Otello

Plot synopsis:
Time: The late 15th century.
Place: A coastal city on the island of Cyprus.
=== Act 1 ===
A town in Cyprus, outside the castle. An inn with a pergola, in the background the quayside and sea. It is evening. Lightning, thunder, gale force winds.
On a stormy evening, the people of Cyprus anxiously await the arrival of the new governor, Otello, from a naval battle with the Turks (Chorus, Montano, Cassio, Iago, Roderigo: Una vela! / "A sail!"). For a moment it seems as if Otello's ship will founder, to the delight of Otello's treacherous ensign, Iago, but Otello arrives safely and announces that the Turkish fleet has been destroyed, and the Cypriots cheer (Otello, chorus: Esultate! L'orgoglio musulmano sepolto è in mar / "Rejoice! The Mussulman's pride is buried in the sea").
Iago offers to help the young Venetian gentleman Roderigo in his seduction of Otello's wife, Desdemona – Iago envies Otello his success and longs to destroy the Moor (Iago, Roderigo: Roderigo, ebben che pensi? / "Well, Roderigo, what are you thinking?"). Among his grievances, Iago is outraged that Otello has appointed Cassio to be the captain of the navy, a position that Iago hoped to have. The people of Cyprus celebrate the safe return of Otello and his men by lighting a bonfire and drinking (Chorus: Fuoco di gioia!/ "Fire of joy").
Iago proposes a toast to Otello and his wife, while Cassio praises Desdemona (Iago, Cassio, Chorus, Roderigo: Roderigo, beviam! / "Roderigo, let's drink!"). Iago offers Cassio more wine, but Cassio says he has had enough. Iago pressures him and offers a toast to Otello and Desdemona. Cassio gives in. Iago sings a drinking song and continues to pour Cassio wine (Iago, Cassio, Roderigo, chorus: Inaffia l'ugola! / "Wet your throat").
Montano enters and calls for Cassio to begin his watch; he is surprised to find Cassio drunk and barely able to stand upright. Iago lies to Montano, telling him that this is how Cassio spends every evening. Roderigo laughs at Cassio's drunkenness and Cassio attacks him. Montano tells Cassio to calm down, but Cassio draws his sword and threatens to crack open Montano's head. (Montano, Cassio, Iago, Roderigo, chorus: Capitano, v'attende la fazione ai baluardi / "Captain, the guard awaits you on the ramparts".) Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Montano is wounded and the fight is stopped only by the appearance of Otello.
Otello orders Montano and Cassio to lower their swords. He then asks "honest Iago" to explain how the duel began, but Iago says he doesn't know. Otello then turns to Cassio, who is embarrassed and cannot excuse his actions. When Otello discovers that Montano is wounded, he becomes enraged. Desdemona enters, and, upon seeing that his bride's rest has been disturbed, Otello declares that Cassio is no longer Captain. (Otello, Iago, Cassio, Montano: Abbasso le spade / "Down with your swords".) He tells Iago to patrol the town to restore quiet, calls for help for Montano and orders everyone to return to their houses.
The Cypriots leave Otello alone with Desdemona. Together Otello and Desdemona recall why they fell in love. Otello, in an ecstasy of joy, invites death, fearing that he will never know such happiness again. Desdemona prays that their love will remain unchanged. They kiss, overcome with love for each other. (Otello, Desdemona: Già nella notte densa s'estingue ogni clamor /"Now in the dark night all noise is silenced".)
=== Act 2 ===
A hall on the ground floor of the castle, divided by a glass partition from the garden at the back, with a balcony.
Iago suggests to Cassio that he should ask Desdemona to talk to Otello about his demotion; Desdemona can influence her husband to reinstate him (Iago, Cassio: Non ti crucciar / "Do not fret"). Desdemona and Emilia can be seen walking the garden. Cassio approaches Desdemona. Watching from the room, Iago voices his nihilistic beliefs and hatred of humankind (Credo in un Dio crudel / "I believe in a cruel God").
