379 OTELLO Opera in four acts. Libretto by Arrigo Boito based on Shakespeare's Othello First performed at the Teatro Alla Scala in Milan on February 5, 1887 CHARACTERS Otello, a Moor and a general in the Venetian army: tenor Iago, his ensign: baritone Cassio, Otello’s lieutonant: tenor Roderigo, a Venetian nobleman: tenor Lodovico, Ambassador of the Venetian Republic: bass Montano, Otello's predecessor as commandant of Cyprus: bass Desdemona, Otello's wife: soprano Emilia, Desdemone'’s confidante and wife of Iago: mezzo-soprano ‘A Herald: baritone Sailors and soldiers of tho Ropublic, Venetian ladies and gentlemen, Cypriot men and women, knights, children, guards ‘The time is the end of the XV century, in a seaport in Cyprus ‘THE PLOT ACTI In a raging thunderstorm the people of Cyprus are gathered by the waterfront awaiting the arrival of Otello’s ship, returning from a raid against the Turks. Soon, by flashes of lightning the ship's flag is seon emerging from th turbulent waters and shortly thereafter Otello's ship is moored, with Otello making his triumphant entrence proclaiming his decisive victory over the Moslems. Otello is received by his wife Desdemona and they both leave. Iago has a conversation with Roderigo, a nobleman infatuated with Desdemona. Iago voices his hatred of Otello and Desdemona, and assures him that he will soon possess Desdemona after she tires of Otello. Iago is also bitter about the fact that Otello has named Cassio his lieutenant, while ho, Iago romains as a lowly ensign. Iago hatches his first plot, which is to engage Cassio in a brawl, by making him drink. Insults are soon exchanged between Roderigo and Cassio, and a moléo ensues, which shortly degenerates into a riot, with Montano being wounded. ‘The ‘commotion brings on Otello who imperiously commands them to stop. When asked about the cause of the tumult, Iago gives a disingenuous account, implying that Cassio was at fault. Otello angrily tells Cassio he is no longer his lieutenent, while lago silently gloats. Desdemona enters and the crowd disperses. Otello and Desdemona sing a love duet under the stars.380 ACT IL Ina hall on the ground floor of Otello’s castle, separated from the garden by a glass-panelled door, Cassio and lago have been having a conversation. Iago assures Cassio that he will be restored to his former rank with the help of Desdomone's intervention. He urges him to seok her out in the garden, where she is presently strolling with Emilia, his wife. Cassio leaves and Iago voices his famous Credo, in which he states that he believes in a cruel god that mede man in his own imago, a God who made him cruel, and his belief that heaven is a foolish lie. He poers out into the garden and sees Cassio talking to Desdemona. Hearing Otello approach, he says softly: "That distrosses me." He refuses to explain himself, and when Otello inquires as to whether that is Cassio out in the garden talking to his wife, Iago cunningly replies: "Cassio? No! That man there was guiltily startled when he saw you approach." The insinuation that Cassio has an illicit attachment to Desdemona is is the first phase of Iago's plan to plant the evil seed of jealousy in Otello's heart: When Desdemone re-enters to plead with Otello for Cassio's reinstatement, Otello's suspicion immodiatoly is aroused. She offers to wipe his foverish brow with a lace handkerchief, which she then carelessly drops and which Emilia retrieves. Iago forcefully wrests it from her. After Desdemona leaves, Iago prosses his advantage and Otello's peace of mind is gone. Iago whispers in Otello's ear about Cassio's dream, and how he, Iago overheard him muttering in his sloop about his passionate encounters with Desdemona. He also tells Otello that he had found a certain handkerchief in Cassio's hand, that handkerchief which, as Otello now says, he had given Desdemona as their first token of love. This is the last straw, and enraged by uncontainable jealousy, Otello now swears an oath of vengeance. Iago kneels with him and consocrates himself to his cause. ACT Il In the great reception hall of the castle a herald announces the arrival of the Venetian ambassadors. Otello and Desdemona meet and Otello asks Desdemona for the handkerchief. ‘Desdemona cannot produce it and Otello warns her about the consequences if she loses it. As she again presses him about Cassio, his angor is fueled anew, and he strikes her, insults her and calls her a courtesan. He soliloquises on his misery and uncertainty. Iago and Cassio enter. Iago tells his master to eavesdrop behind a column and then cleverly engages Cassio in a ribald conversation about his trollop Bianca. Having planted the handkerchief in Cassio's room, he makes Cassio produce it playing with it in such a way that Otello can see it, and leading the dialogue so that Otello misunderstands all the allusions to Bianca as referring to his wife, After Cassio's departure, Otello, now fully convinced of his wife's unfaithfulness, plots her death with Tago. Otello asks Iago to procure him a poison, but Iago suggests that he kill her in her bed, "there where she has sinned.” The Venetian ambassadors enter and Lodovico, the ambassador, hands Otello a message from the Doge. While he reads it, he mutters venomous asides to Desdemona, and ends up by striking her in full and horrified view of the assembled company. He announces that the Doge has recalled him to Venice and has appointed Cassio as his successor in Cyprus. Seizing Desdemona, he flings her to the ground suddenly dismissing the assembly and succumbing to a fit of epilopsy. As voices outside shout "Long live the Lion of Venice’, Iago triumphantly points to the prostrate figure of his master on the ground and exclaims: "Ecco il Leone!”, "There is your Lion!."381 ACTIV Desdemone’s bedroom. As Emilia helps Desdemona undress, the latter sadly recalls a dirge her mothor's maid Barbara used to sing, a song about unrequited love. After dismissing Emilia she prays to the Virgin Mary and goes to bed. A few moments later Otello appears, inquiring as fo whether she has said her prayers. He kisses her and then announces that he is about to kill her, He accuses her of loving Cassio and refuses to listen to her protestations of innocence. When she asks him to ask Cassio, he answers that Cassio is dead and immediately smothers hor. Emilia enters, saying that Cassio end Roderigo have fought and that Cassio has killed Roderigo. Desdemona cries out faintly from her bed and dies. Emilia cries for help end Lodovico, Cassio and Iago enter. Otello calls on Iago to support him, but in the presence of Emilia and Cassio, Iago's villainy is finally truly established. When Montano enters, confirming that Rodrigo hed incriminated Iago with his dying breath, Iago rushes out and makes his escape. Fully aware of the truth, the heart-broken Otello draws his dagger and stabs himself, and as he gives Desdemona one final kiss he dies.382 Otello, Act I ACTI By the Seaport in Cyprus (A tavern with an arbor is in the foreground and in the background, ramparts by the soa. It is evening during a furious thunderstorm. Iago, Rodrigo, Cassio, Montano, Cypriots, sailors and Venetian soldiers are gathered.) CYPRIOTS ‘una 'vela. ‘um —_vesssilso Una velal Un vessillo! A sail! A flag! MONTANO e Mallato leon E Talato Leon! Its the winged Lion! (Chore is lightning and thunder.) Cassio ‘or ‘la folgor ‘lo 'zvela Or a folgor lo svela, Now the lightning reveals it. OTHERS (arriving) ‘uno 'skwiklo Uno squillo! A trumpet blast! (There is a cannon shot.) ALL. a twanato ‘il ka'nnon Ha tuonato il cannon, Has sounded the _—_ cannon. CASSIO © ‘ta ‘nave ‘del ‘tutfe EB la nave del Duce. Ws the ship of our leader. MONTANO ‘or sa'fifonda ‘or sintfela Or —s'affonda, or _—_sinciela.. Now itsinks, now it rears skyward... CASSIO verdge ‘il ‘rostro da'l:londa Erge il rostro dall’onda. Rises the prow from the waves.Otello, Act 1 383 SOME CYPRIOTS ‘nelle ‘nubi ‘si tfela e nel mar Nelle nubi si cola e nel mar, In the clouds it hides itself end in the sea, e ‘abla ute ‘dei ‘tempi ne apy e alla luce dei lampi ne appar. and atthe light of the lighting flashes _it appears to us. (Continuous lightning and thunder.) ALL lampi ‘won ‘gorgi ‘turbi tempestozi Lampi tuoni! gorghil turbi tempestosi @ Lightning! Thunder! Whirlpools! Winds stormy and thunderbolis! ‘treman ‘londe reman laure ‘Treman Tonde, troman Yaure, Shake the waves, shake tho air, ‘treman ‘baz e treman basi e shake foundations and _ tops (of buildings). (The waves, air, foundations and tops of buildings ere quaking from the storm.) (Many women enter from the rear.) fende ‘letra un torvo © ——tfeka spirto vertidsine Fondo Yetra un torvo @ —_cieco spirto di —_vertigine, Cleaves the air a grim and blind spirit of whirlwind, 'skwote il Yel ‘bjeko Kome ‘un tetro ‘vel scuote il ciel_bieco come un tetro vel. shakes the sky grim like a somber veil. tutto © fumo tutta © fwoko “Torrida kallidsine Tutto 8 fumo! tutto @ — fuoco! Vorrida caligine All is smoke! All is fire! The horrible mist ‘si fa intfendjo ‘poi 'si'spenne pt funesta si fa incondio, poi sispegne pid funosta, turns to fire, then is putout still more —_ghastly. ‘spazima ——luniverso.—akkorre a ‘Valk Takwilom fantazima Spasima _'universo, _accorre avalchi —Taquilon fantasima, Agonizes the universe, rushes bounding the north wind phantom, (The universe agonizes, the phantom north wind rushes on bounding from place to place,) i orikalki ‘skwillano ‘nel fel i oricalchi —squillano —nel_—_ ciel. the titanic trumpets —_blare in the sky. (They all adopt gestures of supplication, turned towards the battlements.)384 Otello, Act I ALL ‘dio futkor ‘della bufera ‘dio sorrizo ‘della ‘duna Dio, fulgor della bufera! Dio, sorriso della duna! God, brightness of the storm! of the dune! (God, thou art the brightness of the stoirm and the smile of the desert dune!) ‘salva 1 e la_—bandjera—“del:la_“'veneta fortuna Salva e la __ bandiera —della_venota fortuna! Save the vessel and the flag ofthe Venetian _ fortunes! ‘wu ‘ke “redidgi ‘je © ‘il 'fato Tu che reggi gliastri =o Thou who rulest the stars and ‘woke imperi ‘al ‘mondo e al Yel Tu che imperi al mondo e al ciel! Thou who governest the —_ world and the heaven! ‘fa ke ‘im fondo al ‘mar platkato poz lankora fedel Fa che infondo al mar placato posi l'ancora fedel. Fa che em ineitottom of the sea placated rest the anchor faithful, {Grant that the faithful anchor may rest at the bottom of a placated see.) JAGO © injfranto lartimon, E _ infranto Yartimon! Is ripped the mainsail! RODRIGO ‘ail ‘rastro. ‘pjomba ‘su ‘kwel:lo 'skokko, 11 rostro piomba = su. quello scoglio! The prow iscrashing on that reef! Help! Help! JAGO (aside, to Rodrigo) ‘lalvo frenetiko ‘del ‘mar ‘la ‘sua ‘tomba {Lalvo frenetico del. mar Ia sua tombe!) (May) (The bowels frenetic ofthe sea bo his’ gravel) (May the frenetic bowels of tho sea be his grave!) CYPRIOTS © salvo E salvo! He's safe!Otello, Act I 385 VOICES FROM WITHIN dgittate i paliskermi ‘mano ‘alle ‘funi ‘fermi Gittate i palischermi! Mano alle funi! Fermi! Lower the dinghies!’ Hand_on the ropes! Steady! (Lower the small boats! All hands on the ropes! Steady!) CYPRIOTS ‘fortsa ‘ai ‘remi ‘alta Forza ai remi! Alla Strength on those —_ oars! To the (Row with all your strength! To the shore!) VOICES FROM WITHIN alla'pprodo ‘allo “zbarko ‘All'approdo! Allo sbarco! To the landing place! To the disembarkation! {Lets go to the dock! Let's go seo them disembark! (Otello steps off his ship, followed by sailors and sailors. He steps onto the ramparts.) OTELLO ezultate lorgokko: musulmano —_se'polto G ‘im ‘mar Esultate! Lorgoglio — musulmano_sepolto @ in mart Rejoice! The pride Moslem =—_buried is in the sea! (Rejoice! The Moslem pride is buried in the sea!) ‘nostra © ‘del tel © ‘gloria Nostra © del ciel ® gloria! Ours and of heaven is glory! (Glory belongs to us and heaven!) ‘dopo ‘lami ‘lo 'vinse_ lura'gan> Dopo armi Jo vinso Yuragano.’ After our arms _it was vanquished by the hurricane! (The storm destroyed the Moslem's pride after our arms had finished it.) "The interested reader might wish to know just what battle Otello is returning from, which “sunk the Moslem pride in the soa’. The Venetian Republic found itself involved in several wars against the Ottoman Turks. By clever manipulation it managed to acquire the island of Cyprus (the locale of our story.) It remained a Venetian possession for nearly a century, but it soon became powerless against the "Moslem Pride’, as Venice assumed a non-belligerent attitude towards the steadily advancing Turks. (From "History Through the Opera Glass", by George Jellinek.)386 Otello, Act I ALL evviva stella evviva Ewvi Otello! Ewin Long live Otello! Hurrah! Victory! (Otello goos into tho castle, followed by Cassio, Montano and soldiors.) sterminjo —dispersi distruts sepolti Sterminio! Dispersi, _—_distrutti, _—_sepolti Victory! Destruction! Scattered, destroyed, buried ne'Hlorsrida tuirmulto pjombar nell’orrido tumulto _piombar.? in the horrible rage they sank. (Victory! Destruction! Scattered and destroyed they sank and were buried in the horrible raging sea.) avran:no ‘per Tekwie la sfertsa ‘dei “tutti Avranno per requie la sforza dei flutti, Thoy will have forrest the lash of the waves, a da ‘dei turbini labis'so ‘del ‘mar la ridda_ dei turbini, Yabisso del mar. the whirl of the whirlwinds, the abyss of the sea, Vittoria! Dispersi, distrutti, sopolti, otc. (There is a far off rumble of thunder.) ‘si'kalma laura Sicalma la _bufera. Itis calming the storm. (The storm is calming down.) JAGO (aside to Rodrigo) roderigo ——_ebrben ‘ke pensi Roderigo, _ebben, che — pensi? Roderigo, well then, what _are you thinking? RODERIGO dafifogarmi Diaffogarmi... Of drowning mysell... *As indicated elsewhere in this series, piombér is a truncation of piombarono, the remote past tense of piombare, to sink, fall, crash down. ‘The oircumflex accant on piombér, distinguishes the verb from its infinitive form piombar which is the truncated form of piombare,Otello, Act I 387 JAGO ‘stolta © ki safifoga per amor ‘di ‘donna Stolto & chi s'affoga per amor di donni Foolish is who drownshimself for love of + woman. (In the background can be seen the comings and goings of the crew from the beach to the castle carrying weapons and baggage, while some people come from behind the castle carrying firewood, Some soldiers with torches light the way for them.) RODERIGO ‘vintfer ‘non 's0 Vincer nol so. Overcome it I cannot. (I cannot overcome it.) (Some of the people heap the wood into a pile to one side. The crowd mills about, restless and curious.) JAGO su via fa 'senino aspetita lopra del ‘tempo Su via, fa senno, aspetta Vopra del tempo; Come now, come to your senses, wait for the work = of-_— time; (Como now, come to your senses, wait for time to do its work;) @ dezdemona bella ‘ke —nel_—_segreto ‘A Desdemona bella, che nel segroto To Desdemona lovely, whom in the secret dei'twoi sont adoti presto jin do tuoi sogni adori, presto in uggia verano of your dreams youedore, soon todislike will come i foski ‘batfi “di ‘kwel_ selvad:ds date‘ gomfje absbra i foschi baci di quel selvaggio — dalle gonfie labbra. the dark kisses of that savage of the swollen lips. (Desdemona, whom you adore in the secret of your dreams will soon come to dislike the dark kissos of that savage with the swollen lips.) ‘bwon rode'rigo amiko ‘tuo sintfero ‘mi ti profes:so Buon Roderigo, amico tuo _sincero mi ti professo, Good Roderigo, (a) friend yours sincere I profess myself, ‘pju fore ambaffa_—sokckorrerti_—_potrei nd in pid'forte. | ambascia_—soccorrerti__potrei. nor in (a)_ greater distress, help you —_T-could, (Good Roderigo, I profess myself to be a sincere friend of yours, nor could I help you in greater distress.) se um radsil voto ‘di ‘femmina Se un fragil voto di femmina If a fragile vow of woman388 Otello, Act none trop:pardwo ‘nods ‘pel ‘dsenjo ‘mio non @ tropp'anduo nodo pel genio mio isn't too tough (a) knot _for the wits mine ‘ne per limjfems ——“dguro ‘ke kwella ‘donna sara ‘tua na per ‘T'inferno, —_giuro che quella donna sara tua. nor for hell, Tswear that thet woman will be yours. (if a woman's fragile vow is not too much for my wits or hell's, I swear that woman will be yours.) maskolta berke ‘ffinga damarlo ‘odjo ‘kwel ‘moro Mascolta, bench finga damarlo, odio. quel Moro... Listen to me, though Tmay pretend to love him, Ihate thet Moor... (Cassio enters and joins a group of soldiers.) JAGO (still aside, to Roderigo) e ‘uma ke'dgon del ektkola ‘gwarda E una _cagion dellira, eccola, guarda, And one reason for my anger, there it is, look. (Pointing out Cassio.) ‘kwelad:dzimato —kapitano ——uzurpa il ‘grado. ‘mio Quel azzimato —capitano—_usurpa il grado mio, That dandified captain usurps the rank mine, ke intent ‘bem puppate —‘balttakKe oo meritato che in cento ben pugnate —battaglie. ho meritato. that in ahundred — well fought battles Thave deserved. (That dandified captain usurps my rank, a rank I have well deserved for fighting in a hundred battles.) (The crew continues to move in the background.) ‘tal, “fu ‘il voler dotelia edio — rimango Tal fu il _—voler d'Otello, ed io rimango Such was the wish of Otello, andI remain ‘di ‘sua mo'reska sipporia lalfjere di sua Moresca = ‘Signoria_—_alfiere! of his Moorish Lordship _the ensign! (Denser clouds of smoke begin to rise from the wood pile.) ‘ma kome ‘wer ke tu roderigo sei Ma coms vor che tu Roderigo sei, But as itis true that you Roderigo — aro, kozi € ‘pur ‘vero. ‘ke ‘se ‘il ‘mora ‘io ‘fos:si cosi 8 pur vero che so il Moro io —_fossi so itis also true that if the Moor I_—_wereOtello, Act I 389 vedermi ‘nom vor: ‘un jago. vedermi non vorrei dattomo —un_—_Jago. sesing around me [wouldn't wish around mea _—Jago. (But as surely as you are Roderigo, so it is also true that if I were the Moor I wouldn't wish to see an Iago around me.) ‘se tu —maskolt Se tu m'ascolti. If you listen to me ago leads Roderigo towards the back. The fire leaps up. The soldiers crowd around the tables of the tavern. As the singing goes on around the joyful fire the tavern keeper hangs multicolored Venetian lanterns from the arbor.) CYPRIOTS ‘fwoko di “‘dgoja_ilare vampa ‘fugga la ‘notte Fuoco di gioia!Lilare vampa fugga la notte Fire of joy! Themery flame may it banish the night kol ‘suo splenidor sfa'villa ‘krepita av.vampa col suo splendor, sfavilla, crepita, avvampa with its brightness, it darts, it sparkles, it crackles, it blazes, fuldsido intfendo ‘ke ~—imjvade kor fulgido incendio che _ invade il cor. ashining fire that invades our heart, ‘dal ‘rad:dso attratti ‘vagi_ sem'bjanti Dal raggio attratti vaghi sembianti By the light drawn, lovely countenances ‘movono intomo mutands stwol movono —_intomno mutando stuol, move about altering (the shape of the) crowd, e son fantfule ‘dai jet “kant e son fanciulle dai lieti_—_canti, and (now) they're young girls of the happy songs, e ‘som farfalle dallinneo ‘vol e son farfalle dall'igneo vol. and (now) theyre butterflies with a fiory flight. (Drawn by the light, lovely forms move about, changing the shape of the crowd; now they're young girls with happy songs, now they're butterflies with fiery flights.) ‘arde la Arde la Burns the ‘kanta la canta la sings ‘palma palma palm wood spoza ‘Kol sposa col bride with ‘kol col with the ‘suo feel suo fedel, her sikomoro sycamore, faithful beloved,390 Otello, Act I sulaurea ‘fam:ma sul ‘Yjeto koro sull’aurea fiamma, sul lieto coro over the golden _— flame, over the happy chorus ‘sofifja. lardente spico ‘del tfel soffia Tardente spiro dol ciel. wafts the burning breath of heaven. ‘fwoks ‘di dsoja_ ‘rapido Fuoco di gioia_ rapido Fire of joy quickly ‘rapido ‘passa fwoko damor Rapido passa fuoco d'amor! Quickly passes (the) fire of love! ‘splende soskura ‘palpita oifitta Splende, _s‘oscura, —_palpita, oscilla, It glows, darkens, —_ throbs, it waves, ‘tultimo ‘gwittso lampedidsa € = mwor Tultimo: guizzo lampeggia e muor, the last flash flickers and dies. ‘fwoko ‘di ‘dsoja_ rapido ‘brilta Fuoco di gioia_ rapido brilla! Fire of joy quickly shines! Splende, s‘oscura, palpita, etc. (The fire dies out little by little, The storm is over. Jago, Roderigo, Cassio and several other armed men stand around the table where there is wine.) Jaco roderigo be'yjam ‘kwa lat kapitano Roderigo, beviam! = Qua_ la _tazza, capitano. Roderigo, let us drink! Here, your cup, captain. CASSIO ‘nom'bevo ‘pj Non bevo pit. Tdon't drink anymore JAGO (holding the pitcher towards Cassio's cup) ingoja “kwesto, ‘sors Ingoia questo sorso. Swallow this drop. CASSIO (taking back his cup) ‘no No. No.Otello, Act I 391 JAGO ‘gwarda ‘oddsi impattsa tutta ‘tfipro Guarda! ogi impazza_—tutta_Cipro! Look! Today goes mad all of Cyprus! © ‘una notte ‘di ‘duyjkwe una notte di dunque... Its a night of joy, so... CASsIO; tessa ‘dsa ‘marde ‘il ferveklo——perun ‘nap:po vwotato Cossa. Gi miarde il cervello ~——perun nappo vuotato. Stop. Already burns my — brain because of a cup emptied. (Stop. My brain is already on fire because of a cup I emptied.) JAGO si agkora bbever ‘devi Si, ancora hever dovi. Yes, again drink you must. ‘alle nnottse dotelio desdemona Alle nozze Otello —_e Desdemona! To the marriage of Otello and Desdemona! ALL (except Rodrigo) CASSIO (Raising his cup and drinking a little) ‘essa injfjora kwesto ‘ido Essa infiora questo lido. She bedecks with flowers this shore. JAGO (softly, to Roderigo) ‘lo askolta (Lo ascolta.) (Listen to him.) CASSIO ‘kol vago ‘suo rad:d3ar ‘kjama i kori a rakikolta Col vago suo raggiar chiama i cori ‘a raccolta. With the lovely her radiance she calls _—the hearts _to be gathered. (With hor lovely radiance she gathers all hearts.) RODERIGO ‘pur moldesta essa © tanto Pur modesta essa 8 _ tanto, Yet — modest she is so much. (Yot she is so modest.)392 Otello, Act 1 CASsIO tu jagokanterai Tu, Jago canterai You, Jago, will sing JAGO (softly, to Roderigo) ‘lo askolta (Lo ascolta.) (Listen to him.) (Aloud to Cassio.) io ‘non'sono ke =) kritiko. Io nonsono che un_titico. 1 am not but oa (Lam only @ critic.) CASSIO edelia ‘donni ode cpu q Edella ogni lode @ pit bella. Andshe thanany _ praise is more beautiful. (And she is more beautiful than any praise.) JAGO (as above, aside to Roderigo) da ‘kwel_‘kas'sjo da quel Cassio.) of that Cassio.) RODERIGO ke temi (Che temi {What do you fear?) JAGO ‘ei fa'vel:la ‘kon ‘troppo bol:lor Gi favella con troppo (He talks with toomuch ardor, ‘la ga'fKarda ‘lo'sprona gegliarda lo sprona, his bold spurs him on, e ‘un astuto: sedutstor ‘ke tigombra_ ‘ilkam:mino —‘bada E — unastuto —soduttor che ttingombra_— ill cammino. Bad Heis aclever seducer who is blocking your path. —_ Watch out...) RODERIGO eben (Ebben?) (Well?)Otello, Act I 393 JAGO sei sinmebrja e~——_—perduto ‘falslo ‘ber (Sei sinnobria @ —perduto!.~—Fallo. ber.) (ifhe gots drunk he is lost! Make him — drink.) (To the tavern waiters.) ‘kwaragatstsi ‘del ‘vino Qua, ragazzi, del vino! Here, boys, some wine! ago fills up three glasses, one for himself, one for Roderigo and one for Cassio. The waiters move around with the pitchers. Jago addresses Cassio, cup in hand. The crowd gathers around and watches him curiously.) inafetja ugola ka trakan:na Inaffia Tugola! trinca, tracanna! Wet your gullet! Drink, gulp it down! ‘prima ‘ke ‘zvampions kanto € bikckjer prima che — svampino canto © bicchier. Before that they disappear (the) song and (the) glass. CASSIO (to Jago, glass in hand) kwesta ‘del ‘pamping = ve'ratfe ‘manna Questa del pampino —_verace manna This of the vine true manna ‘di ‘vage anmugola—‘nebsbje il pentsjer di vaghe annugola —_nebbie il pensier. of lovely beclouds mists the mind. (This truth-giving’ manna of the vine beclouds my mind with lovely mists.) JAGO (to ail) ‘ki alieska a ‘morso ‘del ditirambs Chi all'esca ha —morso del_—_ditirambo He who the bait has taken of the dithyramb* spavaldo —e ——_‘strambo beva kom ‘me spavaldo ¢ _—strambo eva con me. boisterous and odd, let him drink with me, ALL Chi all'esca ha morso del ditirambo spavaldo e strambo beve ‘kon te beve con te. drinks with you. 2Wine is being referred to as the truth-giving manna: In vino veritas! 