Otello: About the Opera

Getting To Know You: Allan Glassman

All About Cabaret Night Live

The OPERAtors Team Up With YPC for Vino & Verdi

Box Office Update

Otello: A Synopsis

Otello: Recordings

Upcoming Events:
June 13--Threads & Trills Costume Show & Luncheon. Tickets are just $40 each, call (515) 226-1208 or click here.
June 14 & 16--Peanut Butter & Puccini Family Opera Adventure. Tickets are just $8, call (515) 989-0836 or click here.
June 15--Vino & Verdi Season Kick-Off for The OPERAtors. Tickets are free, but reservations are required. Call (515) 961-6221 or email msmith@dmmo.org.
July 5--Stars of Tomorrow Gala Recital and Dessert Reception. Tickets are just $20 for adults or $10 for students (K-12), call (515) 961-6221 or click here.

Otello: About the Opera

Special thanks to Don Dagenais of the Lyric Opera of Kansas City Guild for this article.

A number of opera composers have found inspiration in the plays of William Shakespeare, but none more so than the great 19th century master, Giuseppe Verdi, who used the Bard's works as the basis for three operas, including his two final masterpieces, Otello and Falstaff.

Many people, Verdi included, felt that he had composed his last opera with the premiere of Aïda in 1871. That masterpiece, which swept the world, was felt to be the culmination of his remarkable career. At the age of 58 he was rich, famous and contented. He could easily have retired and devoted himself to the many charitable causes which he championed.

For eight years he did exactly that. However, his publisher, Ricordi, planned to entice Verdi back into opera, and did so with a libretto by the brilliant young poet, Arrigo Boito, based upon the work of Verdi's favorite playwright, Shakespeare.

Verdi, in no hurry to finish the piece, lingered for six long years in the composition of Otello, far longer than for any of his other compositions. The final score shows the result of this loving attention.

Otello demonstrated beyond doubt that the great maestro, 74 at its premiere, had if anything matured even more as a composer in the years since Aïda. Otello continued the advancing orchestral mastery evidenced in Aïda while sacrificing none of the melodic inspiration and love of vocal expression which had long been the hallmarks of Verdi's art.

For the tenor who sings the title role, Verdi wrote one of the cruelest, yet most rewarding vocal parts in all of opera. From the beginning "Exultation!" to the final death scene, the tenor can revel in one of the most gorgeous roles of Verdi's career.

The soprano who portrays Otello's wife, Desdemona, can bask in the brilliance of the first act love duet, the scene of confrontation in Act III and two beautiful back-to-back arias, the Willow Song and the Ave Maria near the opera's end.

The prize role, though, is saved for the baritone singing Iago, one of Verdi's (and Shakespeare's) most frightening villains. Verdi considered the role of Iago the heart of the opera. Until just before the premiere he called the opera Iago. The famous Credo, sung at the beginning of Act II, is one of the most stunning statements of pure evil in all of literature.

At the premiere of Otello the audience was so taken with the opera's brilliance that it called the maestro for curtain call after curtain call. After the performance the crowd, almost mobbing the composer outside the opera house, detached the horses from his carriage and pulled the vehicle through the streets to his hotel. The opera orchestra gathered beneath his window and serenaded Verdi and his wife with tunes from the opera until 4:00 in the morning.

The poet, Boito, joining the crowd in the street below, turned to a companion and, gesturing to the scene, said simply, "This is glory!"

History has confirmed this first-night enthusiasm. "I am convinced that Otello is the finest of all operas, of all music operas," said the prominent opera writer, Charles Osborne. Few would dispute that judgment.

Getting To Know You: Allan Glassman

by McB Smith 

For our production of Otello this summer, a new artist comes to us to sing the title role, tenor Allan Glassman. Allan has recently completed performances of Frau Margot at Fort Worth Opera, Manon Lescaut at Fresno Grand Opera, Turandot at New Jersey Opera Theater and Boris Godunov at San Diego Opera. After the DMMO season, he will travel to New York to do another Otello at the Chautauqua Festival, then a production of Salome at Dallas Opera.

Allan has thrilled audiences throughout America and Europe with his vibrant tenor voice and committed interpretations of roles. He has sung over 80 different tenor roles, including Cavaradossi (Tosca), Canio (I Pagliacci), Shuysky (Boris Godunov), Des Grieux (Manon Lescaut), Calaf (Turandot), Idomaneo (Idomaneo), and Samson (Samson et Dalila). He has sung with Dallas Opera, Connecticut Opera, Arizona Opera, Washington Opera, Greensboro Opera, Atlanta Opera, Opera Pacific, Florentine Opera, and Glimmerglass Opera, and The New Israeli Opera in Tel Aviv.

A regular at the Metropolitan Opera, Allan Glassman triumphed as Herod in the new production of Salome starring Karita Mattila in the spring of 2004. He was also in Berg's Wozzeck, Tchaikovsky's Mazeppa and the premier production of Tobias Picker's An American Tragedy at the Met during the 2005-2006 season. Certainly no stranger to rarely performed works, Allan recently performed Boito's Mephistofeles with Boston Concert Opera last spring. [Arrigo Boito is perhaps better known as a librettist, and wrote the libretto for Verdi's Otello.]

