloved Desdemona, using whatever it takes to ensure that Otello is ruined.
The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry. Enflamed with jealousy, Iago plots to destroy Otello by turning him against his trusted friends and his beloved Desdemona, using whatever it takes to ensure that Otello is ruined.
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''Otello'' is a four-act opera by Music/{{Giuseppe Verdi}}, set to a libretto by Arrigo Boito, and based off Creator/{{William Shakespeare}}'s play ''Theatre/{{Othello}}''. It was Verdi's penultimate opera, one he wrote after ''Aida'' and which he came out of retirement to compose, and it had a successful premiere at the Teatro alla Scala in Milan on February 5th, 1887.
1887. It is also the second of Verdi's three Shakespeare operas, the others being ''Macbeth'' and ''Falstaff''.
The opera follows Shakespeare's playas accurately as it can.quite closely. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry. Enflamed with jealousy, Iago plots to destroy Otello by turning him against his trusted friends and his beloved Desdemona, using whatever it takes to ensure that Otello is ruined.
The opera follows Shakespeare's play
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/vintage_poster_for_othello_by_giuseppe_verdi_italian_school.jpg]]
[[caption-width-right:350: The 1887 premiere poster for the opera]]
[[caption-width-right:350: The 1887 premiere poster for the opera]]
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* SignatureItemCue: The handkerchief is just as significant here as it is in the play.
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* SignatureItemCue: SignatureItemClue: The handkerchief is just as significant here as it is in the play.
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* CostumePorn:
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* CostumePorn: Traditional productions have some [[http://archives.metoperafamily.org/Imgs/otello1213.07.jpg lovely]] [[http://archives.metoperafamily.org/Imgs/otello1213.21.jpg 16th-century]] [[http://archives.metoperafamily.org/Imgs/otello1213.16.jpg Italian]] [[https://bachtrack.com/imagecache/scaled/33886-275-otello_kristian_benedikt_montreal_yves_renaud_cropped.jpg clothes]] for every single character in the opera.
* DespairEventHorizon: Otello crosses this after he realizes that Desdemona was innocent, and commits suicide as a result.
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* GorgeousPeriodDress: Traditional productions will always give [[http://www.theseniortimes.com/wordpress/wp-content/uploads/2016/03/Kristian-Benedikt-Otello-Hiromi-Omura-Desdemona-%E2%94%AC%C2%AE-Yves-Renaud.jpg Desdemona]] some [[http://archives.metoperafamily.org/Imgs/Otello0708.11.jpg gorgeous]] [[https://static01.nyt.com/images/2012/10/11/arts/11OTELLO/11OTELLO-jumbo.jpg 16th-century]] Italian gowns.
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* GorgeousPeriodDress: Traditional productions will always give [[http://www.theseniortimes.com/wordpress/wp-content/uploads/2016/03/Kristian-Benedikt-Otello-Hiromi-Omura-Desdemona-%E2%94%AC%C2%AE-Yves-Renaud.jpg Desdemona]] some [[http://archives.metoperafamily.org/Imgs/Otello0708.11.jpg gorgeous]] [[https://static01.nyt.com/images/2012/10/11/arts/11OTELLO/11OTELLO-jumbo.jpg 16th-century]] Italian gowns.gowns.
* GreenEyedMonster: Like the play, jealousy is a major theme of the opera.
* TheIngenue: Desdemona has shades of this.
* LetsDuet: Otello and Desdemona’s Act I duet, “Gia nella notte densa s’estingue ogni clamor”.
* MistakenForCheating: With ''disastrous'' results.
* MurderSuicide: Otello realizes that Desdemona was innocent after murdering her. Wracked with guilt, Otello stabs himself in the hopes of joining her.
* MyGodWhatHaveIDone: Otello and Emilia.
* NearVillainVictory: Iago almost gets away with his plan, but thanks to Emilia, Cassio, and Montano, he doesn’t.
* OdeToIntoxication: “Inaffia l’ugola”, the drinking song that Iago sings in Act I.
* PoorCommunicationKills: Yet again, just like in the play.
* SignatureItemCue: The handkerchief is just as significant here as it is in the play.