4A dithyramb in ancient Greek poetry was a wild and emotional hymn in praise of Dionysius, composed in an elevated style, accompanied by a flute. It also denotes any wildly emotional enthusiastic song of an impetuous character.304 Otello, Act I JAGO (softly to Roderigo, indicando Cassio) ‘un‘altro —'sorso © brililo eke (Un altro sorso e __brillo egli &) (Another sip and drunk heis.) RODERIGO (to Jago) (Un altro sorso ¢ brillo egli 8.) JAGO (aloud) ‘il ‘mondo ‘palpita, kwandio ‘som ‘briklo 1 mondo palpita quando son__brillo! The world throbs when I am — drunk! ‘sfido _lironiko ‘nume ¢ ‘il destin Sfido Tironico Numee il destin! Idefy the ironical Deity and destiny! CASSIO (drinking again) ‘kome unarmoniko liuto o'ffil:lo Come un armonico liuto oscillos Like «harmonious lute I sway; ‘la ‘dgoja 'skalpita ‘sul ‘mio kamimin lagioia _—scalpita sul mio cammin! joy paws the ground on = my __pathl® (joy awaits me impatiently!) Jaco Chi a 'esca ha morso, etc. ALL Chi a l'esca ha morso, etc. JAGO (to Roderigo) (Un altro sorso o brillo egli 2.) RODERIGO (to Jago) (Un altro sorso ¢ brillo egli 8.) JAGO (aloud) fug:gan ‘dal ‘napipo i kodardi Fuggan dal nappoi —_codardi.. Let thom flee from the glowing cup the cowards. {Let cowards flee the glowing cup...) CASSIO (interrupting) ‘im ‘Tondo allanima —tfaskum mi 'gwardi In fondo al'anima —ciascun mii guardi! In the depths of my soul everyone —_look at me! *Scalpitare is when a quadruped (a horse, a bull) paws the ground impatiently, while it waits for something to happen. An apt English equivalent is "champing at the bit’.Otello, Act 1 395 JAGO ‘ke ‘in kor—naskonde rod che in cor asconde frodi. who inits heart hides deceit. (Lot all cowards who hide deception in their hearts flee from the glowing cup.) CASSIO (rooling) ‘non temo ‘il ‘ver Non temo il ver. Idon't fear the truth... ‘non temo ‘il ver Non tomo il ver. Idon'tfear the — truth.. ALL (laughing) ‘Ah! Ah! Ah! CASsIO ‘del ‘kalitfe Del calico... Of the cup's... (He would like to repeat the first tune but cannot remember it) JAGO (to Roderigo) ‘ekki oe briako fra'ditfo (gli @ ——_briaco fradicio.) (He is dead drunk.) CASSIO ‘del ‘kalitfe ‘Korii, Del alice... gor... Of the cup. the edges... CYPRIOTS (laughing at Cassio) Ah! Ah! Ah! GO (still to Rodrigo) 'skwoti Jotalfina a ‘komteza e ‘pronto ira (Ti scuoti, lo trascina a —contesa;_ = 8 pronto allira, (Got moving, draw him into a fight; he is quick to anger, tofifende'ra ‘ne segwi'ra —tumulto toffendera... ne seguir tumulto!) he will offend you... will follow a brawl!) CASSIO (continues, but in a choked voice) ‘del ‘kalitfe Del calic Of tho cup.396 Otello, Act I JAGO (still to Rodrigo)) ‘pensa ‘ke Pr kozi ‘del ‘Ijeto otel:lo (Pensa che puoi cosi del lieto Otello (Think that youcen thus of happy Otello turbar ‘la ‘prima vidgilja amor turbar la prima vigilia amor!) disturb the first night of love!) RODERIGO ede ‘Yo ‘ke ‘mi spindse (Eda cid che _mi spinge.) (And itis that that drives me on.) (That is whet drives me on.) CAssIO; “Korli sim'por sim'por sim'porporino Gtorli simpor... _simpor. i The edges ompur. CYPRIOTS Ah! Ah! Abt ALL. Bevi con me. MONTANO (coming from the castle and addressing Cassio) kapitano ——_vattende ‘Ja fattsjone == ‘ai baltvardi Capitano, _vattende la fazione ai baluardi, Captain, you're expected (at) the watch at the ramparts. CASSIO (staggering) antdjam ‘Andiam! Let's go! MONTANO ke 'wedo Che vedo? What do I see? JAGO (to Montano) ‘omni ‘notte ‘i ‘tal ‘gwiza ‘kas:sjo preludja ‘al ‘sonno (Ogni notte in tal guisa Cassio preludia al_—~—ssonno.) (Every night in such fashion Cassio prepares for_—_sleop.) MONTANO otello ‘il 'sappja Otello il sappia. Otello must know this.Otello, Act 1 CASsIO anidjams —‘ai_——_balvardt Andiamo ai__—_baluardi.. Let's go to the ramparts... RODERIGO, then ALL Ah! Ab! Ab! Cassio ‘ki ‘ride Chi ride? Who is laughing? RODERIGO (provoking him) ‘rido ‘dun ‘ebsbro Rido dun ebbro.. Tm laughing ata drunkard... CASSIO (hurling himself at Roderigo) ‘bada ‘alle tue ‘spal: furfante Bada allo tue — spall Furfanto! Watch for your bac! Scoundrel! RODERIGO (defending himself) briako ribald> Briaco tibaldo! Drunken ruffian! CASSIO marrano —nessum pj ‘t'salva Marrano! Nessun pid ti salva. Rogue! No one any longer can save you. MONTANO (forcing them apart, speaking to Cassio) frenate ‘la ‘mano. sippor "ve ‘ne ‘prego Frenate la mano, signor, ve ne prego. Restrain your hand, sir, T beg you. CASSIO (to Montano} 't 'spak:ko ‘il tferebro ‘se ‘kwi___tinterponi Ti spacco il cersbro se. qui_—_tinterponi. Tl split your skull if here _you interfere. MONTANO parole ‘dun ‘ebro Parole d'un ebro... Words of a drunkard... CASSIO ‘dun ‘ebro Dun ebro! Ofa drunkard! 307308 Otello, Act I (Cassio draws his sword. Montano also takes up arms. A furious fight ensues. The crowd draws back.) JAGO (aside to Roderigo, quickly) va ‘al fporta ‘kon ‘kwanta ‘pju—‘posisa (Vaal porto, con quanta pid’ possa ti resta, (Go tothe port, with asmuch strength (as) you have loft, gridands —sommossa va ‘spardsi ‘tumult lorror gridando: sommossa!_ Va! _—_spargi il tumulto, —_Torror, shouting: rebellion! Go! _—_ spread the disorder, _the horror. Je kampane ——riswonino a ‘stormo Le campane _risuonino (Let) the bells sound (Roderigo runs off. Jago turns to the two men who are fighting.) JAGO frattel lim:mane konyflit:to Ue'sisate Fratell limmane contflitto cessate! Brothers! The cruel __ fight stop! MANY WOMEN FROM THE CHORUS: fu'd:d3am Fusgiam! Let us flee! ‘gronda ‘di 'sangwe gronda, di sangue Already is drenched with blood tenttson furibonda Tenzon furibonda! Fight furious! (Oh furious fight!) OTHER WOMEN furd:dsam Fuggiam. Let us flee! JAGO ‘wegwa ‘Tregual A truce! ALL ‘Trogua! montans Montano! Montano!Otello, Act I WOMEN (fleeing) suttfidono S'uccidono! ‘Thoy are killing each other! MEN (to the two fightors) ‘patfe Pace! Peace! JAGO (to the bystanders) nessum ——'pju fafifrena —‘kwel_‘nembo Nessun pid raffrena quel. nembo No one any longer (can) restrain that _ tempest (No one can stop thet fighting tempest any more!) ‘si ‘gti lallame ——satana Aimjvade Si gridi Tallarme! —_Satana glinvadet Call the alarm! Satan possesses them! VOICES (on stage and from within) allarmi All'armit To arms! (The alarm bells ring.) ALL sok:korso Soccorso! Help! OTELLO (entering, followed by men with torches} abibasisy Te ‘spade Abbasso spad Down with your swords! (The combattants stop.) ola ‘ke at ola! Che —avvien? Ho there! What_ is happening? (Tho clouds begin to disperse gradually.) 399 punnatfe pugnace! pugnacious! sonio ‘fra i saratfeni Son io fra i Saraceni? AmI among tho Saracens? o ‘la turkeska ‘rabibja e i ‘voi trasfuza oO la turchesca rabbia é in voi trasfusa Or the Turkish = fury is in you __ transfused400 Otello, Act 1 ‘da zbranarvi_ ‘lun ‘laltro da sbranarvi_—‘T'un Ialtro?... to tear to pieces each other?... (Or has the Turkish fury transfusod itself into you so that you toar each other to pieces?) oinesto ago ‘per kwellamor ‘ke = tu mi port ‘parla Onesto Jago, per quell'amor che tu miporti, —parla. Honest Jago. by thatlove that you bearme, —spoak. JAGO ‘non 'so ‘kwi tutti ‘era kortezi amitfi diantsi e 0kondi Non so.. qui tulti eran cortesi amici, dianzie —_giocondi. Tdon't know...here all were courteous _ friends before and happy... ‘ma afdun ‘tratto ‘kome ‘se ‘um pja'neta malinno Ma ad un tratto, come so un pianeta. ~—maliigno But allofasudden, as if a planet evil a a ‘kwel:li zma'gato a ‘sen:no avesse a quelli. smagato il senno, had to them make them lose their mind, zgwainands ‘lame savwventano sguainando larme s'avventano drawing their weapons they hurled themselves furiously... (But all of a sudden, as if an evil planet had made them lose their minds, they drew their swords and hurled themselves...) a'vesisio ‘prima stroqkati i ‘pie. ke «= kwimatd:dus:ser Avoss'io prima stroncati i pi@ che. qui m'addussor! Would that [had first. chopped off the feet that here brought me! OTELLO ‘kasisjo “kome obliasti ‘te'stesiso tal 'seppo. Cassio, come obliasti testesso a tal sogno?... Cassio, how did you forget yourself so far? (Cassio, how did you so far forgot yourself?) CASSIO ‘gratisja perdon parlar ‘non 'so Grazia... perdon.... _parlar non so. Mercy... forgive me. speak I cannot. OTELLO montan> Montano... MONTANO (supported by a soldier) ‘som fe'rito Son ferito... Tam wounded...Otello, Act I 401 OTELLO ferito ‘pel tfelo ‘ba il ‘sangwe ‘mio ribolile Foritol... ciclo sia il sangue mio ribolle. Wounded! heaven already the blood mine is boiling. a ‘lira ‘valdge ‘landgelo ‘nostro. tute'lare ‘im ‘fuga Ah! Tira volge Tangelo nostro tutelare in fuga! ‘Ahi My wrath puts theangel ours guardian to_flightt! (Ah! My wrath puts our guardian angel to flight!) (Desdemona enters. Otello goes to her.) ke a'mia ‘doltfe dezdemona —_arjkesisa Chet... La mia dolce Desdemona _anch'essa Whal?.. My sweet Desdemona, also she ‘per ‘voi distolta ‘da ‘swoi ‘sonpi per voi distolta, —da’_—suoi_sogni by your account roused from her dreams! ‘kasisjo, ‘non ‘sei ‘pju ‘Kapitan Cassio, non sei pitt capitano. Cassio, youre no longer captain, (Cassio lets his sword drop, which is picked up by Jago.) JAGO (giving Casio's sword to an officer) o ‘mio (Oh! mio (Oh! My OTELLO jago tu va neka agsmenta Jago, tu va nella citi sgomenta Jago, you go tothe city alarmed ‘kon ‘kwel:la 'skwadra_ a tikom'por ‘la patfe con quella squadra a ricompor la pace. with thet squad to restore peace. Gago leaves.) ‘si sok:korra_— montano- ‘al ‘proprio, ‘tetto ritorni o'ppun Sisoccorra Montano. Al __ proprio tetto ritorni ognun. Help Montano. To his own roof let everyone return. (To all, with an imperious gesture.) ‘io'da ‘kwi ‘nom mi ‘parts ‘se ‘pria’ ‘nom'vedo —dezerti ‘Ki 'spaldi Toda qui nonmiparto se pria_ non vedo —deserti sli spaldi. Ifrom here won'tleave if first Idon'tsee dosorted _the ramparts.402 Otello, Act I (Tho stage empties. Otello makes a sign to the torch bearers who had followed him to go back into the castle.) ‘d3a ‘nella ‘notte ‘densa sestingwe ‘onpi klamor Gia nella notte densa sfestingue ogni clamor. Already in the night dense is silenced every noise. ‘asa ‘mio ‘kor fremebondo sammansai_-—ikwestamplesiso Gia ilmio cor fremebondo sammansa in _quest'amplesso Already my heart furious grows calm in this embrace e's risensa ‘wont ‘la gwerra @ si risensa. Tuoni Ja guerra and is appeased. _Let it thunder war © sinabis:si il ‘mondo © sinabissi il mondo and letit be engulfed the world (Lot war thunder and let the world be engulfed) se dopo Tira mmensa —‘yjen__kwestim:menso amor se dopo Tira immensa _vien questimmenso amor! if after the wrath immense comes this immense love! DESDEMONA mio superbo gwerrjer ‘kwanti tormenti Mio superbo —guorrier!- ~—Quanti tormenti, My — superb warrior! How many — torments, ‘kwanti mesti sospiri e kwanta ‘speme quanti mesti_ sospiri ° quanta speme how many sad __ sighs and how much hope {fi kondusise ‘ai soavi_ absbrattamenti é ci condusse ai soavi _abbracciamenti! 3 led us to these _ tender embraces! © —_-kome ‘ddoltfe il mormorare_ insjeme te ‘ne caimmenti Oh! com’ dolce il mormorare insieme: Te ne rammenti? Oh! How sweet it is to murmur together: Do you remember? kwando narravi lezule tua vita Quando narravi Yesule tua vita 2 When you told (of] the exiled your life . (When you told of your life in exile) = e i fjerie'venti e luygi ‘twoi dolor : ce fieri eventie i lunghi tuoi dolor, a and the fierce events and the long your sorrows, = edio tdia kollanima —_ra'pita a edio tudia coll'anima —_rapita ; endI listened to you —_with my soul enthralledOtello, Act I 403 ‘in kwei_spa'venti e kolklestazi ‘nel ‘kor in quoi spaventi = @~—collfestasi_—_nol cor. in thoso fears and with ecstasy in (my) heart. OTELLO pin'dsea detlarmi ‘i ‘fremito, la ‘pupna Pingoa dollami —il_—sfremito, © Ja._——ppugna, Idescribed of thearms the clang, the fighting, © il Vol gaKsardo ‘alla ‘brettfa mortal ° vol gagliardo alla breccia mortal. end the flight bold intothe breach mortal. (and the bold rush into the mortal breach.) la'sisalto orsibit ‘edeca_kolsluppa ‘al balwardo Laassalto, orribil edera, coll'ugna al_—_—baluardo ‘The assault, (like) horrible ivy, with nails at the rampart e i sibilante. ‘stral e il sibilanto tral. and the whistling arrow. (The assault, hanging like horrible ivy on the ramparts by our nails, and the whistling arrow.) DESDEMONA ‘poi 'migwidavi ‘ai—_‘fuldsidi dezeni Poi miguidevi ai __fulgidi deserti, ‘Then youled me tothe shining deserts, allarse arene ‘al tus matema——‘swal all'arse arene, al tuo-—matermo—suol, tothe burning sands, to. your maternal soil, narravi allor ‘Ai 'spazimi softer narravi allor gli spasimi ——_sofferti youtold then of the agonies _—_ suffered, © te katene e ‘dello ‘skjavo i ‘dwol © le catene @ dello schiavo —il’_—duol. and the chains end of the slave the sorrow. (you told me of your suffered agonios, of chains and of a slave's sorrow.) OTELLO indgentilia ‘dit ‘lakrime. la ‘storja Ingentilia di_—_lacrime la storia Ennobled with tears my story ‘il'tuo ‘bel 'vizo & il ‘labsbro ‘dit sospir iltuo bel viso © il labbrodi_—_sospir, your lovely face and your lips with sighs; (Your lovely face ennobled my story with tears and sighs from your lips.)404 Otello, Act I fenidean ‘sulle ‘mie tenebre ‘la gloria il para'dizo Scendean sulle mie tenebre —la gloria, _ill paradiso Desconded upon my darkness —_glory, paradise Kast a beneidir e gli astri a bonodir. and the stars to give their blessing. (On my darkness descended the stars, glory and paradise to give their blessing.) DESDEMONA edio vedea ‘fra ‘le tue ‘tempje oskure Ed io vedea fra le tue tompio oscure AndI saw in your temples dark ‘splender ‘del ‘dyenjo leterea belta splender —del_—_genio Yeterea belta. shino of | genius the ethereal beauty, (And I saw shining in your dark temples the ethereal beauty of gonius.) OTELLO © Ww mamavi_—per_—_Te mie zventure E tu miamavi_—per_le mie sventure And you lovedme for my misfortunes edio tamavo ‘per la ‘tua_pjeta ed io tamavo per la tua pieta. and{ loved you for your pity. DESDEMONA edio tamavo ‘per Te we zveniture Edio tamavo per le tue _sventure AndI loved you for your misfortunes © ‘tu mamavi ‘per ‘la ‘mia pjeta ° tu m'amavi per la mia pieta. and you lovedmo for my __ pity. OTELLO "venga ‘la ‘morte e ‘mi ‘kolga nellestazi Venga lamorte! 