Otello enters the room; Iago, pretending not to notice him, says that he is deeply troubled. Cassio sees Otello from afar and goes discreetly away. Otello asks what's wrong, but Iago gives only vague answers. Finally, he hints that Cassio and Desdemona are having an affair. Otello begins to get suspicious, but declares that he needs proof before believing that Desdemona has been unfaithful. (Iago, Otello: Ciò m'accora... Che parli? / "That worries me..." "What did you say?") Iago warns Otello against jealousy, but also advises him to be vigilant.
A crowd of children, sailors, and Cypriots sing to Desdemona, praising her beauty and purity (Chorus, Iago, children, Desdemona, Otello: Dove guardi splendono raggi / "Wherever you look, brightness shines..."). They present her with gifts and wish her happiness before leaving.
Desdemona carries Cassio's request for reinstatement to Otello. Otello sourly tells her to ask him another time; as she persists, he grows impatient and says he has a headache. Desdemona offers to wrap his head in a handkerchief Otello once gave her, linen embroidered with strawberries. Otello throws it to the ground and says he doesn't need it (Desdemona, Otello: D'un uom che geme sotto il tuo disdegno la preghiera ti porto / "I bring a petition from one who suffers under your displeasure"). Emilia picks up the handkerchief. Desdemona asks for Otello's forgiveness. Aside, Iago demands that Emilia give him the handkerchief. When she refuses, Iago forcibly takes it from her.
Otello dismisses the others, and declares that he now believes that Desdemona may be deceiving him (Otello: Ora e per sempre addio sante memorie / "Now and forever farewell, holy memories"). Iago returns, and the jealous Otello demands proof of Desdemona's infidelity. Iago says that once, when he and Cassio were sleeping in the same room, he heard Cassio talking to Desdemona in a dream. In the dream, says Iago, Cassio told Desdemona that they must be careful to conceal their love. (Iago: Era la notte, Cassio dormia / "It was night, Cassio was sleeping".) Iago says that dreams don't prove anything, but remarks that he saw Cassio carrying Desdemona's strawberry-embroidered handkerchief just the day before. Otello swears vengeance on Desdemona and Cassio, and Iago joins him in his vow (Otello, Iago: Sì, pel ciel marmoreo giuro / "Yes, by the marble heavens I swear").
=== Act 3 ===
The great hall of the castle. To the right, a large colonnade leading to a smaller hall, in the back of which is a balcony. Othello and Iago talking in the hall as a herald enters.
A herald brings news of the approach of ambassadors from Venice. Iago explains to Otello that he will lure Cassio here and talk with him while Otello watches, hidden. He leaves to go get Cassio. (Iago: Qui trarrò Cassio / "Here I will bring Cassio".)
Desdemona enters and reminds Otello of Cassio's request. Otello says that his headache has returned, and asks Desdemona to wrap her handkerchief around his head. When Desdemona produces a different handkerchief, Otello demands the one with strawberries. When she says she does not have it, Otello says that it was a talisman, and troubles will befall her if she loses it. Desdemona says that he is trying to ignore Cassio's plea, and as she asks him about Cassio, he demands the handkerchief ever more insistently. (Desdemona, Otello: Dio ti giocondi, o sposo / "God keep you merry, husband".) Desdemona protests that she is faithful; Otello sends her away (Desdemona, Otello: Esterrefatta fisso lo sguardo tuo tremendo / "Terrified, I face your dreadful look").
Otello laments his fate (Dio! mi potevi scagliar tutti i mali / "God, you could have thrown every evil at me" ). When Iago calls out "Cassio is here!" Otello hides as Iago and Cassio enter. Cassio says he had hoped to see Desdemona here, for he wanted to know whether she had been successful with Otello (Iago, Cassio, Otello: Vieni; l'aula è deserta / "Come, the hall is deserted"). Iago asks him to tell of his adventures with that woman. Cassio asks which woman, and, softly, so that Otello cannot hear, Iago says "Bianca" (the name of Cassio's actual lover). As Cassio laughs about his romantic adventures, Otello assumes he is speaking of Desdemona. 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. At Iago's urging, Cassio produces it, whereupon Iago seizes it—for it is Desdemona's—and holds it out where he knows Otello can see it. He then returns it to Cassio and teases him, while in his hiding place Otello fumes (Iago, Cassio, Otello: Questa è una ragna dove il tuo cuor casca / "This is a spiderweb in which your heart is caught").