* SparedByTheAdaptation: While Emilia is killed in Shakespeare’s play, she lives in the opera and successfully exposes Iago’s manipulations.
* StarCrossedLovers: Otello and Desdemona.
* TenorBoy: Otello has some shades of this, but he’s a dramatic tenor, and is thus way more manly than boyish. Cassio, on the other hand, seems to fit the bill more.
* VillainSong: “Credo in un Dio crudel” is one of the defining villain arias in opera.
* GreenEyedMonster: Like the play, jealousy is a major theme of the opera.
* TheIngenue: Desdemona has shades of this.
* LetsDuet: Otello and Desdemona’s Act I duet, “Gia nella notte densa s’estingue ogni clamor”.
* MistakenForCheating: With ''disastrous'' results.
* MurderSuicide: Otello realizes that Desdemona was innocent after murdering her. Wracked with guilt, Otello stabs himself in the hopes of joining her.
* MyGodWhatHaveIDone: Otello and Emilia.
* NearVillainVictory: Iago almost gets away with his plan, but thanks to Emilia, Cassio, and Montano, he doesn’t.
* OdeToIntoxication: “Inaffia l’ugola”, the drinking song that Iago sings in Act I.
* PoorCommunicationKills: Yet again, just like in the play.
* SignatureItemCue: The handkerchief is just as significant here as it is in the play.
* SparedByTheAdaptation: While Emilia is killed in Shakespeare’s play, she lives in the opera and successfully exposes Iago’s manipulations.
* StarCrossedLovers: Otello and Desdemona.
* TenorBoy: Otello has some shades of this, but he’s a dramatic tenor, and is thus way more manly than boyish. Cassio, on the other hand, seems to fit the bill more.
* VillainSong: “Credo in un Dio crudel” is one of the defining villain arias in opera.
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The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry.
to:
The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry. Enflamed with jealousy, Iago plots to destroy Otello by turning him against his trusted friends and his beloved Desdemona, using whatever it takes to ensure that Otello is ruined.
As mentioned before, Verdi was about to retire after composing ''Aida'' in 1871, and it took his Milan publisher ten years to persuade him to write anything. The composition process was long and took several years, but it proved to be a resounding success. Today, the opera is performed quite frequently as a staple of the worldwide operatic repertoire.
!!Verdi's opera provides examples of:
* AdaptedOut: Brabantio, Desdemona’s father, and Bianca, Cassio’s lover, are both removed from the opera. So instead of Lodovico being a relative of Desdemona, he’s now an ambassador of the Venetian Republic.
* AlmostDeadGuy: Despite having been strangled by Otello, Desdemona manages to sing her last words in which she forgives him before dying.
* AmbiguouslyBrown: Otello, just like in Shakespeare’s play. Likewise, many white tenors have sung his role in blackface, which further complicates his race, though he’s mostly viewed as a black man in this adaptation. There’s also the fact that he’s been sung by quite a few black tenors recently.
* BittersweetEnding: Iago’s evil plot and scheming is exposed by Emilia (who lives!), but Desdemona and Otello are both dead now.
* CardCarryingVillain: Iago’s Act II aria, “Credo in un Dio crudel”, literally translates to “I believe in a cruel God”, where he sings that no human is born good-hearted.
* TheChessmaster: Iago, of course.
* CostumePorn:
* CrowdSong: “Una vela” in Act I, and an epic one at that.
* DramaticThunder: During “Una vela”, there’s a storm raging as the Cypriots are anxiously awaiting Otello’s arrival in the harbour, praying that his ship doesn’t sink.
* DisproportionateRetribution: Iago, furious that Otello gave his promotion to Cassio, vows to destroy Otello’s life, just like in Shakespeare’s play.
* EstablishingCharacterMoment: Here, Iago's moment is when he prays that Otello dies at sea in Act I.
* EvilPlan: Iago’s plan to destroy Otello’s life, much like in Shakespeare’s play.
* EvilSoundsDeep: Iago is a baritone role, and he’s perhaps one of the most evilest characters in opera. Averted with Lodovico, a bass role.
* FatalFlaw: Otello’s jealousy.
* FriendToAllChildren: Desdemona is shown to be one in Act II, when several children come to present her with gifts and wish her happiness.
