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Updated: June 29, 2025
It is almost outside human possibility to add anything to "Falstaff" or "Otello"; and such success as Verdi has made with them is the result of writing what is, after all, only glorified incidental music music which accompanies the play.
In the midst of her remorse for the addition she had made to Madame de Rochefide's letter she had resolved to conquer, to win back Calyste by loving kindness, by the virtues of a wife, by the gentleness of the paschal lamb. She wished, also, to deceive all Paris. She loved, loved as courtesans and as angels love, with pride, with humility. But the opera chanced to be "Otello."
To better illustrate the false art which mars so much of Verdi's dramatic method, a comparison between his "Rigoletto," so often claimed as his best work, and Rossini's "Otello" will be opportune.
That evening I realized the appositeness of Dr. von Bulow's remark to Mascagni when the world seemed inclined to hail that young man as the continuator of Verdi's operatic evangel: "I have found your successor in your predecessor, Verdi," but it did not seem necessary to think of "Otello" and "Falstaff" in connection with the utterance; "La Traviata" alone justifies it.
They would be wiser in going back to Pergolese, Campagnole. The Mefistofole was good of the school of the foreign master. Aida and Otello, no. I confess to a weakness for the old barleysugar of Bellini or a Donizetti-Serenade. Aren't you seduced by cadences? Never mind Wagner's tap of his paedagogue's baton a cadence catches me still. Early taste for barley-sugar, perhaps!
He was a leading figure at this theatre for twelve years, and was the first representative of many important tenor rôles, among which may be mentioned those of "Benvenuto Cellini," "Les Martyrs," "La Favorita," "Dom Sebastien," "Otello," and "Lucia."
Then he rested from his labors sixteen years; and when he appeared on the stage again, with his "Otello" and "Falstaff," he had adopted Wagner's maxims that arias are out of place in a music-drama; that "the play's the thing," and that the music should follow the text word for word. Surely, this was the most remarkable of Wagner's triumphs and conquests.
Pasta, on the contrary, infused into this air its true color and expression, and the effect was ravishing." "Tancredi" was quickly followed by "Otello," and the impassioned spirit, energy, delicacy, and tenderness with which Pasta infused the character of Desdemona furnished the theme for the most lavish praises on the part of the critics.
"By no means; the whole letter is filled with an account of the ballet at La Scala, which, according to Caroline, is a thousand times more interesting than Mont Blanc or the Simplon." "One of the immortal works of Vigano, I suppose," said Vivian; "he has raised the ballet of action to an equality with tragedy. I have heard my father mention the splendid effect of his Vestale and his Otello."
Boito is rather more poet and dramatist than he is musician. He made the book not only of "Mefistofele," but also of "Otello" and "Falstaff," which Verdi composed, "La Gioconda," for which Ponchielli wrote the music, and "Ero e Leandro," which he turned over to Bottesini, who set it with no success, and to Mancinelli, who set it with little.
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