Bugles sound, announcing the arrival of the Venetian ambassador, Lodovico. Iago warns Cassio that he should leave unless he wants to see Otello. Cassio exits, and Otello asks Iago how he should kill his wife. Iago advises Otello to kill Desdemona by suffocating her in her bed, while he will take care of Cassio. Otello promotes Iago to Captain.
Lodovico, Desdemona, Emilia, Roderigo, and other dignitaries enter. When Lodovico notes Cassio's absence, Iago tells him that Cassio is out of favor. Desdemona interrupts, telling Lodovico that she hopes he will soon be restored. Otello calls her a demon and almost strikes her violently but is held back by Lodovico. Otello then calls for Cassio. (Lodovico, Otello, Desdemona, Emilia, Iago, chorus: Il Doge ed il Senato salutano l'eroe trionfatore / "The Doge and the Senate greet the triumphant hero".) Cassio enters and Otello reads (mixing in insults to Desdemona) a letter from the Doge, announcing that he (Otello) has been called back to Venice and Cassio is to succeed him as governor of Cyprus. Enraged, Otello throws Desdemona to the ground. (Otello, Roderigo, Iago, Cassio, Lodovico: Messeri! il Doge mi richiama a Venezia / "Gentlemen! The Doge recalls me to Venice".)
Desdemona, on the ground, laments (A terra! … sì … nel livido fango / "Fallen! yes, in the foul mud..."). The various characters express their feelings: Emilia and Lodovico express their sympathy for Desdemona, Cassio marvels at his sudden change of fortune, and Roderigo laments that Desdemona will soon depart. In separate asides, Iago urges Otello to take his revenge as soon as possible, while he will take care of Cassio. He advises Roderigo that the only way to prevent Desdemona from leaving is for Cassio, the new Duke, to die, and suggests that Roderigo murder Cassio that night. (Emilia, Cassio, Desdemona, Roderigo, Lodovico, Iago, Otello, chorus: Quell'innocente un fremito d'odio non ha nè un gesto / "That innocent one is without feeling or gesture of hatred"). In a fury, Otello orders everyone to leave. Desdemona goes to comfort him, but Lodovico pulls her away as Otello curses her. As the others leave, Otello raves about the handkerchief, then collapses. Iago presses Otello's forehead with his heel, then walks away. Outside the crowd of Cypriots calls out victory and glory for Otello. (Otello, Desdemona, Emilia, Cassio, Roderigo, Lodovico, Iago, chorus: Fuggite! / "Begone".)
=== Act 4 ===
Desdemona's bedchamber. A bed, a prie-dieu, a table, a mirror, some chairs. A light burns in front of an image of the Madonna which hangs above the prie-dieu. To the right is a door. On the table a light. It is night.
Desdemona is preparing for bed with the assistance of Emilia. She asks Emilia to put out the bridal gown she used on her wedding day, and says that if she dies, she wants to be buried in it. Emilia tells her not to talk about such things. Desdemona recalls how her mother's servant Barbara was abandoned by her lover, and how she used to sing the Willow Song (Desdemona: Piangea cantando nell'erma landa / "Singing, she wept on the lonely hearth"). After Emilia leaves, Desdemona prays (Ave Maria) and then falls asleep.
Silently, Otello enters, with a sword. He kisses his wife three times; she awakens. Otello asks her if she has prayed tonight; she must die, and he does not wish to condemn her soul. She asks God for mercy, both for her and for Otello. Otello accuses her of sin, saying that he must kill her because she loves Cassio. Desdemona denies it and asks that he summon Cassio to testify to her innocence. Otello says that Cassio is already dead. Desdemona, horrified, pleads for mercy, but Otello tells her it's too late and strangles her (Otello, Desdemona: Diceste questa sera le vostre preci / "Have you said your prayers tonight?").