0 —micolga noll'estasi Let it come death! And let it take me in the ecstasy di —_kwestamples:so il momento —_suipremo di questamplesso —il._~=—Ss momento —_supromo! of this embraco the moment —_supreme! (Lot death come! Let it take me in the ecstasy of this embrace, the supreme moment!) (The sky has become completely serene. Some stars can be seen and at one side of the horizon the bluish reflection of the rising moon.) tale 2 = il ‘gaudjo delianima ‘ke temo Tale @ il _—_gaudio dell'anima che temo, Such is the joy in my soul that I fear,Otello, Act 1 405 ‘pju ‘nom 'mi sa’ra kontfes:so pitt non mi sara ‘concesso again it won'tbetome granted divino nel:lippoto avivenir ‘del mio destino divino nolfignoto avvenir —del_—smio._—_dastino. divine in the unknown _ future of my — destiny. DESDEMONA disperda ‘il 'tfel ‘ki afifan:ni Disperda _il ciol gli affanni May it dispel heaven the sorrows (May heaven dispel the sorrows) e amor ‘nom ‘muti ‘kol mutar de'AXjan:ni_ e Amor non muti col mutar dogl'anni. and love not change withthe changes _of the years. (and our love not change with the passing of the years.) OTELLO a kwesta ‘tua pre'gieca ‘amen risponda a tfelleste —‘skjera Aquesta tua preghiora Amen risponda laceleste —_schiera To this your prayer Amen may it answer the heavenly host. (May the heavenly host answer Amen to your prayer.) DESDEMONA ‘amen risponda Amen risponda. Amen may it answer. OTELLO (leaning against a step on the rampart.) a minnonda ‘si fjeramente Ab! minnonda si fieramente... Ah! Joy innundates me so_ fiercely... ‘ke an'sante ‘mi ‘dgat{> ‘um —‘batfo che ansante... mi giacio... un bacio, that breathless... I lie. a kiss... DESDEMONA otelilo Otello! OTELLO ‘um ‘batfo arjkora ‘um Un bacio... ancora un A kiss. again a (Rising and looking at the sky.)406 ‘dsa ‘la Gia Ja Already tho DESDEMONA tarda e ‘la Tarda & la Late is the OTELLO DESDEMONA otel:lo Otello! Venere Venus Otello, Act I ‘plejade ardente im mar diffende Pleiade ardente in mar discende. Ploiades® glowing, —_—to the soa descend, ‘notte notte. night. splende splonde. is shining. (Embracing, they go off into the castle.) ‘Ploiados, in Grook mythology were the saven daughters of Atlas and Pleione, who were placed by Zeus among the stars. In Astronomy, a lange group of stars in the constellation of Taurus. END OF ACT IOtello, Act It 407 ACT IL (lago and Cassio are talking in a room on the ground floor of the castle, separated from a Jarge garden by a glass-panelled door leading to a balcony.) JAGO (this side of the balcony) ‘non ‘ti kruttfar ‘se kredi a'me tra poko Non ti crucciar. Se credi ame, tra poco Don't torment yourself. If youbelieve me, soon farai ritomo ‘ai —folled:dgamti amori ‘di monina ‘bjanka farai ritomo ai folleggianti amori di += Monna Bianca, you'll return to the frolicsome loves of | Monna Bianca, altjero Kapitan kolilelsa dora = kol_—_ballfeo fre'dsato altioro capitano, _collelsa_~—d'oro. @ ~_—col_balfeo frogiato. aproud captain, _—with hilt © golden and with belt adored. cAssIO; ‘non luzir’garmi attend ap Kio diko Altendi a cid chiio ico. Listen to what I say, tu dei salper ‘ke dezdemona © = il, dutfe “del ‘nostro ‘dutfe Tu déi__saper che Desdemona @ il Duce del __nostro Duce, You must know that Desdemona is the leader of + our _ leader, ‘essa ‘vive ‘pregala tu essa ei vive. Pregala tu, her he lives. Ask her, korteze ‘per te intertfeda cortese per te —_interceda kindly , for you to intercede e — ltuo perdono ee tferto @ iltuo perdono = 8 ~—carto. and your pardon is assured, casio ‘ma ‘kome favelHlarle Ma come favellarle? But how can I speak with her? JAGO & suo kostume ——dgirsene == aa—_merididgar E suo costume girsene a meriggiar Its her custom to go strollingat_ —_noontime408 Otello, Act I ‘fra ‘kwel:le ‘fronde ‘kolla konsorte mia fra quelle fronde colla consorte mia. among those ‘trees with the wife mine. ‘kwivi laspetta, = ‘or te aperta Ja via’ ‘di salvattsjone‘vanzne Quivi Taspetta. © Or —_t@ aporta la via di_—salvazione. Vane. Here await her. Now is open to you the path of salvation. Go. (Cassio leaves.) JAGO (watching Cassio leave.) ‘vanne: ‘la ‘tua ‘meta ‘da ‘vvedo, Vanne, Ja tua meta sia vedo. Go, your destination already —‘I 00. ‘ti 'spinge ‘il tuo dimone © ‘il tuo dimon sono: Ti spinge iltuo dimone, © _il tuo dimon son io, You're driven (by) your demon, and your demon am I © ‘mme traffina ‘il'mio ‘nel 'kwale ‘io ‘kredo E me trascina —ilmio nel quale io credo And me — drives mine in whom! __beliove, inezorato idxdio inesorato Iddio: an inexorable God: (And my demon drives me, and I believe in it, an inexorable God:) (He moves away from the balcony without looking any longer in the direction of Cassio, who has by now disappeared among the trees.) ‘kredo in ‘un ‘ddio rude ‘ke ‘ma kre'ato ‘se Credo in un Dio crudel che mbha creato 82, Ibelieve in a God cruel who created me himself, eke ‘io ‘nomo e che io nomo. end whom in my wrath I name, ‘dalla vitta ‘dun “dserme 0 ‘dun atomo vile ‘son ‘nats Dalla vilta d'un germ o d'un atémo vile son nato. From the baseness ofa_ germ, or ofan atom base I was born. ‘son felilerato—_perke ‘son ‘wom Son scellerato_ perch son uomo Tam wicked because = Tam aman © sento ‘il fang oridsinarjo ‘im'me si “kweste ‘ta mia ‘fe e — sento il fango originario in me. Si, quest’ Jamia fe! and [feel the mud of my origin in mo, Yos, this is my — faith‘kredo Credo I believe sikekome siccome just as ‘ke il che il thet the ‘per ‘mio per mio by my ‘kio chio that 1 ‘mal mal evil destino destino destiny Otello, Act IT 409 ‘fermo ‘kwor fermo cuor, firm heart, ‘la -vedovella—'al_~—tempjo la —_vedovellaal_—_tempio, the little widow at church, ‘peso e ke da 'mme__protfede ponsoe che da me _procede think end thet from me — comes atdempjo adempio. is wrought. (Tboliove with a firm heart, just as the little widow at church doos, that the evil that I think ‘and that comes from me is wrought by my destiny.) ‘kredo ‘il ‘dgusto e ‘un istriom be'fifardo Credo che il giusto 2 un _istion beffardo Tbelieve that ‘the justman = is._~—an_—_ actor mocking e ‘nel 'vizo oe ‘kwor ‘ke ‘tutto ‘in ‘hi buldgardo ° nel viso e@ cuor, che tutto in lui bugiardo: and inhis face and inhis heart, that all is in _— him _ falsehood: {( believe that a just man is a mocking actor in his face and heart and all in him is falsehood.) ‘lagrima, ‘batfo ‘zgwardo sakeifitfo edonor Lagrima, —_bacio, sguardo, _—sacrificio _od onor. (His) tears, Kisses, gaze, sacrifice and honor. e ‘kredo. ‘lwom ‘soko dinikwa_ ‘sorte E credo Yuom gioco diniqua sorte And Tbolieve man (tobe the) — plaything —_—of iniquitous fate ‘dal ‘dgerme, ‘dela ‘kulla ‘al 'verme della'vel dal germe della culla al —_verme dell'avel. fromthe germ of the cradle to the worm of the grave, ‘vjen ‘dopo tanta izton ‘la ‘morte Vien dopo tanta irrision, La Morte, Comes after somuch derision, Death. e'ppoi ‘la ‘morte e ‘Hd nubla E poi? laMorto = @—il nulla. ‘And then? Death is Nothingness. e ‘vekckja “fola ‘il tyel z vecchia fola il ciel. And (an) old wive's tale heaven, (And heaven is an old wive's tale.)410 Otello, Act It (Desdemona is seen passing through the garden with Emilia. Jago dashes to the balcony, beyond which Cassio has placed himself.) JAGO (to Cassio) ‘ekikola “kasisjo ate kweste ‘il momento Eccola, Cassio, ate... Quost’s il momento. ‘There sho is... Cassio... _it's up to you... This is the — moment. ‘ti 'skwoti ‘yjen dezdemona Ti scuoti... vien Desdemona. Get yourself going... Desdemona is coming (Cassio goes towards Desdemona, greets her and walks beside her.) JAGO ‘se 'mosiso jasaluta e —savivitfina (S' mosso; lasaluta e —_—s'avvicina. (He has moved; ho greets her and _—_ comes close to her. ‘si'tragga ——ottel:lo ajuta ‘satana ‘il'mio tfimento sitragga -Otellol..._—aiuta satana il mio cimentol... let be drawn Otello! help, satan, my cause! (Now let Otello be drawn horel...Help my cause, satan!) ago remains at the balcony, observing, but slightly to one side, Cassio and Desdemona are seen crossing the garden again.) ‘da konjversano_ in'sjeme edesisa inklina sonridendo Gia conversano insieme.. edessa —_—inclina sorridendo Already they are conversing together... andshe — inclines. ~— smiling il ‘bel ‘vizo ‘mi ‘basta ‘un ‘lampo ‘sol ‘di ‘kwel so'rrizo il bel_—viso. Mibasta un lampo sol di_—quel_sorriso her lovely face. one flash alone of that smile per traffnare ruina anidjam per — trascinare ruina. Andiam... to drag Otello to his ruin. Let us go... (He starts going quickly towards the door on the right but stops suddenly.) ‘ma ‘il 'kazo ‘im = ‘mio favor sadopra Ma ilcaso in mio favor s'adopra, But chance in my favor is working. ‘ekikolo ‘al ‘posto allslopra Eccolo. al posto, all'opra.) Thore he is... to my place, to work.) (He places himself, motionless, on the balcony, staring to where Cassio and Desdemona are in the garden.)Otello, Act It JAGO (pretending not to see Otello, and pretending talk to himself) ‘Yo malkkora Cid m'accora... That distrosses mo... OTELLO (approaching Jago) c ‘ke ‘pparli Che _parli? What are you saying? JAGO. ‘nubla ‘voi ‘kwi ‘una ‘vana‘votfe muyfi dal Nulla... voi qui? Una vana voce’ m'usct dal ant absbro labbro... Nothing... you here? An idle word escaped from my —_—lips...? OTELLO koi ‘ke salelontana ‘dalla ‘mia 'spoza © ‘Kasisjo Colui che sallontana dalla mia sposa, @ Cassio? That man who is going away from my wife, is it Cassio? JAGO (as both move away from the balcony) ‘kasisjo ‘no 'kwei ‘si'skosse —“kome ‘un ‘treo Cassio? no... Quei si scosse come un reo Cassio? No... That man started like a guilty men OTELLO “kredo ke ‘kasisjo'ei_—“fosse Credo che Cassio oi —_fosse. Tbelieve that Cassio he was. JAGO ‘mio sippore Mio signore... My lord... OTELLO ‘ke Che — brami?... What do you went?... JaGO. kkasisjo nei primi ‘di ‘del_— "Vostro amor ~dezdemona Cassi nei primi di del_vostro amor Desdemona Cassio, inthe first days of your love, Desdemona (Didn't Cassio know Desdemona in the first days of your love?) ‘In this caso the common word voce (voic boing used to signify word Likewise, the singular fabbro meaning lip refers to both lips. ‘nel vedervi nel vedervi. on seeing you. ‘non kono'ffeva non conosceva? didn’t he know?412 Otello, Act Il OTELLO si perke fai ‘tale inykjesta Si. Perche fai tale inchiesta? Yes. Why do you ask such a question? JAGO ‘il'mio pensjero © 'vaga dubrbie ‘non ‘di malitesja Imio pensioro 8 —-vago dubbie, non di_—malizia. My — thought is vague,awhim, not of malice. (My thoughts are vague and a mere whim, with no malice.) OTELLO tus penisjero—— ‘Jago Diil tuo —pensiero, ‘Jago. Speak your thought, —_Jago. JAGO ‘vi komfidaste a kassjo. Vi confidaste a Cassio? Did you confide in Cassio? OTELLO ‘spesio um ‘mio ‘dono o un tenn. Spesso un mio dono o un _—_cenno Often a mine gift or a — word portava mia ‘spoza portava alla mia sposa. he carried to my wife. (He often carried a gift or e word from mo to my wife.) JAGO da'ssensno Dassenno? Really? OTELLO ‘si da'ssenno Si, dassenno. Yes, really. (Calmly.) ‘nol ‘kredi onesto Nol credi onesto? Don't you believe him to be honest? JAGO (imitating Otello) anesto Onesto? Honest?OTELLO ‘ke askondi Che ascondi What are you hiding jaGO ‘ke askondo Che ascondo in Whet am hiding in (my) Otello, Act It 413 nel wo “kore: nel tuo core? in your heart? ‘kor sinore cor, signore? heart, my lord? OTELLO ‘ke askondo in ‘kor sisore "Che ascondo in cor signore?” "What am [hiding in (my) heart, my lord?” pel tfelo tm ‘sei eko dei Pel cielo! tu sei eco doi By heaven! you ere theacho of the words mine, ‘nel ‘Kjostro dellanima — ritfetti kwalche ——_terribil ‘mostro nel chiostro —del'anima_—_ricotti qualche —_termibil mostro. in the cloister of your soul you harbor some terrible monster. si ‘ben wud pokes) «= cormarer_ to euafickorm Si, ben tudii pocanzi mormorar: "Cid miaccora.” Pra el (i ieard yong jastnow | mrmunng oe distresses me.” ma ‘di ke takkoravi ‘nomini ‘kasisjo Ma di che_faccoravi? Nomini Cassio e Me, Gvor what were you distressed? You mention Cassio and uw korsrugi la frome parla ‘se mmami tu corrughi = la_—_—‘frontt. parla so miami. you knit your brow. Come now, speak if you love me. JAGO voi sapete ‘Kio ‘vamo Voi sapete chiio vamo. You know that! love you. OTELLO dunkwe ‘sentsa velami tesprimi e'sentsa ambadsi Dunque senza volami tosprimi e senza ambagi. Then without vail, express yourself and without ambiguity: teska‘fwor ‘dalla ‘golail'wo ‘piu tio penisiero Tescafuor dalla gola illtuo pid rio pensiero Let out of your throat your worst thought ‘kota ‘pj ria cola pitt ri with the worst414 JAGO ‘sanko teneste S'anco toneste Even if you held ‘nol satpreste nol sapreste. you wouldn't know it. OTELLO Abt ‘im ‘mano in mano in your hand all of the soul JAGO (whispering vory close to Otello} temete sinnor Temote, signor, Feer, my lord, ‘livida ‘tYeka ‘kol ‘suo livida, cieca, col suo livid, blind, with its vivida Piaga vivida piaga an open wound la dselozia Ia gelosia! jealousy! veleno voleno poison ‘le ‘skwartfa Je squarcia tears open Otello, Act It ; ‘tutta anima ‘mia tutta Yanima mia mine © wnidra ‘Foska E un'idra fosca, Its a hydra dark, se'stesisa _alttaska sdstessa _attosca, itself poisons, il ‘seno il sono, its breast. (Be afraid of joalousy, my lord! It is a dark, blind and livid hydra thet poisons itself with its own venom, tearing an open wound in its breast.) OTELLO mizerja ‘mia no il 'vano. sospettar nulla ‘d3ova, Misoria mia! No! Ivano sospettar nulla giova. Oh my misery! No! Vain suspecting is of no use. ‘pria del ‘dubsbjolinddadsine “dopo la 'prova Pria deldubbio Tindagine, dopo la prova, Before doubt, inquiry, after the proof, ‘dopo ‘la ‘prova ottel:lo a ‘le ‘sue ‘led:d3i supreme dopo la prova (Otello ha lesue leggi supreme), after the proof (Otello has his laws supreme), amore e dgelozia vadan dispersi amore e —_gelosia vadan disporsi _insieme! Jove and jealousy be — dispersed ~—_together! JAGO (with a bolder expression) ‘un ‘tal profposto ‘spetitsa ‘di mie labsbra ‘il swd:dgels Un tal proposto —_spezza di mie labbra il suggello, Such a proposal _ breaks of my lips the seal. (Such a proposal breaks the seal on my lips.)Otello, Act It 415 ‘nom ‘paris arjkor ‘di pur dgenerozo—_atelo Non parloancor di pur, generoso Otello, Idon't speak yet of yet, generous Otello, vidgilate ——_soventi le seste © ben kre'ate koffientse vigilate, —_soventi lo onestee ben create coscionze keep watch, often the honest and well disposed minds nom 'vedons ‘la trode non vedono lafrode: —_vigilate. do not soe deceit: keep watch. skritate le_—parole ‘di dezdemana Scrutate le. ~— parole di. Desdemona, Scrutinize the words of Desdemona, ‘un ‘detto. ‘pworikonidur ‘la fede pwo afifermare ‘il sospetto un detto. pudricondur —_la fede, pud affermare _il sospetto... a word can restore trust, can reaffirm suspicion. DISTANT VOICES ‘dove ‘gwardi splendono —‘radusi avivampan—‘kwori Dove guardi splendono —raggi, avvampan —_cuori, Where youlook shine rays, are aflame hearts, ‘dove ppassi ffendono —_‘nuvole ‘di fjori dove passi scendono —nuvole di fio. where you pass descend — clouds of flowers. wi ‘fra ‘dsiKKi = 'tovekome a@ =u) Kasto altace Qui fra gigli. © rose. come a = un_—casto altare, Here amonglilies and roses asif at a chaste altar, ‘padi bimbi ‘spoze ‘vengons =a kantar padri, bimbi, spose vengono a_—cantar. fathors, children, wives come to sing. (Desdemona is soon again in the garden. Sho is surrounded by island women, children, Cypriot and Albanian soldiers, who come near and offer her flower branches in bloom and other gifts. Some are singing, accompanying themselves on the guzla, a kind of mandolin, others have little harps slung over their shoulders.) JAGO (as before, softly) ‘ekckola Eccola... There she vidsilate e vigilate. ‘CHORUS (in the garden) Dove guardi splondono raggi, avvampan cuori, etc. keop watch.416 Otello, Act IT CHILDREN (spreading lilies on the ground) to'ffrjamo: ‘i ‘d3ikko so'ave ‘stel ‘ke im ‘man ‘deXAi_ ‘andgeli Toffriamo il _giglio, soave stol che in man_dogli_angeli We offer you the lily, tender stalk, that inthe hand of angels ‘fu a’sisunto ‘in tfel fu assunto in ciel. was borne to heaven. ‘ke abibella ‘il fuldsido ‘mantoe = la ‘gonna. Che abbella il fulgido mantoe la_—gonna. That beautifies the gleaming = mantleand the skirt ‘della madonna =e ~—iil_—“santo_‘vel della Madonna ¢ il _ santo. vel. ofthe Madonna ander _— holy _ veil. WOMEN AND SAILORS: ‘mentre al:laura ‘vola ‘Teta ‘la kanttson Mentre alfaura vol lita. 1a canzon, While tothe air is wafted happy the song, ‘ladsile mandol ‘ne akikompappa il 'swon Yagile mando ne accompagna _il suon. the agile mandolin accompanies its sound. SAILORS (offering Desdemona pear! and coral jewelry) a te le ‘porpore Je pele ‘Ki ‘ostri A te le_porpore, lo pele © —gli_—_ostri, For you the purpleconchs, the pearls andthe _ purple dyes, ‘nella vo'radsine ‘kolti_ ‘del ‘mar nella voragine —célti del mar. in the abyss gathered of the sea. vokkam dezdemona ‘koi ‘doni ‘nostri Vogliam Desdemona coi doni nostri We wish Desdemona, withthe gifts ours, ‘kome unim:madgine ‘sakra ador'nar come unlimmagine sacra adorner. like animage holy to adorn. (We wish to adorn Desdemona like an image with our gifts.) WOMEN AND CHILDREN Mentre all'aura vola lieta la canzon, l'agile mandala, etc. WOMEN (strewing branches and flowers} ate la lorida ‘messse ‘dai ‘grembi A to la _ florida mosse dai grombi For you the flowery —_—_—harvest of our lapsspardsamo ‘al ‘swol a ‘nembi spargiamo al__—suol a nembi, let's spread on the ground in clouds, lapril {firkonda la 'spoza_‘bjonda april circonda la._—sposa_bionda April surrounds the bride blond ‘dun ‘era. ‘rorida ‘ke ‘vibra ‘al dun otra rorida che vibra al with an air dowy that vibrates. in the. CHILDREN AND SAILORS Mentre all‘aura vola liota la canzon, etc. ALL Dove guardi splendono, etc. DESDEMONA splende ‘il Yel ‘dantsa aura Splende _—il ciclo danza Vaura, Shines the sky, dances the air, OTELLO wel ‘Kanto. ‘mi koykwide ‘sella miggan:na Quel canto mi conquide. Stella _m'inganna, That song overcomes me. If she. betrays mo, i 'yet se ‘stesso ride il ciel se stesso _irride! heaven itself mocks! (if sho is betraying me, heaven mocks itself!) JAGO (to himself) betta edamor doltfe ‘inns (Belta edamor in dolce ‘inno (May) (beauty andlove in. sweet _hymn i vostri imfrandsersofavi_atkckordi I vostri infrangerd —soavi_accordi.) yours Iwill break _ tender chords.) (C will break your tender chords.) DESDEMONA ‘dsoja amor = sperantsa —‘kantan nel ‘mio Gioia, amor, speranza —_cantan nel mio Joy, love, hope sing in my ALL vivi felitfe ad:dio kwireppa_ amor Vivi felice! Addio. Qui regna_ amor. Live happily! Farewell. Here _ reigns love. Otello, Act II ‘sol sol. sun, sleddza olezza smell kon kordi concordi! unite! ‘kor heart. a7 il for il for. the flowers...418 Otello, Act Il OTELLO ‘kwel ‘Kanto ‘mi konkwide Quel canto mi conquide, That song overcomes me. (Once the chorus is over, Desdemona kisses the heads of some of the children and some of the women kiss the hem of her dress; she hands a purse to the sailors. The chorus leaves. Desdemona, followed by Emilia comes into the room and goes towards Otello.) DESDEMONA (to Otello) ‘dun ‘wom ‘ke —‘dyeme ‘sotto ‘il'tuo dizdenno —ta_—opregiera. ti porto Dun uom che geme sotto iltuo disdegno la _—proghiora_—_ti porto. Ofa man who moans under your displeasure the plea I bring you. OTELLO ki © kostui Chi &@ —costui? Who is he? DESDEMONA kkasisjo Cassio OTELLO ‘era ‘ui ke ti parlava sotto ‘kwelle ‘fronde Era lui che ti parlava sotto quelle fronde? Was ithe who was speaking to you under those boughs? DESDEMONA ‘ui ‘stesso e —il'suo dolor ke im ‘me sinjfonde Lui stesso, e ilsuo dolor che in me __siinfonde He himself, and his grief _ that in me_is infused (It’s he himsolf, and his grief, which I feel) tante veratfe ke 'di__‘grattsja © deppo tant’® verace che di grazia & —— degno. isso. real that of forgiveness it is worthy. intertjedo ‘per tui ‘per tui ti'prego ‘tu ‘Ai perdona Intercedo per ui, per lui ti prego, _tu gli perdona. Lintercede for him, on his behalf I beg you, —_ forgive him, OTELLO nonora Non ora. Not now. DESDEMONA ‘non op:pormi il tuo dinjego “Ai perdona Non oppormi il tuo diniego. Gli pordona. Don't oppose to me your denial. Forgive him. (Don't deny me. Forgive him.)ase SSAA HONCODE SE ELEN L ISR REAM EINE TOT Otello, Act It 419 OTELLO nonora Non ora. Not now. DESDEMONA perke ‘worbida ‘swona ‘la ‘votfe tua ‘kwal_ ‘pena tadsdolora Porch® torbida suona la voce tua? Qual pena taddolora? Why troubled sounds the voice yours? What grief is saddening you? OTELLO ‘mardon Je tempje Mrardon lo tempie. They are burning, my — temples... (My temples are burning...) DESDEMONA (unfolding her handkerchief, as if to bandage Otello's forehead) kwellardor molest zvanitra Quell'ardor ~—molesto svanira That burning troublesome will disappear ‘se “kon kwesto ‘morbido tino Tamia ‘man ‘ti ‘faffa se con questo morbido lino lamia man__ i fascia. if with this soft linen my —hand_ will bandage you. OTELLO (throwing the handkerchief on the ground) ‘non 9 ‘dwopo ‘ith Nonhoduopo — di_— cid. Thave no need ofthat. DESDEMONA ‘uw ‘sei krutitfato——_sippor Tu sei crucciato, _signor. You are imitated, —_lord. OTELLO (harshly) ‘mi ‘laffa Mi lascia! Leave me! (Emilia picks up the handkerchief.) DESDEMONA ‘se irkonfa ‘kontro ‘tte 'spoz 9 pekkato Se inconscia, contro te, _—_sposo, ho. peccato, Mf unwittingly against you, husband, —_I have sinned, la ‘doltfe © ——‘Ijeta_parola ‘del perdono la dolce © _—lieta_parola del_—_perdono. giveme your sweet and happy word of pardon.420 OTELLO (aside) “forse perke (Forse percha (Porhaps because DESDEMONA a tua fantfulla ‘io Latua fanciulla io Your maiden I ‘mail Tabsbro to mail sbbro tuo but the lip yours ‘ai ‘Tokikjo hai Yocchio youhave your eye ‘gwardami im ‘voto Guardami in —_volto Look at me in my face ‘vjen ‘Kio taleljeti Vien ch'io tallieti Come, that I may gladden ‘il il your ‘kio i leniska chio tilenisca that I may ease OTELLO (always aside) “forse perke (Forse perchd (Maybe because “forse perke forse porch maybe because Forse perché gl'inganni darg Otello, Act It Adinyganni darguto amor ‘non ‘tendo glinganni —d'arguto. amor _non tendo...) the deceits of sly love I don't understand...) ‘sono ‘umile e mansueta sono, umile © —— mansueta; am, humble and obedient; sospira sospira, sighs, ‘fizo ‘al ‘swol fiso al — suol. fixed on the ground. e ‘mira ‘kome ffa'vella amor © mira come favella ‘amor. and see how speaks love. ‘il ‘kore il core, your heart, ‘dwol duol. suffering. ddi'ffendo ‘neha ‘valle de&Ki ‘anni discendo nella valle degli anni, Tam desconding intothe —vallley of years, © ‘sul ‘viz. kwestatro.—_tenebbror ho sul viso quest'atro.