[4/3/2011] Special: Remembering Margaret Price, Part 7 -- as Verdi's Desdemona (continued)

We've seen this clip before, but here again are Plácido Domingo and Margaret Price singing the Act I Love Duet from Verdi's Otello, with Nello Santi conducting, in Paris, 1976.

OTELLO: The vast night sky extinguishes all strife,
And my trembling heart is calmed by its embrace.
Yet, from such immense hatred
comes our immense love.
DESDEMONA: My superb warrior.
Many torments, and such sadness,
And much hope have brought you
to this blessed embrace.
How sweet when we whispered together:
Remember now with me.
When you revealed your life of exile,
and told me of your battles, and sorrow.
And I would listen from my very soul
with fear, and ecstasy in my heart.
OTELLO: I painted a canvas of armies,
of weapons poised to attack,
The assault -- of terrible victory –
cutting to the rampart -- killing the foe.
DESDEMONA: Then you would guide me
to the shining deserts of your homeland,
At last sharing your suffering –
in chains, as a slave.
OTELLO: Your tears ennobled my story.
Your beautiful visage, and your sighs
Descended upon my darkness
a blessed glory -- a paradise -- and the stars.
DESDEMONA: And I saw in your brow
a genius of eternal beauty.
OTELLO: And you loved me for my misfortunes;
And I loved you that you pitied them.
DESDEMONA: And I loved you for your misfortunes:
And you loved me that I pitied them.
OTELLO: Truly you loved me.
Come, death.
Take me in this moment of supreme ecstasy.
For my soul fears
that I will never again be granted. . .
A divine moment as this,
in my unknown destiny.
DESDEMONA: Dispel such anguish.
Our love will not change from year to year.
OTELLO: Upon this prayer,
the ranks of angels respond: Amen.
DESDEMONA: Amen, they respond.
OTELLO: Ah. Such joy overcomes me.
So vehemently. I cannot bear it.
A kiss.
DESDEMONA: Otello.
OTELLO: Yet another kiss.
The stars of the Pleiades descend toward the sea.
DESDEMONA: It is late.
OTELLO: Come. Venus shall guide us.

BACK TO THE BEGINNING: WE HEAR SOME
NOTABLE OTELLOS MAKE THEIR ENTRANCE

A NOTE ON THE ITALIAN CHARACTER NAMES

The difference between the English and Italian forms of Othello/Otello is obvious; he difference between Iago and Jago is really only a spelling difference. But Desdemona, with no change in spelling, changes its word accent, from the third syllable in English (Des-de-MO-na) to the second in Italian (Des-DAY-mo-na). Since the name is sung a number of times, usually with notable musical emphasis, the shifts can be jarring for listeners accustomed to the English pronunciation.

VERDI: Otello: Act I opening: Chorus, "Una vela!" . . . "Dio, fulgor della bufera" . . . Otello, "Esultate" . . . Chorus, "Vittoria! Vittoria!"

Outside the castle, with the sea wall and sea in the background. An inn with a pergola. It is evening. A thunderstorm is raging.

THE CROWD: A sail! A sail!
A standard! A standard!
MONTANO: It’s the Winged Lion!
CASSIO: We can see it when the lightning flashes.
THE CROWD: A trumpet call!
A cannon shot!
CASSIO: It’s Otello’s ship.
MONTANO: The violent waves
make it rise and fall.
CASSIO: They lift the bow skyward!
THE CROWD: The clouds and sea conceal it.
And lightning now reveals it.
Lightning. Thunder. Vortex.
All the tempest’s fury.
The waves tremble. The sky trembles.
The world itself trembles to its core.
With blind rage the waves make the heavens spin.
The gods shake the callous sky
like a bleak, billowing veil.
All is smoke. All is fire.
An inferno that enflames and engulfs all.
The universe itself shakes.
The north wind soars like a phantom.
The titans strike the anvil, and the heavens roar.
God, in the midst of the storm smile upon us.
Save the banner of Venetian glory!
Thou, who reigns over the geavens and the earth.
Calm the gale.
Place the anchor true in the midst of the sea.
JAGO: The mast is breaking.
RODERIGO: The ship will crash on the rocks.
JAGO: (May the sea be Otello’s grave.)
THE CROWD: They are saved!
They’re manning the rowboats.
They’re approaching shore!
They’re at the docks. Evviva!
OTELLO: Rejoice!
The pride of the Ottomans
rests at the bottom of the sea.
Our glory is from heaven.
For the storm
has destroyed our enemy.
THE CROWD: Evviva, Otello! Evviva!
Victory!
The enemy is destroyed, buried in the deep sea.
For a requiem they have the crash of the waves.
The abyss of the sea. Victory!
Our enemy is buried at sea.
The storm is calmed at last.

