OTELLO By Giuseppe Verdi

Sung in Italian with English supertitles. Run time approximately 3 hours.

It promises to be the season opener of the century: Renowned tenor Clifton Forbis, Georgian baritone Lado Ataneli and acclaimed French soprano Alexandra Deshorties - making her role debut as Desdemona - in a new production of Verdi's 1887 masterpiece chosen to inaugurate the Margot and Bill Winspear Opera House at the Dallas Center for the Performing Arts, beginning October 23, 2009.

OTELLO, based on one of William Shakespeare's most intense dramas, is a tale of passionate love derailed by the Machiavellian schemes of Iago, a figure of profound evil. A jealous husband is manipulated into a murderous rage against his innocent wife, with tragic results for all.

This new Dallas Opera production - conducted by Music Director Graeme Jenkins and staged by Tim Albery - stars Forbis, a leading artist with the Metropolitan Opera, Paris Opera and Teatro alla Scala, and Allan Glassman (Oct. 25th performance) "in clarion mature-career form as Otello," wrote Opera News, in the title role of the fatally flawed Moorish general while Ataneli, one of the world's most sought-after Verdian baritones with one of the "most mellifluous voices on the planet" (Los Angeles Times), portrays the famed villain of the piece.

Production design by Anthony Baker. Lighting by Thomas C. Hase.

Prepare to be staggered - and bring an extra hankie for Desdemona. It could save a life.

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Although we are always happy to support the careers of local artists, The Dallas Opera attracts international casts from as far away as Russia and China in order to bring North Texas audiences the very best the world has to offer. This is the place where opera legend Plácido Domingo made his U.S. debut. Opera’s greatest stars are always shining at The Dallas Opera!

			Otello: Clifton Forbis (Oct. 23, 28, 31, Nov. 5, 8)
			Otello: Allan Glassman (Oct. 25)
			Desdemona: Alexandra Deshorties*
			Iago: Lado Ataneli*
Conductor: Music Director Graeme Jenkins
	Emilia: Elizabeth Turnbull		Cassio: Sean Panikkar*
	Lodovico: Raymond Aceto		Montano: Mark McCrory
	Roderigo: Scott Quinn		Stage Director: Tim Albery*
	Production & Costume Designer: Anthony Baker*		Lighting Designer: Thomas C. Hase
	Movement/Associate Director: Maxine Braham**		Chorus Master: Alexander Rom

*Dallas Opera Debut
**American Debut

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OTELLO by Giuseppe Verdi

ACT I. Cyprus. The Moor Otello, governor of the island and a general in the Venetian army, arrives in port as a tempest rages. Iago, Otello's ensign, confers with Roderigo, who has come to Cyprus because of his unrequited love for Desdemona, a Venetian beauty recently married to Otello. Promising to help Roderigo, Iago says Desdemona should soon tire of her Moorish husband, adding that he himself has reasons for revenge on Otello, who passed him over for advancement, promoting Cassio instead. Iago proposes a toast; when Cassio declines any more drink, Iago says he cannot refuse to salute Otello's new wife. Cassio consents and grows tipsy as Iago provokes Roderigo to a duel with Cassio. When Montano, Otello's predecessor in command, tries to separate the two, Cassio attacks him as well. Otello comes out of the fortress to restore order. When he sees Desdemona disturbed by the fray, he takes away Cassio's recent promotion. Sending everyone home, Otello turns to his bride, and they recall their courtship.