Emilia knocks at the door, (Emilia: Aprite! Aprite! / "Open up!") announcing that Cassio has killed Roderigo. Desdemona softly calls out that she has been unjustly accused, but refuses to blame Otello. She dies. Emilia calls Otello a murderer; he retorts that Iago gave him proof of Desdemona's infidelity. Otello begins to threaten Emilia, who calls for help. Iago, Cassio, and Lodovico enter. Emilia demands that Iago deny Otello's accusation; he refuses. Otello says that the handkerchief Desdemona gave to Cassio is proof enough. Emilia, horrified, explains that Iago stole the handkerchief from her—Cassio confirms that the handkerchief appeared mysteriously in his lodgings. Montano enters and says that Roderigo, with his dying breath, has revealed Iago's plot. Iago, brandishing his sword, runs away.
After he realizes what has happened, Otello grieves over Desdemona's death. Initially he draws his scimitar (Otello: Niun mi tema / "That none fear me") but then relinquishes it. He then stealthily draws a dagger from his robe (Otello: Ho un'arma ancor! / I still have another weapon!) and stabs himself. Others try to stop him, but it is too late. Before he dies, he drags himself next to his wife and kisses her (Otello: Un bacio...un bacio ancora...ah!...un altro bacio... / A kiss.. another kiss...ah...and yet another kiss). He lies dead next to Desdemona.

Tags: tragedy

Review:
A real rarity -- an opera on film that still retains its power.
That being said, this is one of the best movie versions of this opera around.
As for Katia's Desdemona, she is a great singer and beautiful woman (for an opera singer, of course).
Justino Diaz's Iago is as evil and vile as Shakespeare wrote of him.
In terms of audience expectations, opera films are the luckiest in the medium.
Whereas comedies have to be funny, action films exciting or mysteries mysterious, opera films could be the dullest, visually incompetent farragos ever, as long as the music is there, booming in all its glory.
And, with a few noble exceptions - the Archers, Losey, Bergman - that is in general what we opera lovers have been given: we are that easy to please.Zeffirelli's OTELLO is far better than the usual, but is, if I may say so under IMDb guidelines, still hampered by a curious mixture of unfounded arrogance, cautious reverence and  imaginative timidity.
As any fool knows, the best films are founded on melodrama, literally music and drama, just like opera (and many great film-makers have produced opera also).
Because action on stage is evidently limited, all the excitement, passion, emotion of characters' feelings and of extreme circumstance are carried by the music, in the same way narrative is less important in the films of, say, Minnelli or Sirk, than the vibrant mise-en-scene which speaks for characters when they cannot.Opera, therefore, might seem a perfect medium for cinema.
But any director of opera carries the millstone of the score - you can cut, but you cannot write new music (or if you did you'd be shot), and so you have to work with what you've got, which increases the theatricality.
Again, depending on your genius, you can be limited or liberated by this.OTELLO benefits from this concentration because it is such an inexorable, claustrophobic piece, where the confinement of setting mirrors the different prisons characters find themselves in.
But claustrophobia is uncomfortable, and Zeffirelli is catering to a bourgeois, generally non-cinema going audience, who want a tasteful, middle-brow night out, and so he never explores the opera's intensity as much as he might.
And, we are reminded of Welles's OTHELLO, the second greatest Shakespearean adaptation, and know how it can be done.This is a very traditional interpretation, not just for opera on stage, but for Shakespearean performances as well.
We get the usual Cyprus garrison, the Renaissance costumes, the exotic local colour, the play of black and white, the sight of pure Desdemona in white lying on her pure, white bed.
But Zeffirelli makes a few 'adjustments' that are not neccessarily in Verdi, but have some justification from Shakespeare.
For instance, Desdemona's relations with Cassio are ambiguous, made seemingly sexual from the very beginning, making Otello's rage less irrational, and her 'innocence' more complicated.
This might blunt the story's symbolic force, but makes the characterisation more plausible, as does Otello's suspicion from the start, so that Iago's poison is only one factor in the Moor's anguish.
There are two sequences - Iago's self-revealing credo and Otello's jealous soliloquy - full of huge metaphysical power, bracing blasphemy and emotional voids that cry out for Welles; in fairness, these are the film's best scenes, but they are suffocated by restraint.