He has been a frequent guest at New York City Opera as well, where he has performed the title role in Les Contes D'Hoffmann, Cavaradossi in Tosca, Don José in Carmen and Pinkerton in Madama Butterfly among others.

Allan has also performed extensively in Europe with the Deutsche Staatsoper Berlin, L'Opéra de Nice, Den Norske Opera, Opera Valencia in Spain, and Oper Frankfurt.

When not sharing his talent with opera fans around the world, Allan lives in Plano, Texas, with his wife, soprano, Jeanine Thames, and their 5 year old son, Benjamin.

All About Cabaret Night Live

Cabaret Night Live is right around the corner! This fundraiser is hosted by the one-of-a-kind Wicker Van Orsdel and features the talents of DMMO's renowned Collier Apprentice Artists. Stepping away from the opera repertory that they study so intensively during their residency here, for Cabaret Night Live these talented young singers delve into musical theater, Broadway favorites and old standards for their inspirations. Held for the first time in 2006, Cabaret has become a wildly popular event! The proceeds will benefit the Education Division programs of the Company, including the James Collier Apprentice Artist Program.

This year, the evening will begin with cocktails and hors d'oeuvres in the new Central Library building at 6:00 pm. The party then moves across the street for the show in the theater at the Temple for Performing Arts at 7:45 pm. Where else can you hear "My Funny Valentine" and a duet from "Spamalot" in the same evening? You won't want to miss a moment of the fun!

Tickets are just $75 per person and are available from DMMO's box office at (515) 961-6221 or you can buy online here.

The OPERAtors Team Up With YPC for Vino & Verdi

Des Moines Metro Opera's annual event for newcomers to opera, Vino & Verdi, will be co-hosted by Young Professionals Connection and The OPERAtors. Vino & Verdi will be held on Friday, June 15, from 6:00 to 8:00 pm at the Blank Performing Arts Center in Indianola. Attendees will see how opera evolves from the page to the stage at this unique event with a behind-the-scenes peek into the rehearsal process, a backstage tour and insider's notes from the production staff of the ever-popular Carmen.

The evening begins at 6:00 pm with light appetizers and a wine reception, then continues with the theater tour at 6:30. A brief presentation about Carmen will immediately precede the piano dress rehearsal, which begins at 7:00.

YPC is a leading organization for young professionals in the greater Des Moines area, focusing on networking, social, charitable, civic, diversity and professional development events and activities. The OPERAtors is Des Moines Metro Opera's group for those new to opera and those who want to learn more about the art form in a fun and informal environment.

Join us at Vino & Verdi to celebrate the launch of DMMO's 35th Anniversary Season with a wine reception. The event is free, but reservations are required. Call (515) 961-6221 or send an email to McB Smith to make reservations.

Box Office Update

Ticket orders have been practically flooding in since single tickets went on sale last month! However, there are still many seats left. Perhaps you've been waiting to learn more about the operas or waiting to hear from friends that you'd like to invite to a show. Maybe it was vacation plans that were the missing piece of the puzzle of your summer. Whatever has kept you from ordering your opera tickets, now is the time to make your reservations!

The update from the Box Office below was prepared on Friday, May 11.

Carmen:
Friday, June 22 - A handful of single seats remain - waiting list started for all sections.
Sunday, June 24 - Several exceptional A1 seats remain - waiting list started for sections A, B and C.
Friday, June 29 - A handful of single seats remain - waiting list started for all sections.
Saturday, July 7 - SOLD OUT - waiting list started for all sections.
Thursday, July 12 - SOLD OUT - waiting list started for all sections.
Sunday, July 15 - SOLD OUT - waiting list started for all sections.

A Midsummer Night's Dream:
Saturday, June 23 - Seats in all sections are available but selling fast!
Sunday, July 1 - SOLD OUT - waiting list started for all sections.
Friday, July 6 - Seats in all sections are available but selling fast!
Tuesday, July 10 - Seats in all sections are available but selling fast!
Saturday, July 14 - Seats in all sections are available but selling fast!

Otello:
Saturday, June 30 - SOLD OUT - waiting list started for all sections.
Tuesday, July 3 - Seats in all sections are available but selling fast!
Sunday, July 8 - SOLD OUT - waiting list started for all sections.
Wednesday, July 11 - Seats in all sections are available but selling fast!
Friday, July 13 - Seats in section C seats remain as well as a handful of scattered single seats in sections A1, A and B.

All the orders that the Box Office has received thus far will be mailed out the first week of June. Once tickets are mailed, there are always exchanges or ticket returns that take place, so seats may open up for sold-out dates at any point. And for several performances groups of seats are being held and several of those will be released for sale when those large groups finalize their numbers. Even if your preferred date or section is sold out, there is a good chance that seats may become available soon. When seats become available, they are offered to people on the waiting list, on a first-come, first-served basis. Get your name on the waiting lists now!

Call the Box Office today at (515) 961-6221 to make your reservations or order online at www.desmoinesmetroopera.org!