INTERMISSION

ACT II. A room in the fortress. Iago tells Cassio that by presenting his case to Desdemona he can be reinstated, because Otello is influenced by his wife. As soon as Cassio is out of sight, Iago declares his belief that a cruel God created mankind as wicked, and that life has no meaning. Iago watches as Cassio approaches Desdemona in the garden, and when Otello comes in, the lieutenant makes casual remarks about Desdemona's fidelity. Softened by his wife's beauty, Otello greets her, but she brings up the question of Cassio's demotion, annoying him. When she offers a handkerchief to wipe his brow, he throws it to the ground, where her attendant, Emilia, retrieves it. As Desdemona tries to calm Otello, Iago orders Emilia, who is his wife, to give him the handkerchief. Otello asks to be alone, and the others leave, except for Iago, who hangs back to observe Otello's growing suspicion. To fan the flames, Iago invents a story about how Cassio spoke lovingly of Desdemona in his sleep. Then he mentions her handkerchief, saying he saw it in Cassio's hand. Beside himself, Otello swears to have vengeance, and Iago joins in the oath.

INTERMISSION

ACT III. In the armory, Iago tells Otello that more proof is forthcoming of his betrayal by his wife and Cassio. Desdemona enters, and Otello speaks calmly until she revives the subject of Cassio. When Otello demands the handkerchief he gave her, she again pleads for Cassio. Otello calls the shocked woman a courtesan and dismisses her. He cries out that heaven could have afflicted him with anything but this, then hides as Iago returns with Cassio. Iago flashes the handkerchief he stole and leads Cassio on in banter in such a way that Otello overhears only fragments and thinks they are talking about Desdemona. As trumpets announce dignitaries from Venice, Otello vows to kill his wife that very night. The Moor greets Lodovico, the Venetian ambassador, who recalls him to Venice and appoints Cassio to govern Cyprus. Losing control at this news, Otello pushes his wife to the floor with insults. He orders everyone out and collapses as Iago gloats over him, crying, "Behold the Lion!"

PAUSE

ACT IV. As Emilia helps Desdemona prepare for bed, the frightened woman sings of a maiden forsaken by her lover. Startled by the wind, she bids Emilia an impassioned farewell and kneels in prayer before retiring. As soon as she has dozed off, Otello enters through a secret door and kisses his wife. This wakens her, but the jealous man, deaf to her protestations of innocence, strangles her. Emilia knocks with news that Cassio has killed Roderigo; entering, she is horrified to find the dying Desdemona and summons Cassio, Lodovico and Iago, who escapes when his wife reveals his treachery. Realizing his tragedy, Otello pulls out a dagger and stabs himself, dying upon a final kiss.

--Courtesy of Opera News, revised for the Dallas Opera’s production

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Insider's Guide Facts

CONVERSATION STARTER:
Otello is considered the pinnacle of Italian Romantic Opera. The hallmarks of this 19th century movement include an emphasis on the nobility of Man (a favorite theme in Verdi’s work), the indomitable power of Nature, the celebration of emotions over reason, and an intense and passionate view of love. If that’s too high-falutin’ as a conversation starter, you can fall back on the fact that Otello contains Verdi’s one and only “drunk scene.”

DID YOU KNOW?
The great New Zealand soprano, Kiri Te Kanawa, made her unexpected Metropolitan Opera debut—with only three hours to prepare—in a 1974 performance of Otello, singing opposite Jon Vickers.

RECOMMENDED LISTENING:
Artistic Director Jonathan Pell: “Many opera lovers feel that one of greatest recordings of any opera ever made was the famous OTELLO conducted by Arturo Toscanini, starring Ramon Vinay, and available on Urania #215. Another great “classic” is Decca #411618 with Mario Del Monaco, Renata Tebaldi and Aldo Protti, conducted by Herbert von Karajan. Another unforgettable version not to be missed is the towering portrait created by Jon Vickers on RCA #663180, with Leonie Rysanek and Tito Gobbi, conducted by Tullio Serafin.”

RECOMMENDED READING:
Shakespeare’s original tragedy, “Othello, the Moor of Venice,” based on an earlier Italian short story, is a good place to start. Other books that may shed light on this opera and its themes are Dr. Jonathan Shay’s classic study “Achilles in Vietnam: Combat Trauma and the Undoing of Character;” “Surviving Domestic Violence: Voices of Women Who Broke Free” by Elaine Weiss; and “The Verdi-Boito Correspondence.”

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