—_tenebror. Thave on my face this atrocious blackness... uto amor non tendo, etc. ‘el: e perduta e inrizo ‘io ‘sono, la @ perduta @ ~_—irriso io sono is lost and mocked = [am e ‘il ‘kore injfrango e ruinar ‘nel ‘fango: © il core _infrango =e ~—ruinar nel fango and my — heart I break and ruined in the mire ‘vedo ‘il ‘mio ‘sonpo ‘dor vedo il mio sogno dor. Tseo my dream of gold.Otello, Act It JAGO (to Emilia, softly) 424 ‘kwel vel ‘mi'pordsi ‘kor ‘ai rakckolto (Quel vel? miporgi chor hai raccolto.) (That handkerchief giveme, thatnow —youhave _picked up.) EMILIA (softly (0 lago) ‘howal ‘rode 'skon ‘tileggo ‘im ‘voto (Qual frode scorgi? Tileggo _in volto.) (What deceit are you planning? I can read it in your face.) JAGO toprponi a voto kwandio —_-komando Topponi a voto quand'io —_comando. You oppose me —_in vain when I command. EMILIA ‘ilu nefando ——_fivor ‘me ‘nota tuo nefando —_livor m? noto. Your infamous hatred is known to me. JaGO sospetito _in'sano Sospetto _insano! Suspicion insane! EMILIA ‘gwardja fedel © kwesta ‘mano Guardia —_fedel & — quosta mano. Aguard faithful this hand. JAGO ‘dammit ‘kwel ‘vel Dammi quel vel! Giveme that handkerchief! (He violently seizes Emilic’s arm.) ‘su te Hiroza ‘mia ‘man sagigrava Su te Tiresa mia man s'aggrava! Over you theangy my hand is poised! EMILIA ‘son ‘la‘tua ‘spoza ‘non la tua ‘skjava Son latua sposa, non la tua schiava. Tam your wife, not your slave. °A handkerchief is a fazzoletto, and it will be much roferred to as such as the drama unfolds, However, it is also referred to as a velo or vel like light piece of cloth, its trucated form, meaning veil, gauzo, or a gauze-422 Otello, Act It JAGO ‘a 'skjava impura tu sei ‘age La schiava = impura. = tu sei Jago. The slave impure you are of Jago. EMILIA > il ‘kor prezago ‘dunia zventura Ho il cor presago una sventure. Thave the heart foresecing a misfortune, JAGO ‘ne ‘mi pa'venti Ne mi paventi? Do you not fear me? EMILIA, 'womo krudel Uomo crudel! Man cruel! JAGO a'mme Ame. Give it to me. EMILIA ‘ke ‘tenti Che tenti? What aro you trying to do? JAGO amme ‘wel vel Ame quel vel. Giveme that handkerchief. (With a sudden movement he seizes the handkerchief from Emilia) EMILIA Uomo crudel! JAGO ‘dsa ‘la ‘mia ‘brama konkwido: edora Gia la mia brama conquide ed ora (Aloady my — desire Tachieve, and now ‘su ‘kwesta ‘trama ‘jago la'vora Su questa trama Jago lavora,) on this plot Jago is at work.) EMILIA. ‘vinser Ajartisai ‘uutfi_ € ko'dardi (Vinser gliartigh truci_ e © codardi, (Have overpowered (me) his claws grim and cowardly.Pieeccanmeeneermecmmencemccn Otello, Act It 423 ‘dio “dai perikti ‘sempre “yi gwardi Dio dai perigli sempre ci guardi.) God fromthe _parils always protect us.) DESDEMONA dam:mi la doltfe © |—Ijeta_parola ‘del__perdon Dammi la dolce e ~—_—ilieta’_parola del__perdon. Give me the sweet and happy word of pardon. OTELLO effite ‘solo ‘vo restar Escite! solo vo! restar Leave! Alone I wish to remain. JAGO (softly, to Emilia) ti dgova tatfer intendi Ti giova tacer. Intendi? It's best for you to. keep silent. Do you understand? (Desdemona and Emilia leave. Jago pretends to leave through the rear door but once arrived there, he stops.) OTELLO (sinking into a chair) dezdemona ‘tea Desdemona ree! Desdemona guilty! (Jago is at the back, covertly looking at the handkerchief, then carefully places it in his doublet) JAGO ‘kon ‘kwesti fil tramero ‘a prova ‘del pelckato. amor (Con questi fili tramerd — la_—prova del__peccato d'amor. (With those threads Iwill plot the proof of the sin of love, (With these threads I will plot the proof of sinful love.) ‘nella dimora ‘di “kasisjo tf>_saskonda Nola dimora di Cassio cid s'asconda.) In the house of Cassio it will be hidden.) OTELLO atrotfe itdea Atroce idea! Atrocious idea! JAGO (watching Otello) il ‘mio vellen (mio velen (My venom is working)424 OTELLO ‘rea ‘kontro Rea contro Guilty against JAGO (darkly) ‘sofifri e (Soffri e and (Suffer OTELLO atrotfe Atroce! Atrocious! Non _ pensateci pi Don't think about it Otello, Act II mme me! mo! ‘rud:dgi ruggi!) roar!) any more. OTELLO (springing up) ‘tu indjetro Tu? Indietro! You? Back! aime ‘piu pia Alas!.. ‘More doll'ingiuria of the injury is arkane secret nellore Nellore In the hours madsitava miagitava il “fudedsi ‘mai legato ‘alla ‘krotfe Fuggi! M*hai legato alla crocel Flee! You've nailed me to the cross! srrends ——‘doppi orenda indsucja orrendo ——d’ogni orrenda —_ingiuria horrible thenany — horrible. injury i sospet il sospetto. the suspicion, (Alas!...more horrible than any horrible injury is the suspicion of injury.) della ‘sua lussuja =e = ame dolla sua lussuria = (@ = as me of her — lust (and from me petit ‘forse uum pre‘zadso petto forse un presagio? breast perhaps a _—_prosentment? did stir my (did a presentment perhaps stir in my breast?) ‘baldo baldo, confident, ‘ero io ‘non senttivo non sentivo 1 didn't feel dgulivo m sa'pevo giulivo.. nulla sapevo happy... nothing know I ‘sul ‘sus ‘korpo divin ‘ke ~—-min:namora sul suo corpo divin che miinnamora on her body divine that makes me love her futrate furate!) stolen!) \Otello, Act It 425 © ‘sui labsbri mendatfi_—Ajardenti = “batfi_ “di kasisjo @ sui labbri mendaci_ gli ardenti_ baci di Cassio! and on her lips lying thoardent kisses of _ Cassio! ‘per'sempre ad:dio ‘sante_me'morje per sempre addio santo momorie, forever farewell, sacred memories, inykanti ‘del perisier incanti dol pensior! enchantments of my thought! futdsenti ——_ald:dio vittorje fulgenti, —_addio vittorie, gleaming, farewell —_victories, ‘dardi vollanti © volanti korsjer dardi volanti e —— volanti corsier! arrows flying and flying steeds! vessillo triomjfale. vessillo, trionfale e-—_—pio! flag, triumphant and holy! e diane skwil:lanti ‘sul_ matin E diane squillanti in sul_mattin! And trumpets blaring in the morning! Klamori © —‘kanti ‘di balttagsa addi Clamori ¢ —canti. di_—attaglia,—_addio!... Clamor and songs of battle, farowell!... ‘della ‘glorja dotello © kwesto i fin Della gloria d'Otello questo il fin. Of the glory of Otello is _ this the ond. (This is the end of Otello's glory.) Jaco ‘patfe sinnor Paco, signor. Peace, my lord. OTELLO fagurato —mitrova. «tuna prova—sekura ‘ke dezdemona © = impura Sciagurato! mitrova una prova securache Desdemona @ —_impura- Wretch! — Findme —_a proof cortain that Desdemona is impure - ‘non sfitdedsir ‘nulla ti dgova Non sfuggir! Nulla ti gioval Don't flee! Nothing —_ avails you!426 Otello, Act It vo tuna sekura una vizibil ‘prova Vo! una secura, una visibil Prova! Iwanta —cortain, a visible proof! ° tua testa sattfenda = =—pretfipiti. il "fulmine © sulla tua testa s'accenda @ —precipiti. ~—il_—fulmine Or upon your head may itkindle and fall tho thunderbolt ‘del ‘mio spaventozofilror ‘ke ‘si'desta del mio spaventoso furor che _ si desta! of my frightful fury thet awakens! (Or olso on your head let the thunderbolt of my frightful, awakening fury kindle and fall.) (He, seizes Jago by the throat and hurls him to the ground.) JAGO divina ‘grattsja difendimi Divina grazia difendimit Divine grace, defend me! (Rising) ‘il Yel ‘vi protegga ‘non'som ‘pju ‘vostro. alfjere T cielo vi protegga. Non son pit vostro alfiere. (May) heaven protect you, Tm no longor your ensign. ‘vokko ‘ke il ‘mondo testimon ——'mi'sia Voglio che il mondo testimon mi sia Iwant that the — world witnoss be to me ‘ke fonesta e perisso cho Tonosta @ _ periglio. that honesty is (a)_ danger. (want the world to be my witness that honesty is a danger.) (He starts to leave.) OTELLO ‘no rimani No... rimani. No... stay. ‘forse Forse Perhaps ‘snesto tw onesto tu honest you JAGO (on the threshold, pretending to go) ‘medio vatrebtbe —‘kio—_fosssi ‘Meglio varrebbe ——ch'io._fossi It would be better that I_ were OTELLO per luniverso —_‘kredo Per T'universo! Credo By the uni iverse! I believe un tfurmatdor un ciurmador. a liar, leale desdemona lealo Desdemona faithful Desdemona (By tho universe! I believe Desdemona to be faithful)Ez Otello, Act I 427 e ‘kredo ‘ke ‘non ‘lo ‘sia e credo che non lo sig; and I believe that she may not be so; te redo oinesto © ‘kredo dideale Te credo onesto e credo: disleale.. You Ibslieve honest and believe disloyal la prova ‘is. “YokKo ‘vosko ‘la Yfertetssa La prova io voglio! Voglio la _certezza! The proof I want! I want the certainty! JAGO (returning to Otello} sipnor frenate ‘lansje e wal tfertettsa ——_-vabsbizoppa Signor, frenate Tansie. E qual certezza vabbisogna? My Lord, restrain your anxiety. And what certainty do you need? a'vwvinti velerli “forse Avvinti vederli forse? Embracing to see them, perhaps? OTELLO a morte ¢ —_danattsjone Ah! Morte e dannazione! Ah! Death and damnation! JAGO ‘ardua impreza sarebbe es ‘kwal_ tfertettsa —soippate ‘voi Ardua impresa _sarebbe. Equal certozza_—sognate voi Difficult undortaking it would be. And what certainty dream you se -kweldimmonds fatto. ‘sempre Vi sfudedsira se quollimmondo —_— fatto sempre vi sfuggira?... if that filthy fact always will elude you’. ‘ma purse ‘gwida © Taradgone al vero Ma pur se guida @ — laragione —al_—vero, But yet if — aguide be reason to the truth, (But yet, if reason be a guide to the truth.) ‘una si forte kondsetstura riserbo ke ‘per 'poko una si forte congettura _riserbo che per poco @ 80 strong conjecture I have that almost, ‘alla tfertettsa ‘vi konidutfe alla certezza —_vi conduce, to certainty _leads you. (Uhave such a strong conjecture that it almost leads you to a certainty. Liston:) ‘era la ‘notte kas'sjo dormia ‘Ai'stavo alkckanto Era lanotte, Cassio dormia, sli stavo accanto. It was night, Cassio was sleeping, I was next to him.428 Otello, Act It kon inte'rrotte —'volfi_tradia inkanto Con interrotte —voci__tradia Vintimo _incanto. With faltering words he betrayed his inner enchantment. Te Tabsbra ‘lente ‘lente movea Le —_labbra Iente, Iente movea, His lips slowly, (very) slowly he moved, nel:lab:ban'dono del ‘soppoardente nell'abbandono —del_—sogno_ardente; inthe abandon —of his dream ardent; e — allor ditfea kom ‘flebil “swono dezdemona save E — allor dicea con flebil_ suon Desdemona soave! ‘And then he said with faint sound: "Desdemona sweet! ‘il'nostro. amor _saskonda aut verkeamo Tnostro amor _s'asconda. Cauti vegliamo! (Let) our love bo kept hidden, Carefully _let us keep watcl ‘estazi del Yel tutto minnonda Lestasi del ciel tutto miinnonda. ‘The ecstasy of heaven wholly engulfs me.” setgwia ‘pju‘vago fin’ kubo ‘bland Seguia pid vago Tincubo blando; Continued more lovely the nightmare tender; (The tender nightmare continued more lovely;) ‘kom ‘mole arjgoffa linterna immago —‘kwazi batfando con molle angoscia, ‘Vinterma = immago— quasi baciando, with soft anguish theinner_—_vision almost kissing, (with soft anguish, almost as if kissing his inner vision,) ‘ei disse ‘poffa il tio destino impreko ei disso poscia: Trio destino impreco he said then: “The cruel destiny Turse ‘ke al. —'moro_ ti dono che al Moro ti dona. thet to the Moor gave you.” ¢ — aklora ‘il = ‘sonpo ‘in ‘Yfeko letarg ‘si muito FE allora il —sogno in cieco lotargo si mutt. ‘And then the dream into (a) blind sloop changed itself. OTELLO ‘9 mostnvoza Oh! mostruosa Oh! — MonstrousJAGO io ‘nonsonarrai ‘ke = un To non narrai che un 1 didn't relate but a (Lonly related dream.) OTELLO ‘un ‘sono ‘ke rivela ‘Un — sogno che A dream that — reveals Jaco ‘un ‘soo ‘ke pwo ‘dar Un —sogno che pud dar A dream that can — give OTELLO © kwal E qual? And what (clue)? JAGO talor veideste im Talor vedeste in Sometimes did you seein the ‘un te’sssuto tratpunto un tessuto* trapunto a handkerchief ombroidered OTELLO e tl —fattscletto io E il fazzoletto —_ch'io Its the handkerchief that I JAGO ‘kwel fattoletto jeri Quel fazzoletto iri That handkerchief yesterday Otello, Act IT 429 ‘sono sogno. dream, um fatto un — fatto. a fact. ‘forma ‘di prova_aidaltro inidittsjo forma di prova adaltro —_indizio. form of proof to another clue. mano di dezdemona mano di Desdemona hand of Desdemona a fjor © — ‘piusottil ‘dum velo a fior © pitisottil —d'un_—_velo? with flowers Ie ‘djedi le diodi gave her (as my) {Yerto ‘ne ‘son (corto ne son) (I'm certain of it) ‘lo vidi ‘im ‘man di ‘kaso Jo vidi in man di Cassio. I saw it inthe hand of Cassio. OTELLO a mille vite ‘4i donasse Ah! mille vite gli donasse ‘Ah! A thousand lives him would give (Ah! If God would give him a thousand lives!) iddio Iddio! God! and finer than gauze? ‘penno ‘primo damor pegno primo d'amor. pledge first of my love. “Horo the ubiquitous handkerchief is called tessuto which really means "a woven piece of cloth’. ‘Tho word velo, which above was employed for handkerchief, now refers to its true meaning: gauze.430 Otello, Act I una © 