Otello: A Synopsis

Act I:
A violent tempest rages off the coast of Cyprus. Citizens have sighted the vessel of their new governor, the Venetian Moorish general Otello.  Having done battle with the Turkish fleet off the coast, he is trying to make his way to the harbor. Otello's bride, Desdemona, and the general's retinue have preceded him from Venice. When the vessel safely arrives in port, Otello proclaims his victory over the Turks and retires to the castle. His ensign, Iago, incensed that the handsome young Cassio has been promoted to captain over him, plots with Roderigo, a former suitor of Desdemona's in Venice, the overthrow of Cassio whom he suggests is a rival for Desdemona's affections. They determine to see that the volatile Cassio drinks too much and is unable to fulfill his duties in commanding the guard. Iago leads a drinking song and Cassio finally joins in the proposing of toasts to Otello and his bride. Roderigo provokes Cassio to a duel, and Montano intervenes but is wounded by the young captain.  Otello, awakened by the brawl, appears and demands an explanation. Cassio is stripped of his position and Iago is given command of the guard for the night.

Otello and Desdemona are left alone in the moonlight. They recall their courtship and reaffirm their deep and abiding love.

Act II:
Iago suggests to the unsuspecting Cassio that he should seek the aid of Desdemona in regaining Otello's favor. Cassio had been a faithful go-between in the courtship of Otello and Desdemona in Venice. When Cassio leaves, Iago sings his "Credo" in which he voices his conviction that an evil god has created him from primeval slime and that vile existence for all men on this earth is followed by an eternal void. Otello arrives and the innuendos about Desdemona's fidelity begin as Cassio appropriately is taking leave of Desdemona in the garden.  Iago and Otello continue to watch her in the garden as she is serenaded by women, children and sailors. She is attended by Emilia, Iago's wife, her special confidante. Desdemona approaches Otello to ask for clemency for Cassio. He is visibly disturbed and she offers to bind his brow with her handkerchief.  He hurls it aside, Emilia retrieves it and Iago wrenches it from her.  When the women leave, Otello curses Iago for having destroyed his peace of mind and demands proof.  Iago speaks of how Cassio murmured Desdemona's name in his sleep and how he is sure he has seen the kerchief especially embroidered with strawberries given to Desdemona by Otello in the hands of Cassio. Otello vows vengeance and is joined by Iago in his oath.

Act III, Scene 1:
Iago tells Otello that he has more proof and then slinks away when Desdemona approaches. When Otello asks for the kerchief that he gave her, she tells him she did not bring it and changes the subject to plead for Cassio.  Otello in a rage calls her a harlot and Desdemona, sobbing, swears her innocence. Otello orders her away. He conceals himself as Iago brings Cassio to a discussion of his love life that leads Otello, hiding behind a screen, to think that Desdemona rather than the courtesan Bianca is the subject of his musings. Iago had planted the kerchief of Desdemona's in Cassio's room and Cassio shows it to Iago under the watchful eyes of Otello. Cassio leaves and, as trumpets announce the arrival of dignitaries from Venice, Otello plans to kill his wife.

Scene 2:
In the Great Hall, Lodovico, the ambassador, announces that Otello has been recalled to Venice and Cassio has been named governor of Cyprus. When Cassio steps forward, Otello loses control and hurls his wife to the floor. The court tries to console her but Otello orders everyone out.  The Moor raves on and falls unconscious in a fit. Iago emerges from the shadows and towers above him proclaiming, "Here lies the Lion of Venice!"

Act IV:
Emilia helps Desdemona prepare for bed.  The unhappy lady has a certain presentiment of doom and sings a song about a maiden, Barbara, forsaken by her lover. The wind startles her and she bids a passionate farewell to Emilia. Alone, she prays.  When she retires, Otello enters stealthily.  He kisses his wife, awakening her. He tells her to prepare for death and, though she protests her innocence, he strangles her. Emilia knocks with the news that Cassio has slain Roderigo and discovers the crime. Her cries bring Iago, Lodovico and Cassio.  Emilia accuses her husband of treachery and Iago rushes from the room. Otello, realizing the enormity of his sin against his beloved Desdemona, stabs himself and seeks his wife's lips for a final kiss.

Otello: Recordings

There are several versions of Otello that you might enjoy listening to and watching before seeing the opera this summer.

On CD, you'll enjoy the 1978 RCA recording featuring the National Philharmonic Orchestra conducted by James Levine, with Plácido Domingo as Otello, Renata Scotto as Desdemona and Sherrill Milnes as Iago.

There are numerous films based on Shakespeare's Othello, notably the 1995 version directed by Oliver Parker and starring Laurence Fishburne as Othello and Kenneth Brannagh as Iago. Fans of Hollywood's Golden Age will enjoy Orson Welles' 1952 version in which he played Othello.

There is a terrific 1986 film version of the opera, directed by the great Franco Zeffirelli, starring Plácido Domingo as Otello, Katia Ricciarelli as Desdemona and Justino Díaz as Iago. It was nominated for numerous awards including the Oscar and the Golden Globe.