“Othello,” the last of the long and brilliant series of Verdi’s operas, was completed in 1886, and first produced at the La Scala Theatre, Milan, Feb. 5,

1887, with remarkable success, Signora Pantaleoni, Signors Maurel and Tamagno taking the three leading roles.  The libretto was prepared by the accomplished Italian scholar and musician, Arrigo Boito, and closely follows the story of the Shakspearian tragedy.

The curtain rises upon a scene in Cyprus.  A storm is raging, and a crowd, among them Iago, Cassio, and Roderigo, watch the angry sea, speculating upon the fate of Othello’s vessel, which finally arrives safely in port amid much rejoicing.  After returning the welcomes of his friends he enters the castle with Cassio and Montano.  The conspiracy at once begins by the disclosure of Iago to Roderigo of the means by which Cassio’s ruin may be compassed.  Then follows the quarrel, which is interrupted by the appearance of Othello, who deprives Cassio of his office.  A love-scene ensues between Desdemona and the Moor; but in the next act the malignity of Iago has already begun to take effect, and the seeds of jealousy are sown in Othello’s breast.  His suspicions are freshly aroused when Desdemona intercedes in Cassio’s behalf, and are changed to conviction by the handkerchief episode and Iago’s artful insinuation that Cassio mutters the name of Desdemona in his sleep; at which the enraged Moor clutches him by the throat and hurls him to the ground.  In the third act Iago continues his diabolical purpose, at last so inflaming Othello’s mind that he denounces Desdemona for her perfidy.  The act concludes with the audience to the Venetian embassy, during which he becomes enraged, strikes Desdemona, and falls in convulsions.  The last act transpires in her chamber, and follows Shakspeare in all the details of the smothering of Desdemona and the death of Othello.

There is no overture proper to the opera.  After a few vigorous bars of prelude, the scene opens with a tempestuous and very striking description of a sea-storm by the orchestra, with the choruses of sailors and Cypriots rising above it and expressing alternate hope and terror.  After a short recitative the storm dies away, and the choral phrases of rejoicing end in a pianissimo effect.  A hurried recitative passage between Iago and Roderigo introduces a drinking scene in which Iago sings a very original and expressive brindisi with rollicking responses by the chorus.  The quarrel follows with a vigorous and agitated accompaniment, and the act comes to a close with a beautiful love-duet between Othello and Desdemona.