Arthur Newman (b), Montano; Virginio Assandri (t), Cassio; Giuseppe Valdengo (b), Jago; Leslie Chabay (t), Roderigo; Ramón Vinay (t), Otello; Chorus, NBC Symphony Orchestra, Arturo Toscanini, cond. Live studio performance, Dec. 6, 1947
Siegfried Rudolf Friese (b), Montano; Ryland Davies (t), Cassio; Peter Glossop (b), Jago; Hans Vickmann (t), Roderigo; Jon Vickers (t), Otello; Vienna State Opera Chorus, Vienna Philharmonic, Herbert von Karajan, cond. Live performance from the Salzburg Festival, July 30, 1971
Malcolm King (bs), Montano; Frank Little (t), Cassio; Sherrill Milnes (b), Jago; Paul Crook (t), Roderigo; Plácido Domingo (t), Otello; Ambrosian Opera Chorus, National Philarmonic Orchestra, James Levine, cond. RCA/BMG, recorded August 1978


DESDEMONA MAKES HER FIRST APPEARANCE

We fast-forward now. Playing on poor Roderigo's infatuation with Desdemona, Jago connives to get the drunk Cassio to start a brawl that escalates into a riot, which is halted abruptly by the entrance of an enraged Otello.

VERDI: Otello, Act I, Otello, "Abbasso le spade!" . . . Love Duet: Otello, "Già nella notte densa" . . . Desdemona, "Mio superbo guerrier" . . . "Quando narravi" . . . Otello, "E tu m'amavi per le mie sventure" . . . "Venga la morte"

OTELLO enters and silences the crowd.

OTELLO: Down with your swords.
[The fight stops.]
Hold there! What's happening?
Am I among the Saracens?
Or have you become rabble Turks,
who fight each other like dogs?
Honest Jago, by the love and loyalty
that you have for me. Speak.
JAGO: I don’t know . . .
We all were just celebrating, as friends.
Then, as if a malicious star fell upon us,
a quarrel broke out.
Weapons were drawn -- chaos ensued.
I would rather cut these legs off,
for having brought me to witness this.
OTELLO: Cassio -- how could you forget yourself like this?
CASSIO:. Pardon, my Lord. I don't know . . .
OTELLO: Montano?
MONTANO: I'm wounded, and cannot speak.
OTELLO: Wounded! By Heaven, my blood rages.
Yet my better angels restrain me.
[DESDEMONA enters.]
What -- my sweet Desdemona.
She too was awoken by this outrage.
Cassio, no longer are you my captain!
JAGO: (Oh, my triumph!)
OTELLO: Iago -- Take a squadron and restore order.
See to Montano.
Everyone return to your homes.
I will remain here until the streets are deserted,
and calm reigns once more.
[OTELLO and DESDEMONA are left alone.]
The vast night sky extinguishes all strife,
And my trembling heart is calmed by its embrace.
Yet, from such immense hatred
comes our immense love.
DESDEMONA: My superb warrior.
Many torments, and such sadness,
And much hope have brought you
to this blessed embrace.
How sweet when we whispered together:
Remember now with me.
When you revealed your life of exile,
and told me of your battles, and sorrow.
And I would listen from my very soul
with fear, and ecstasy in my heart.
OTELLO: I painted a canvas of armies,
of weapons poised to attack,
The assault -- of terrible victory –
cutting to the rampart -- killing the foe.
DESDEMONA: Then you would guide me
to the shining deserts of your homeland,
At last sharing your suffering –
in chains, as a slave.
OTELLO: Your tears ennobled my story.
Your beautiful visage, and your sighs
Descended upon my darkness
a blessed glory -- a paradise -- and the stars.
DESDEMONA: And I saw in your brow
a genius of eternal beauty.
OTELLO: And you loved me for my misfortunes;
And I loved you that you pitied them.
DESDEMONA: And I loved you for your misfortunes:
And you loved me that I pitied them.
OTELLO: Truly you loved me.
Come, death.
Take me in this moment of supreme ecstasy.
For my soul fears
that I will never again be granted. . .
A divine moment as this,
in my unknown destiny.
DESDEMONA: Dispel such anguish.
Our love will not change from year to year.
OTELLO: Upon this prayer,
the ranks of angels respond: Amen.
DESDEMONA: Amen, they respond.
OTELLO: Ah. Such joy overcomes me.
So vehemently. I cannot bear it.
A kiss.
DESDEMONA: Otello.
OTELLO: Yet another kiss.
The stars of the Pleiades descend toward the sea.
DESDEMONA: It is late.
OTELLO: Come. Venus shall guide us.

