The second act opens with recitative which reveals all of Iago’s malignity, and is followed by his monologue, in which he sings a mock Credo which is Satanic in utterance.  It is accompanied with tremendous outbursts of trumpets, and leads up to a furious declamatory duet with Othello.  The next number brings a grateful change.  It is a graceful mandolinata, sung by children’s voices and accompanied by mandolins and guitars, followed by a charming chorus of mariners, who bring shells and corals to Desdemona.  The intercession episode ensues, leading to a grand dramatic quartet for Desdemona, Emilia, Iago, and Othello.  The latter then sings a pathetic but stirring melody with trumpet accompaniment, the farewell to war, and the act closes with a tumultuous duet between himself and Iago.

The third act opens with a very expressive duet for Othello and Desdemona, in which the growing wrath of the former and the sweet and touching unconsciousness of the other are happily contrasted.  A sad monologue by Othello prepares the way for the coming outbreak.  The handkerchief trio follows, in which the malignity of Iago, the indignation of Othello, and the inability of Cassio to understand the fell purpose of Iago are brought out with great force.  At its close a fanfare of trumpets announces the Venetian embassy, and the finale begins with much brilliancy.  Then follows the scene in which Othello smites down Desdemona.  She supplicates for mercy in an aria of tender beauty, which leads up to a strong sextet.  All the guests depart but Iago; and as Othello, overcome with his emotions, swoons away, the curtain falls upon Iago’s contemptuous utterance, “There lies the lion of Venice.”

The fourth act is full of musical beauty.  After an orchestral introduction in which the horn has a very effective solo, the curtain rises and the action transpires in Desdemona’s chamber.  The scene opens with a touching recitative between Desdemona and Emilia.  While the former prepares herself for slumber she sings the “Willow Song,” an unaffected melody as simple and characteristic as a folk-song.  Emilia retires, and by a natural transition Desdemona sings an “Ave Maria,” which is as simple and beautiful in its way as the “Willow Song.”  She retires to her couch, and in the silence Othello steals in, dagger in hand, the contra-basses giving out a sombre and deep-toned accompaniment which is startling in its effect.  He kisses her, the motive from the love-duet appearing in the orchestra; then, after a hurried dialogue, stifles her.  He then kills himself, his last words being a repetition of those in the duet, while the strings tenderly give out the melody again.

FALSTAFF.

“Falstaff,” an opera in three acts, words by Arrigo Boito, was first performed March 12, 1893, at the Teatro alla Scala, Milan, with the following cast of characters:—­