d upon him. Since this work
was produced, no other for the stage has come from his pen. Should he
break his long silence, some new work may show that he has gone still
farther in the new path. If the time for rest has come, however, to
the aged composer, "Aida" will remain his masterpiece among musicians
and connoisseurs, though "Trovatore" will be best loved by the people.

OTHELLO.

Othello has formed the subject of the following compositions:
"Otello," opera in 3 acts, text by Berio, music by Rossini (1816);
"Othelleri," parody by Mueller, Vienna (1828); Othello, overture by
Krug (1883); "Un Othello," operetta, by Legoux, Paris (1863); and
"Othello," opera in 4 acts, text by Boito, music by Verdi (1886).

"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 convu