Mario del Monaco (t), Otello; Tito Gobbi (b), Jago; John Lanigan (t), Cassio; Forbes Robinson (bs), Montano; Raina Kabaivanska (s), Desdemona; Chorus and Orchestra of the Royal Opera House, Covent Garden, Georg Solti, cond. Live performance, June 30, 1962
Plácido Domingo (t), Otello; Piero Cappuccilli (b), Jago; Giuliano Ciannella (t), Cassio; Orazio Mori (bs), Montano; Mirella Freni (s), Desdemona; Chorus and Orchestra of the Teatro alla Scala, Carlos Kleiber, cond. Live performance, Dec. 7, 1976
Carlo Cossutta (t), Otello; Gabriel Bacquier (b), Jago; Peter Dvorský (t), Cassio; Stafford Dean (bs), Montano; Margaret Price (s), Desdemona; Vienna State Opera Chorus, Vienna Philharmonic, Sir Georg Solti, cond. Decca, recorded September 1977
Plácido Domingo (t), Otello; Sherrill Milnes (b), Jago; William Lewis (t), Cassio; John Darrenkamp (bs), Montano; Margaret Price (s), Desdemona; Metropolitan Opera Orchestra, James Levine, cond. Live performance, Feb. 2, 1985


AND DESDEMONA MAKES HER LAST APPEARANCE

As Act IV begins, the final stage in Jago's plan to destroy Otello plays out. He has persuaded the volatile moor that Desdemona is having an affair with Cassio. In her chamber with her faithful attendant Emilia (Jago's wife), Desdemona has a good idea of the terrible thing that's about to happen.

ABOUT OUR PERFORMANCES: For me, the most beautiful Desdemona on records is still Renata Tebaldi. (Among historical excerpts I would certainly put in a word for Claudia Muzio.) But I've intentionally focused on lighter-voiced sopranos who've sung the role successfully, Mirella Freni being the classic recent case. I would put in a word here for the underappreciated Gabriella Tucci -- and listen to the playing the wise veteran Alberto Erede coaxes from the Japanese orchestra. In addition, I would note that Raina Kabaivanska, a Bulgarian who became an expert Verdian, comes from a linguistic and vocal background even farther removed from Verdi's than Margaret Price did.

Act IV: Prelude . . . Emilia, "Era più calmo?" . . . Desdemona, "Mia madre aveva una povera ancella" . . . "Piangea cantando" . . . "Ave Maria, piena di grazia"

EMILIA: Was he more calm?
DESDEMONA: He ordered me to wait for him.
Emilia, if you please.
Lay out my wedding veil on the bed.
If I must die before you,
promise it will be buried with me.
EMILIA: Stop these thoughts.
DESDEMONA: Ah, I am so sad, and alone.

My mother once had a servant.
She was lovely, and in love.
Her name was Barbara.
She loved a man who abandoned her.
She would sing a song.
The song of the willow.
Help me loosen my hair.
Strangely, after all these years,
that song fills my thoughts tonight.
“Sighing, a poor soul sat upon the heath.
Sing willow, willow, willow.
She sat upon the heath, her head on her knees.
Sing willow, willow, willow.
Together we sing.
The weeping willow as garland, and I.”
Quickly. Othello will arrive soon.
“The fresh streams ran by her,
and murmured her moans.
And from her lashes flowed waves of bitter tears.
Sing willow, willow, willow.
Together we sing.
The weeping willow as garland, and I.”
“Sweet birds fly to her bending branches
to hear her sweet song.
And the cliffs echo her sighing,
as her eyes fill with tears.”
Take care of this ring for me.
Unhappy Barbara.
Her song ended with this simple cadence:
“He was born for glory, and I to love him.”
Listen. Did you hear that crying ?
Who is knocking ?
EMILIA: It’s only the wind.
DESDEMONA: “I to love him, and to die.
Together we sing . . .
Sing willow, willow, willow.”
Emilia, farewell. Oh, how my eyes are burning.
As they do before crying.
Good night, then.
Ah, Emilia, farewell !
[EMILIA leaves.]

Hail Mary full of grace,
The Lord is with Thee.
Blessed art Thou among women,
And blessed is the fruit of Thy womb.
Pray for those who kneel before Thee,
Pray for the sinner - for the innocent.
Pray for the weak, and the powerful,
Grant them Thy pity.
Pray for those who bend
under the weight of a cruel fate.
Pray for us, at all times,
and at the hour of our death.

Anna di Stasio (ms), Emilia; Gabriella Tucci (s), Desdemona; NHK Symphony Orchestra (Tokyo), Alberto Erede, cond. TV broadcast performance, recorded Feb. 4, 1959
Josephine Veasey (ms), Emilia; Raina Kabaivanska (s), Desdemona; Orchestra of the Royal Opera House, Covent Garden, Georg Solti, cond. Live performance, June 30, 1962
Jone Jori (ms), Emilia; Mirella Freni (s), Desdemona; Orchestra of the Teatro alla Scala, Carlos Kleiber, cond. Live performance, Dec. 7, 1976
Jane Berbié (ms), Emilia; Margaret Price (s), Desdemona; Vienna Philharmonic, Sir Georg Solti, cond. Decca, recorded September 1977
Jean Kraft (ms), Emilia; Margaret Price (s), Desdemona; Metropolitan Opera Orchestra, James Levine, cond. Live performance, Feb. 2, 1985


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