'povera ‘preda ‘al — furor ‘mio Una 8 —— povera preda al furor mio! One is (a) poor prey tothe fury mina! (One of them is a poor prey to my fury!) jago ‘il kor «di del Jego, ho il cor di_—_gelo, Jago, Ihave the heart of ice, lundsi ‘da mele _—_—pietoze ‘larve Lungi dame le_pietose larvo! Far from me the pity forms! (Be far from me, all forms of pity!) ‘mio ‘vano amor evzalo ‘al ‘Yfelo Tutto il mio vano amor esalo al cielo, Allof my vain love [exhale to_—_heaven, ‘gwardami ‘ei ‘sparve guardami, ei sparve. look at me, _ it disappeared. ‘nelle ‘sue'spire —‘dangwe lidra mavivintfe Nelle suo spire d’angue —‘Tidra miavvince. In its coils of sorpont the Hydra grips mo! (The Hydra grips me in its serpent's coils.) a 'sangwe ‘sangwe ‘sangwe Ah! sangue! sanguo! sangue! Ah! Blood! Blood! Blood! (He kneels.) si pel fel marmoreo ‘duro ‘per'le e Si, pel ciel marmoreo —_giuro! Por lo attorte Yes, by the heaven of marble Tswear! —_—By the forked per latmorte = © =~ fper_—_oskuro ‘mar sterminator Per lamorte © por oscuro —mar_sterminator! By Death and by thedark soa _that exterminates! ‘ira © ‘dimpeto —tremends ‘presto fia ke Dira © dimpeto —tremendo _presto fia che With rage and with force terrible, soon let it be that ‘kwesta ‘man ‘kio evo —— ‘stendo questa man ch'io levo e _ stendo! this hand thatI raise and extend! (Lot this hand which I extend soon blaze out with terrible force and rage!) folgori folgori! lightning! ‘sfolgori sfolgori it blaze out (He lifts his hands towards heaven, starts to rise, but Jago keeps him on his knees.)Otello, Act I at JAGO i ‘nom valtsateankor Non vialzate ancor! Don't rise yet! (Kneeling down also.) testimon ‘il sol ‘miro e Testimon @ il Sol miro, (a)Witness is the sun__ that I_ look at, ‘ke = mirradja, «=e = immanima —‘lampja che mirradia @ ~—innanima, —_'ampia i that shines on me and animates me, the ample earth © iil ‘Vaso ‘spiro ‘del Kreato inter e il vasto spiro del Creato inter, and the vast breath of creation —_ entire, (My witnesses are the sun that shines on me and animates me, the ample earth, and the vast breath of the entire creation.) : ke adotello © io sakro ardenti kore brattfo edanima : che ad Otello io sacro ardent, core, braccio ed anima i that toOtello 1 consecrate ardently (my) heart, arm and soul f sank adopere——_kruenti sarmi ‘il’suo_voler s'anco fad opere —cruenti sarmi il suo voler. even if totasks bloody amsitself his will. (even if his will arms itself to bloody tasks.) f JAGO AND OTELLO Si, pel ciel marmoreo giuro, per le attorte folgori, otc. ‘io _vendikator Dio vendicator! God avenging! END OF ACT I RRR ODNHec OSC REET OTTER Nercmeen432 Otello, Act IH ACT OL (To one side of the great hall of the castle is a vast court, with a collonade, connected to a smaller room.) HERALD (from the courtyard, to Otello, who is in the hall with Jago.) le vedetta del ‘porto a La —_vedetta del porto ha The sentry of the port has ke a tfipro adudutfe che a Cipro adduce thet to Cyprus brings OTELLO (motioning to the herald to go) bene ‘sta Bene sta. Very well, (The herald leaves.) OTELLO (to Jago) kontinua Continua. Go on. JAGO wi trarro ‘kkasisjo Qui trarrd Cassio Here Tl bring Cassio e ‘kon astute injkjeste econ astute inchioste sempalato ‘la’ veneta galea segnalato. la_—_veneta galea sighted the Venetian _ galley Ajambafffatori gli ambasciatori. the ambassadors. ‘Toadeske'rs a tfarlar Jo adescherd a ciarlar. and with clever questions ‘I'll lure him _ to prattle. (Indicating the balcony door) ‘voi la naskosto —_—_skruttate i ‘modi ‘swoi Voi 1a — nascosto —scrutate. =i Ss modi suoi, You, there hidden, observe the. = manners. his, ‘le ‘sue parole i addi i dgesti le sue parole, i daz, i gosti. his words, his jokes (and) his gestures. patisiente —sjate 0 = la_—prova vi sfudidse Paziente —siate 0 + la._—iprova vi sfugge. Pationt be or — the _—_—proof_will elude you. ‘ekiko dezdemona —_‘findser komjyjene ‘ia ‘vada Ecco Desdemona, Finger conviene.. io vado. Here's Desdemona. Pretend you must... I'm going.ssrsbieencnsenerontnnanenemrensetitencermreiia severest element ar nae Otello, Act III 433 (As he says "Tm going’, he moves away as if to leave but stops and comes back to Otello to speak one last word to him.) ‘il fattsolletto D —_fazzoletto.. The handkerchief. OTELLO va volentjeri ——_obliato laveei Va! volentieri —_obliato Yavrei. Go! Gladly forgotten Tit would have. (Go! Gladly T would have forgotten it.) ago leaves.) DESDEMONA (entering from the side, still near the threshold) ‘dio ‘ti dgo'kondi a 'spozo del:lalma ‘mia so'vrano Dio ti giocondi, © sposo dell'alma mia sovrano. God make you merry, oh husband —of the soul__- mine _ sovereign, OTELLO (going to her and taking her hand) ‘grattsje madonna ‘datemi ‘la 'vostra. ~— ebumea ‘mano Grazio, madonna, — datemi la vostra eburnea—mano. Thank you, myledy, giveme your ivory hand, aldo mador ‘ne irra = la. ‘morbida=tbelta Caldo mador neirrora la_—morbida—belta. Awarm moisture —_bedews its soft beauty. DESDEMONA ‘essa anjkor forme inpora del ‘dwols e ——delileta Essa ancor Torme ignora del duolo © —dell'eta. It still (of) thestamp isumaware of grief and age. (My hand is still unaware of the stamp of grief and age.) OTELLO eppur ‘kwi anid il'demone —_dgentil ‘del 'mal_—_kon'sikfo Eppur qui annida ildemone — gentil del mal _—_consiglio, And yet here nests thedemon courteous of -— ill, ~— counsel, ‘ke ‘il 'vagoavorjo alumina del_—pittfoletto—_artiko che il vago_avorio alumina —del_piccioletto —_artiglio. that the lovely ivory illuminates of this tiny claw. (that illuminates the ivory of your tiny claw.) mollemente ‘alla ‘pretfe.sattted:dsa © al io —_fervore Mollemente alla reco satteggia e al pio _fervore. Gently to prayer it assumes theattitude and to _ pious fervor. (Gently it assumes the attitude of prayer and pions fervor.)434 Otello, Act It DESDEMONA eppur ‘kon —‘kwesta ‘mano ‘io ‘vo doinato: Eppur con questa mano io ho donato And yet with this hand I have given you ‘ma riparlar ‘vi ‘deb:bo_ ‘di ‘kas:sjo Ma riparlar videbbo di_—_Cassio. But spoak again to youl must of Cassio. OTELLO anjkor lambafja ‘del ‘mio ‘morbo ma'sisale Ancor lambascia del mio_morbo m'assale. Again the agony of | my__illness assails me. DESDEMONA (handing him a handkerchief) atue Ate. Here. OTELLO ‘nol fatitsoletto —'voKKo ‘kio ‘ti danai No; il fazzoletto _voglio ch'io ti donai, No, the handkerchief I want that I gave you. DESDEMONA ‘non ‘lo ‘meko: Non Tho meco. I don't have it with me, OTELLO deszdemona ‘gwai ‘se ‘lo'perdi_——“gwai Desdemona, guai se lo perdi! —_guail! Desdemona, woe if youloseit! Woe! ‘una po'ssente ‘maga ‘ne ordia lo Una __possente maga ne ordia lo A powerful sorceress. arranged —_its e riposta ‘lata matia ‘dun i a Tiposta Talta malia d'un Init is contained the lofty magic of a amarrrirlo oppur donarl smartirlo, _ oppur donarlo Beware! To lose it, or _to give it away DESDEMONA ‘il ‘vero parli vero parli? ‘The truth spoak you? ‘kore core, heart. ‘mi fafa mi fascia, my forehead bandage mo. aventura sventura! misfortune!Otello, Act Ill il ‘Vero. ‘parla vero _parlo. truth T spoak. DESDEMONA ‘mi ‘fai patura Mi fai paur You frighten me... OTELLO ‘ke ‘Tai perduto Che? L'hai perduto What? You have lost it “forse forse? porhaps? DESDEMONA. OTELLO Io 'tferca Lo cerca, Look for it. DESDEMONA “fra poko Fra poco... Ina little while. ‘Lo tferke'ro lo corcher®... T will look for it. OTELLO nd Tost No, tosto! No, at once! DESDEMONA ‘tu ‘di'me 'ti fai ‘d3oko—‘stomi kozi linkjesta Tu dime tifai gioco, stomi cost Tinchiesta You are teasing me, you ward off thus the question astuttsja © kwesta ‘del tuo pen'sjer Astuzia a questa del tuo _pensier. Cleverness is this of your thinking, (This is a cleverness of your thinking.) OTELLO pel tfelo ‘anima ‘mia 'si'desta il Pol cielo! Tenima mia sidesta! il By heaven! The soul mine is aroused! The 435 ‘di di of fattsoletto fazzoletto... handkerchief...436 Otello, Act I DESDEMONA © ‘kasisjo lamiko two dilletts E Cassio 'amico tuo diletto. Is Cassio the friend yours. beloved. (Cassio is your beloved friend.) OTELLO I fazzoletto!! DESDEMONA a ‘kasisjo perdona A Cassio perdona.. To Cassio forgive. (Forgive Cassio...) OTELLO I fazzoletto!!! DESDEMONA ‘gran ‘dio ‘nella tua votfe ‘ve ‘uy (grid ‘di Gran Dio! nella tua voce ve un grido di minacciat Great God! In your voice thereis a cry of_—s menace! OTELLO ‘altsa kwe'd{ok: Alza quogli occhit Raise those eyes! DESDEMONA. atrotfe, idea Atroce idea! Horrible idea! OTELLO (seizing her by the chin and shoulders and forcing her to look at him) gwardami im 'fat:tfa ‘dim:mi ki 'sei Guardami in faccial Dimmi chi seit Look me _in the face! Tell me who you are! DESDEMONA ‘la ‘spoza_ fe'del dotello La sposa fedel Otello. The wife faithful of Otello. OTELLO ‘dguca ‘dura e ‘ti '‘damna Giura! giura e ti danna... Swear! Swear and damn yourself... DESDEMONA otello fedel ‘mi ‘krede Otello fedel mi crede. Otello faithful believes me. (Otello bolieves me to be faithful.)OTELLO impura Impura Impure DESDEMONA. iddio majjuti ‘ti kredo ti credo. I believe you. Iddio m'aiuti! God help me! OTELLO ‘kori ‘abla Corri alla You're running to Otello, Act IIT DESDEMONA (fixing him with her eyes) "kasta Casta... Chaste... OTELLO ‘dura © Giura e os 00) lo son. I am... ‘ci'danna ti danna! Swear and damn yourself! DESDEMONA esterrefatita Esterrefatta Terrified inte in te in you mi ‘gwarda Mi guarda! Look at me! ‘ll i My ‘kore core heart ‘prego prego il pray ‘per te Per te For you fisiso fisso I look into ‘parla ‘una parla una speaks a il ‘voto. il volto My face injframo infranto broken 437 ‘twa konldanmna ke sei kasta tua condanna. Di! che sei_—_casta. your damnation. Say that you're chaste. to ‘zgwardo—two._—_tremendo lo sguardo —tuo_tremendo, the gaze yours fearful, furia la'sento © =~ ‘non Lintendo Furia, lasento @ ~—_non Tintendo. Fury, Thearit and don't understand it. e ‘ti zvelo e ‘anima ti svelo; end my soul —_T reveal to you; ‘per te ‘kon kwesto pjanto per te con questo Pianto. for you with these tears. ‘stikle kotfenti aspergo i ‘swol stille cocenti aspergo il suo. drops burning sprinkle the —_ ground.438 Otello, Act It ‘gwarda ‘te ‘prime ‘agrime ke da._—Sime.—“preme ‘dwol Guarda le prime Iagrime che da me _—_spreme ill duol. See the first tears that from me presses grief. (See the first tears that griof presses from me.) OTELLO ‘sor ‘ti 'skordge ‘ito ‘demone Sor tiscorge _ill tuo demone Ifnow glimpses you your demon, ‘un ‘andselo ‘i 'krede enon taftferra un angiolo ti crede enon tafferra, en angel he believes you and doesn't seize you. (If your demon soos you now, he believes you to be an angel and won't seize you.) DESDEMONA ‘vede eterno ‘la ‘mia ‘fede Vede I'Eteno Ja mia fede! Sees The EtomalOne my loyalty! (God sees my loyalty!) OTELLO ‘no a 'vede No! la vede No! It sees it (No! Hell sees it.) DESDEMONA ‘la tua dgustittsja —im'petro ‘spoz0 ‘mio Latua giustizia —impetro, _sposo mio! Your justice Timplore, my husband! OTELLO @ —— dezdemona —_indjetro Ah! Desdemona! indietro! Ah! Desdemona! Away! DESDEMONA ‘wo pur © — dyemends trent Tu pur © — gemendo fren You also And moaning —_you hold back ‘del ‘kor ‘lo 'skjanto del cor — lo schianto of your heart the breaking (You too weep!...And moaning you hold back the breaking of your heart) e sonio ‘la —ininotfente_ka'dson ‘di tanto ‘pjants e sonio la T'innocente _cagion di tanto piantol... and itis! the the innocent cause of such weeping...Otello, Act IIT 439 kwal © il mio ‘fal: Qual @ il mio fallo? What is my — wrong doing? il ‘piu'nmero—_detitxo N —pidnero —_delitto And youaskit? The blackest crime ‘sova ‘il ‘kandido si ‘twa fronte © skritto sovra il candido—giglio della tua —_fronte & scritto. upon the white lily of your forehead © is writen. DESDEMONA ajme Ahima! Alas! OTELLO ‘ke ‘non ‘sei ‘forse ‘una vil —_-kortidgana Che? Non sei forse una vil cortigiana? What? Aren't you perhaps a_-—base courtesan’? DESDEMONA. ‘Yel ‘no pel battezmo della “fede Ciel! No. pel battesmo della fede Heaven! No. by the baptism of the faith Christian!.., OTELLO ‘ke Cho? What? DESDEMONA. @ —‘non'son ‘ke esprime ——kwelila pavola orrenda Ah... non son cho esprime quella Parola orren Ahl... Tam not thet which expresses that word horrible! (Ah! Tam not what thet terrible word expresses!) (Otello's wrath now changes into a more terrible, ironic calmness. He