* GorgeousPeriodDress: Traditional productions will always give [[http://www.theseniortimes.com/wordpress/wp-content/uploads/2016/03/Kristian-Benedikt-Otello-Hiromi-Omura-Desdemona-%E2%94%AC%C2%AE-Yves-Renaud.jpg Desdemona]] some [[http://archives.metoperafamily.org/Imgs/Otello0708.11.jpg gorgeous]] [[https://static01.nyt.com/images/2012/10/11/arts/11OTELLO/11OTELLO-jumbo.jpg 16th-century]] Italian gowns.
As mentioned before, Verdi was about to retire after composing ''Aida'' in 1871, and it took his Milan publisher ten years to persuade him to write anything. The composition process was long and took several years, but it proved to be a resounding success. Today, the opera is performed quite frequently as a staple of the worldwide operatic repertoire.
!!Verdi's opera provides examples of:
* AdaptedOut: Brabantio, Desdemona’s father, and Bianca, Cassio’s lover, are both removed from the opera. So instead of Lodovico being a relative of Desdemona, he’s now an ambassador of the Venetian Republic.
* AlmostDeadGuy: Despite having been strangled by Otello, Desdemona manages to sing her last words in which she forgives him before dying.
* AmbiguouslyBrown: Otello, just like in Shakespeare’s play. Likewise, many white tenors have sung his role in blackface, which further complicates his race, though he’s mostly viewed as a black man in this adaptation. There’s also the fact that he’s been sung by quite a few black tenors recently.
* BittersweetEnding: Iago’s evil plot and scheming is exposed by Emilia (who lives!), but Desdemona and Otello are both dead now.
* CardCarryingVillain: Iago’s Act II aria, “Credo in un Dio crudel”, literally translates to “I believe in a cruel God”, where he sings that no human is born good-hearted.
* TheChessmaster: Iago, of course.
* CostumePorn:
* CrowdSong: “Una vela” in Act I, and an epic one at that.
* DramaticThunder: During “Una vela”, there’s a storm raging as the Cypriots are anxiously awaiting Otello’s arrival in the harbour, praying that his ship doesn’t sink.
* DisproportionateRetribution: Iago, furious that Otello gave his promotion to Cassio, vows to destroy Otello’s life, just like in Shakespeare’s play.
* EstablishingCharacterMoment: Here, Iago's moment is when he prays that Otello dies at sea in Act I.
* EvilPlan: Iago’s plan to destroy Otello’s life, much like in Shakespeare’s play.
* EvilSoundsDeep: Iago is a baritone role, and he’s perhaps one of the most evilest characters in opera. Averted with Lodovico, a bass role.
* FatalFlaw: Otello’s jealousy.
* FriendToAllChildren: Desdemona is shown to be one in Act II, when several children come to present her with gifts and wish her happiness.
* GorgeousPeriodDress: Traditional productions will always give [[http://www.theseniortimes.com/wordpress/wp-content/uploads/2016/03/Kristian-Benedikt-Otello-Hiromi-Omura-Desdemona-%E2%94%AC%C2%AE-Yves-Renaud.jpg Desdemona]] some [[http://archives.metoperafamily.org/Imgs/Otello0708.11.jpg gorgeous]] [[https://static01.nyt.com/images/2012/10/11/arts/11OTELLO/11OTELLO-jumbo.jpg 16th-century]] Italian gowns.
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''Otello'' is a four-act opera by Music/{{Giuseppe Verdi}}, set to a libretto by Arrigo Boito, and based off Creator/{{William Shakespeare}}'s play ''Theatre/{{Othello}}''. It was Verdi's penultimate opera, one he wrote after ''Aida'' and which he came out of retirement to compose, and it had a successful premiere at the Teatro alla Scala in Milan on February 5th, 1887.
The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry.
The opera follows Shakespeare's play as accurately as it can. Otello, a Moorish general, arrives in Cyprus after a victorious battle against the Turks. Unbeknownst to him, he's acquired two enemies: his ensign Iago, for promoting Cassio to captain of the Venetian navy, and Roderigo, who hates Otello for marrying Desdemona, an Italian noblewoman whom he wanted to marry.