Curiously enough, with the excessive zooming, clumsy compostions and unrhythmic editing, the nearest filmmaker to Zeffirelli is Welles' friend Jesse Franco - if the Italian never approaches that maverick's sheer profusion of ideas, there is a gratifying homoeroticism (especially Iago talking about Cassio's dream, immensely revealing or the villain's character) to compensate.It would be inappropriate to expect astonishing acting from opera performers - the histrionic requirements of a huge hall and an exposing close-up are completely different.
Surely, in the mid-80s, it is beyond offensive to cast a boot-polished singer in the lead role, especially with so many great black performers more than qualified.
On the other hand, Domingo is the greatest tenor of the 20th century, the most daring, versatile and exciting, as well as the one with most subtle and expressive dramatic range.
In his first appearance, entering from the storm, and in his first beg scene, halting the drunken brawl, Otello is a figure who emerges from chaos to assert order; his decline into madness, pointed by the profusion of scientific, 'rational', instruments, which become expressions of distortion, is painful to watch, but true.
I had just seen an excellent stage production of Otello last week and pulled out this tape to watch with a friend and again savour this wonderful opera.
Some are disappointed, others are surprised.It seems, having found out Franco Zeffirelli's entire filmography, that the key movie which truly delivers the director's masterful eye for details as well as the desirable faithfulness in adapting the classical source to the screen is TRAVIATA with Placido Domingo and Teresa Stratas.
Indeed, echoing Vincent Canby's words of September 1986, in TRAVIATA "opera and film are effortlessly made to seem one." OTELLO, made 5 years later with the great tenor in the lead, appears to be a slightly different case in which aesthetic beauty is combined with classic tragedy but the manner is ultimately individual.The 2013 Year of Verdi may constitute a wonderful opportunity to broaden one's knowledge of this great composer, the genius of his time.
However, many viewers who have seen Franco Zeffirelli's OTELLO will probably agree with the New York Times reviewer, Vincent Canby, that, unlike TRAVIATA, the movie rather "ornaments" the original than "reveals" it.
Therefore, from the very opening shot with its grandeur and the majestic display of elaborate visuals rather than Verdi's storm music (which appears to be in the shadow of spectacle), OTELLO is foremost an expression of the director's style.Yes, it is more Zeffirelli than Verdi in its divided pieces, some chaotic continuity, dreamlike photography by the director's mainstay, Ennio Guarnieri, aestheticism and the vital, engrossing and a little terrifying conclusion.
Although it may consist of certain liberties with the original source, nothing seems to stand in the way towards leaving the viewer dazzled at the creative use of images, dazzling costumes, breathtaking colors, camera angles and the cast who make it all beautifully acted and sung.
Yes, they will completely captivate you.Of course, the nature of this movie, opera, makes the performances considerably overacted.
Yet, Zeffirelli, as in many (of not all) of his other movies supplies us with beautiful characters whose looks alone somehow make them easily identified with and likable.
The pairing of Placido Domingo as Otello and Katia Ricciarelli as Desdemona rewards us all.
By splendid combination of emotional resonance and the dramatic tensions, they deliver exceptionally memorable moments, in particular their wedding night which is a true visual poetry on screen.
Domingo beautifully highlights the typical way of a tragic hero - from victory to tragedy, from pride to humiliation, from being hailed to being doomed.
Yet, however they differ, as it is in the classical tragedy, they both fall victims of evil scheme, of the hero's evil genius.One line says: "Beware of jealousy!" This, unfortunately, did not apply to "Beware of an evil man!" Justino Diaz portrays Jago, a malicious man who believes in a god of vengeance...that is his creed.
It is him who plants the seeds of doubt about Desdemona and her alleged lover, Cassio (Urbano Barberini) and his poison really works in the hero's mind.
In one of the most powerful scenes of the movie, Jago stands at the cross in a typical Zeffirelli imagery (compare to the film about saint Francis) and, on the verge of blasphemy, he sings out in pride and vanity "Heaven is an idle tale" That scene has its continuation at Otello's oath.
Zeffirelli delivers a splendid performance from Justino Diaz, the most memorable character/villain of the movie.From the supporting cast, a mention must be made of Urbano Barberini.
