lsions. 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.

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