Here, the classical idea of beauty, sort of Michelangelo's David is evoked, in particular, at the additional scene (which Canby relates to as 'gross interruption') when Cassio is showed succumbed to the wild pleasures of erotic dreams about Desdemona.
Yet, OTELLO may be forgiven its liberal treatments of the classical source and may be considered a significant film by those seeking high art on screen..
It might be great for opera fans, but it was all lost on me..
This is easily one of Franco Zeffirelli's better opera films.
A chief example of beauty was Desdemona lying on the bed all pure, as white as snow, as is said in the Shakespeare play.
The subtitles are also very easy to read, and the plot while shortened is faithful to the play and to the opera's libretto.
Verdi is without doubt up there with Puccini as the finest Italian opera composer, composing masterpieces such as La Traviata, Il Trovatore and Aida, and Otello based on Shakespeare's play deserves to be up there with them.
So many highlights to choose from, there is Exultate, there are a couple of beautiful choruses and the riveting revenge duet between Otello and Iago, but my favourite has to be Desdemona's beautiful but haunting Willow Song(only in excerpt form here), that can give you goosebumps, because the repeated word Salce is quite hypnotic and foreboding.
Placido Domingo was just brilliant, yes in the play, Othello is supposed to be black, I am trying to avoid being racist here, but Domingo is such a versatile talented singer, with a phenomenal voice, and a stage presence that does make Pavarotti inferior in comparison, it is forgiven.
Katia Ricciarelli looked beautiful as the tragic Desdemona, and her voice was like an angel, in one word stunning.
And Justino Diaz is very convincing as the hissable villain Iago, especially in the blasphemous but chilling Credo, who manipulates Otello into believing that Desdemona is unfaithful in quite an entertaining way.
Overall, a very well done film adaptation of Verdi's opera.
This film could have been one of the best opera movies ever, if only Zeffirelli had refrained from interfering with not only the musical score, apparently to cut down the length to standard two-hour movie time (which is bad enough), but with the contents of the opera as well.
His version blatantly suggests that Cassio was indeed somehow interested in Desdemona (on which level remains vague) which is simply not the case.
It is very important that Otello's jealousy has indeed no basis in fact but is solely propelled by means of Iago's evil insinuations.
In my opinion it is a rather cheap attempt by Zeffirelli to wring more "movie drama" out of a piece that already is so dramatic it doesn't need the "enhancement".
For someone who loves this particular opera it is very painful to see and hear it mutilated like that (Zeffirelli has proved with the Traviata film that you can slightly reduce the score in a manner that is much less offensive).
Placido Domingo, having been in his prime at the time, is a rare example of an opera singer able to apply just the right amount of subtlety required by the occasion.
Whereas other singers tend to overact in a medium that is defined by a much closer look on the actions and expressions of the actors he gives a very moving, very convincing performance, always aware that no excessive gestures are needed, instead making you believe that the character is a real person.
His singing is beyond reproach or criticism, the voice has a beauty you rarely find in other tenor voices of the time.
Katia Ricciarelli is also very good and moving, although her performance slightly leans toward the theatrical approach.
Justino Diaz is convincing enough as the villain and obviously enjoys the role which adds to the altogether gripping feel of the movie.
The setting, production design and costumes are at the usual level of Zeffirelli's well-known naturalistic directorial approach and attention to detail, which I rather like in opera movies.
To sum it up, I wish he hadn't tempered with the opera but instead had shown a little more faith in and respect for Verdi's work..
Once again, Zefferelli produces a tour de force after the smash hit that was the 1982 film adaptation of Verdi's La Traviata starring Placido Domingo and Teresa Stratas.
Placido Domingo, whom we are led to believe must be Zefferelli's favorite tenor (he never cast Pavoratti in any of his films, though Pavoratti was enjoying immense success at this time as well)is Otello.
Zefferelli uses up all the tricks of his sleeve- Renaissance period costumes, authentic detail, color and backdrops (shot in Venice, Italy, which to the Italian Zefferelli is probably only a block away) beautiful people in the cast- even Cassio (Urbano Barberini) is quite good-looking and in a twist performs the role with a bit of ambiguity so as to make us believe that perhaps there is a little truth to Iago's story.
He did have a dream in which he was making love to Desdemona and it's not altogether impossible that he wanted her for his own.
And this is not a full-length stage version but a movie!!!
In a movie, we are limited to 2 hours at most, while some operas can last 4 hours.
He never loses the integrity of the spirit of the work.This late opera of Verdi is actually quite difficult to sing and anyone who can master the roles here are especially talented and dedicated to their art.
Domingo shines in every scene, from the opening "Exultate!" as he returns home triumphant after defeating the enemy, to the tender love scene with Desdemona in which he recalls his tragic past (he was sold as a slave and taken from his native African soil and Zefferelli effectively uses flashbacks) to all his monologues which border on Laurence Olivier theatrics, to the intense finale in which he stabs Desdemona, he is quite frankly the best.
What the world is waiting for, as well as I, is an African-American tenor who can master the role of Otello.
There is a very limited supply of black men in opera.
Domingo makes a nuanced performance and quite moving.
"Maybe it's because I'm black" he says at one point when he begins to question why Desdemona would turn to another man for love or passion.
Surely at this time, a successful, victorious General like Otello, who was black in a white-European world, would cause some jealousy and envy by such people as Iago.
Although it may not necessarily be a question of color (Iago, after all, wanted the position of Cassio and perhaps even Otello's own office as the great General and in this way was simply full of envy).
This is a great film with top singers giving it their best.
I am an opera fan for life after seeing this movie.
My favorite moments include- Desdemona's Prayer Scene before she is killed, Iago's blasphemous "Credo" (I believe in a Cruel God") in which he mocks the very establishment of religion, calling Heaven a lie, and praising the evil nature of man.
Justino Diaz is a particularly devilish Iago, though I would have loved to see Samuel Ramey in the role.
Diaz seems to be putting forth only vocal effort and lacks the "slime" he needs in acting/body movements, etc to effectively portray opera and literature's most evil villains..
He is married to the daughter of a high ranking family, Desdemona, who is carrying in her own name the fact that she has a very doomed, demonized lot due to this very disruptive situation and love.
This creates a rivalry, antagonism with the captain of the fleet, Cassio, and the extreme envy if not hatred from Iago is enough to turn a disruption, a breach of balance into a major catastrophe.
A handkerchief and its supposed or alleged circulation will sign the end of Desdemona strangled by Othello, a strangulation that is very strange in this film since she will survive it long enough to expose her murderer and then die peacefully.
The play by Shakespeare and this opera reveals a deep racist inspiration.
Othello is bringing this drama to Venice because he is a Moor, an Infidel, a Blackman, etcThat theme exists in other plays like "Titus Andronicus" or "The Merchant of Venice", with an anti-Semite dimension in these latter cases.
In this case, the object of that envy is Othello's wife and the game is to make the successful warrior kill his love, which he does out of some jealous lust, some possessive desire.
The subsequent drama and the repentance of Othello shows how things are changing in these renaissance years, how women are little by little capturing some individual existence of their own, on the way to freedom, even if it ends up in death altogether.
In fact Shakespeare in his English society is more advanced than Verdi in his 19th century Italy.
Shakespeare doubles the point by making Desdemona's maid the final and lethal accuser of Iago and his lying and conspiring.
We have to think of Romeo and Juliet but this latter case is pure love, no conspiration, jealousy or whatever, though the end is the same apart from the poison.
Zeffirelli does a pretty good job by creating a rich environment, at times maybe too rich.
A slightly leaner production would have probably emphasized the beauty of the music and the singing.
Othello as well as Desdemona reach the depth and density the tragedy requires.
This is a great adaptation of one play made by William Shakespeare, being one of the best movie versions of his works: Franco Zeffirelli made a great job with the original story making a incredibly good movie that has excellent performances, beautiful music and many memorable scenes.Actually, this is probably one of the best movies that I've ever saw: Everything about it was great and captivating.
Placido Domingo made a completely unforgettable performance as Othello, and the rest of the cats made a magnificent work as well.This movie is a masterpiece, and definitely deserves more appreciation and recognition.