takes Desdemona by the hand and leads her to the door from where she entered.) aykor le'burmea ‘mand ‘vo. ‘ffare aim:menda ancor I'ebumea mano, vo! fare ammenda, again your ivory hand, Iwantto make amends. perdonate ‘se, ‘il mio pen'sjero & ‘ffello (perdonato se ilmio pensiero —@ —_—fello) Tthought you (forgive me if my thought —is_—_wickod)440 Otello, Act IT ‘kwel:la vil korti‘dgana ‘ke la ‘spoza dotel:lo quella vil cortigiana cho & la sposa Otello. that base courtesan who is. the wife of Otello. (Without losing his composure Otello bends his arm and forces Desdemona to leave. He then returns to center stage in a state of profound dejection.) OTELLO (in a suffocated voice) ‘mi potevi ska'ddar ‘tutti i ‘mali ‘della’ mizerja mi potovi scagliar tutti i mali dolla miseria, you could have atme hurled all tho ills of poverty, ve'gonna, ‘far ‘de ‘ ‘baldi tro'fei trionjfali vergogna, far de’ miei baldi_trofei tuionfali of shame, (and) mede of my bold trophies _triumphent ‘una matferja = ‘una_—mentsonna una maceria, una menzogna... a Tuin, a i e alvrei portato, ‘a ‘krotfe_krudel daygoffe © ‘donte E avr portato la croce crudel d'angoscio © —dionte And I would have carried the cross cruel of anguish and shame ‘kon ‘kalma ‘fronte rasseppato ‘al —-vollere ‘del ‘fel con calma fronte e —rassognato al_—volere del ciel. with acalmbrow and resigned tothe will of heaven. ‘mao 'pjanto 9 ‘dwol ‘man ralpito mi'radid39 Ma, pianto, o duol, mhan rapito miraggio But, oh tears, oh grief, _—they've taken from me mirage dovio dgulivo: ‘lanima ak:kweto dovio giulivo Yanima —_—_acqueto, where rejoicing mysoul_—_I calm down. (But toars and grief have taken from mo the mirago where, rejoicing, I calmed down my soul.) ‘spento: e ‘kwel ‘sol ‘kwel so'nrizo ‘kwel ‘rad:d3o Spento 8 quel sol, quel sorriso, quel’ raggio Extinct is that sun, that smile, that radiance ‘ke ‘mi ‘fa ‘vivo ‘ke ‘mi ‘fa ‘Ijeto che mi fa vivo, che mi fa lieto! that makes me live, that makesme — happy! ‘tw alfin klementsa ‘pio ‘dsenjo im:mortal ‘dal ‘rozeo ‘tizo Tu alfin, Clemenza, pio genio immortal dal_—_roseo iso, You, finally, clemency, pious spirit immortal of the rosy laughter,Otello, Act It ‘kopri ‘to ‘vizo ‘santo kolslorrida ‘larva imfernal copti il tuo viso santo coll’orrida larva infornal! cover your faco holy with the horrible apparition _hollish! {cover your holy face with the horrible hellish apparition!) a ddan:nattsjone ‘priakonfes:si ‘il delitxo Ah! Dannazione! Pria confessi il delitto Ah! Damnation! First let her confess the crime © ‘poffa ‘mwoja komfe'ssjon la ‘prova @ — poscia muoia! Confession!... La proval. and then let hor die! The proofl, (lago enters.) JaGO ‘kassjne la Cassio® at Cassio is there! OTELLO la ‘Yfelo 2 ‘ddsoja Lat! Cielo! Oh gioi There?! Heaven! Oh __joy! (With horror.) ortor suppplitizi _immondi Orror! supplizi _immondi!! Horror! Torments foul!! JAGO ti rena ‘ti naskondi Ti frena! Ti nascondi, Réstrain yourself! Hide. (Ho quickly leads Otello to the back of the stage, where he can hide himself without being seen.) JAGO (entering with Cassio, who is somewhat reluctant) ‘aula e de'zerta inoltra © kapitano Vieni, Vaula @ — deserta, -—Tinoltra_—_ 0 Capitano. Come, the hell is._— deserted. Come inside, oh captain. Cassio ‘kwesto ‘nome donor ‘swona ayjkor ‘vano ‘per Quosto nome donor suona ‘ancor vano per This name of honor rings, still in vain for JAGO ‘fa ‘kor ‘Ja tua ‘kauza e ‘in tal ‘mano Fa cor. Latua causa & in tal mano Take heart. Your cause is in such_ a hand442 Otello, Act Ill ‘ke ‘la ‘Yerta che la conta that your victory is certain. CASSIO ‘io, ‘kwikre'dea ‘di ritro'var dezdemona To qui_credea di ritrovar Desdemona. I here thought of -_— finding ‘Desdemona. OTELLO (hidden) ‘ei ‘lanomo (i la noma.) (He mentioned her name.) CASsIO vorsn parlarle arjkora Vorei parlarle ancora Twould like to speak to her again ‘per saper sea ‘grattsja e profiferta per saper so la mia grazia a profferta. to know if my pardon has been’ proclaimed. JAGO (gaily) latitendi Lattendi; Wait for her; (He loads Cassio next to a column behind which Otello is hiding.) e intanto dgalike ‘non ‘si'stagka ‘mai Ta ‘tua ‘lingwa E intanto, —giacchd-—_non si stanca mai latua lingua ‘And meanwhile since it doesn't weary ever your tongue ‘nelle ‘fole ‘gaje ‘narrami ‘um po ‘di Tei ke ~—_timmamora nelle fole gaie, narami unpo'di —_lei_— che _tinnamora, of tales gay, tell me abit about her who makes you love her. CASSIO ‘di ‘ki Di chi? Of — whom? JAGO (very softly, so it can hardly be discerned by the eavesdropping Otello) ‘di Bjanka Di Bianca. Of Bianca. OTELLO soride (Sorride,) (Ho smiles.)Otello, Act It Foolishness! 443 JAGO essa tavivintfe koi ‘vagi ‘rai Essa tavvince coi vaghi rai, She ensnares you with her lovely glancos. CASSIO wider ‘mi fai Rider mi fai. Laugh you make me. JAGO ‘ride ‘ki Vintfe Ride chi vince. He laughs who wins. CASSIO (laughing) in tai disfide ‘per verita —-vintfe ki tide aa In tai disfide per verita, vince chi ride. Ab! ah! In such duels in truth, he wins. who laughs. Ah! Ah! JAGO (laughing) Ah! Ah! OTELLO (from the balcony} lempjo trtomfa ‘suo ‘skemo muttfide (Vempio trionfa, il suo schemo ——_m'uccide; (The wicked one is triumphant, his contempt kills m (in despair.) ‘dio rena ‘Tansja ke in kore mista Dio frena l'ansia che in core mi stal) God, curb the anxiety that in my heart is!) CASSIO son ‘dga ‘di batfi‘satsjoe = di tai Son gia di baci saziooe = di dai, Tam already of kisses sated and of poms, JAGO ‘rider ‘mi ‘fai Rider mi fai. Laugh you make me. CASSIO © amor furgatfi QO amor’ fugaci! Oh loves fleeting!444 Otello, Act Il JAGO vaiged:dsi repno ‘daltra betta Vagheggi_il_—regno dialtra belta. You long for the reign of another beauty. CASSIO Ah! Ah! Ah! OTELLO ‘lempjo mirride —'il'suo.'skerno (L'empi miirride, ilsuo scherno (The wicked one mocks me, his contemps Dio frena 'ansia che in cor mi stal) CASSIO nel ‘sen ‘ai ‘kalto si Tokompfes:so Nel segno hai célto. Si, Io confesso. You've struck home. Yes, I confess it. JAGO (very softly) som:messo ‘parla taskolto Sommesso parla. T'ascolto. Softly speak. I'm listening to you. (lago leads Cassio to a spot farther from Otello.) CASSIO {jag ‘te ‘nota ta ‘mia dimora Jago, nota Ja mia dimora.. Jago, youknow my — house... (The words are lost.) kolgo ‘nel ‘senno Colgo nel segno? Have I struck home? kills mo; ‘modi Modi, Listen to me... OTELLO (coming a little closer to try to hear what they are saying) ‘or ‘i rakckonta il ‘modo ‘Iwogo © ‘lora (Or gli racconta il modo, il Tuogo e ‘Tora. (Now he's tellinghim the way, the place and the time...) CASSIO (always softly) ‘da ‘mano ippota da mano ignota. by (a) hand (The words are once again lost.) OTELLO le parole nonodo ‘lasso wdir Lasso!e ——udir And hear (Le parole non odo... (The words I can't hear... Alas!Otello, Act Il 445 ‘dove ‘sson‘dunto Dove son _ giunto!) What have I come to!) CAssIO ‘um vel rapunto Un vel trapunto.. A handkerchief embroidered... Jaco © ‘strana z strano! Its strange! OTELLO :vitfinarmi jagomi'fa ‘tfenno (Devvicinarmi Jago mi fa_cenno.) (To come closer Jago motions mo.) (He moves cautiously and hides himself behind another column.) JAGO ‘da ippota ‘mano Da —ignota mano? By unknown hand? (Aloud.) ‘baje Baie! Foolishness! CASsIO ‘da sen:no Da sono. Truly. Jago motions him to speak softer still.) “kwanto ‘mi tarda salper ‘Ki sia Quanto mi tarda sper chi sia. How eagerIam toknow who _ it might be... JAGO (looking quickly toward Otello, to himself.) atello ‘pia (Otello spia.) (Otello is spying) (To Cassio, aloud.) tai teko hai teco? Do you have it with you?446 Otello, Act IT CASSIO (takes out Desdemond’s handkerchief from his doublet) ‘gwarda Guarda. Look. JAGO (taking the handkerchief) ‘wal mera'vidka Qual meraviglia! Whet marvel! (Aside.} atelo ovigkga ‘ei savwvitfina ‘kom ‘mosis akkorte (Otello origlia. Ei savvicina con mosse accorte,) (Otello is listening. He comes closer with movements cautious.) (To Cassio, joking.) ‘bel kavalljere ‘nel ‘vostro. ostel:lo Bel cavaliere, nel vostro ostello, Handsome — knight, in your dwolling, ‘perdono ‘jandzeli laure'ola, © ‘a ‘vel perdono —gliangeli ~‘auroola «=e =i’ vel. lose the angels their halo and their veil. (the angels lose their halo and their veil.) (Ho puts his hand behind his back, so that Otello can see the handkerchief.) OTELLO (coming close to the handkerchief, behind lago's back) ec kweltlo ni © imorte «é quello! Ruina e morte!) {it's that one! Ruination and _—_ death!) JAGO oFikka steko (Origlia Otello.) (Otello is listening.) OTELLO (aside, softly) ‘tutta © spento amore e ‘dol (Tutto @ spent, amore e ——duol. (All is dead, love and pain, ‘alma ‘mia nessum piu “mmwova (Lalma mia nessun pia smuova,) (The soul mine no one never more can move.) JAGO (to Cassio, indicating the handkerchief) “kwesta 2 una ‘tappa ‘dove ‘lus ‘kwor Questa 8 una ragna dove il tuo cuor This is a cobweb — whore your heartOtello, Act Ill 447 ‘kaska ‘si lappa simpixta = = 'mwor casca, silagna, simpiglia. © — muor. falls, complains, is entangled and dies. ‘ropipo lammici ‘wopipo, ‘la ‘gwardi Troppo— Tammis troppo Ja guardis Too much you admire it, too much —_you look et it; ‘bada ‘ai, dellici ‘vani € budgardi Bada ai doliri vani e ——_ bugiardi. Watch out for ravings vain and false, CASSIO (looking at the handkerchief, which he has taken back from Jago) mirakslo —'vago. dellaspo =e de:lago Miracolo vago dellaspo —e—del'ago Miracle lovely of the spool_and the needle ke in tradidsi tramuta fee file ‘dum ‘vel che in raggi tramuta = le_—ifila dun vel that into rays changes the _ threads ofa cloth ‘piu 'bjanko —‘pjujeve ke ~—fjokiko ‘di neve pit bianco, pid lieve che fivcco di neve whiter, lighter than flake of snow ‘ke ‘ube te'ssuta daltauce ‘del fel che —nube tessuta dal'aure dol cial. than cloud woven by the breezes of heaven. JAGO Questa @ una ragna, etc. CASSIO Miracolo vago, pitt bianco, pit lieve, etc. (Otello is hidden behind the column and looking from time to time at the handkerchief in Cassio’s hand.) OTELLO tradimento ‘la tua ‘prova spaventoza —‘mostri ‘al ‘sol (Tradimento, la tua prova spaventosa mostri al sol.) (Betrayal, your proof frightful you display to the sun.) CAssIO mitrakolo 'vago Miracolo vago. Lovely miracle. OTELLO tradimento ‘Tradimonto. Betrayal448 Otello, Act IIT Jaco ‘Troppo Tammiri. You admire it too much. OTELLO ‘Tradimonto. Botrayal JAGO ‘bada Bada! Watch out! (Otello returns to the balcony. A cannon shot is heard. Shots are returned from the castle.) JAGO kweste ‘il seppale ‘ke = ammuntfa——_lapsprodo Quest’ il sognale che annuncia__l'approdo This is the signal that announces — the landing ‘della trireme venettsjana —askolta dolla trireme veneziana. Ascolta. of the trireme Venetian. Listen. (of the Venetian trireme’. Listen.) (There is a blaring of trumpets from all sides.) ‘tutto Kastel ‘ko ‘swoi_‘skwil: risponde Tutto il caste co! suoi_squilli risponde. All the castle with its trumpet blasts answers. ‘se 'kwi ‘nom "Ywoi ‘kon otello skontrarti —fuddsi Se qui_non vuoi con Otello scontrarti, —_fuggi. If here youdon't want __with Otello to encounter, flee. {if you don't want to encounter Otello here, flee.) CASSIO. ad:dio Addio. Good-bye. JAGO va Va. Go. (Cassio leaves hurriedly.) ‘Ancient warships with three banks of oars. From the Latin tres (three), remus (oars) *Castel (besides boing the author's last name) is a contraction of castello, meaning castle.Otello, Act It 449 OTELLO (approaching Jago) ‘kome ‘Ila utfide'ro Come la ucciderd? How shall I kill her? JAGO veldesti ‘ben — komedi a'tizo Vedesto ben comiegli_ ha riso? Did you seo well howhe laughed? fattsoletto fazzoletto? handkerchief? ‘tutto vidi Tutto vidi. Everything I saw. DISTANT VOICES evwviva ‘abla ‘riva ‘aldo ‘ebarko Evviva! Alla rival Allo sbarco! Hurrah! To the shore! To the landing! OTELLO € kondaninata ‘fa ‘kio'matbja um velen per ‘kwesta ‘notte E condannata. Fa ch'iom'abbia un velen —per_—_ questa notte. She's condemned. See thatI have a poison for _this evening, VOICES (nearer) evviva evviva il leon ‘di ‘sam marko Evviva! Evi il Leon di San Marco! Hurrah! Longlive the Lion of Saint Mark! JAGO ‘il tosko ‘no val 'mekfo—_softfokarla tesco no, val meglio _soffacarla, The poison no, it's better to smother her, ‘la ‘nel suo ‘letito la ‘dove a pe'k:kato Ta nel suo lotto, 1a dove _ha peccato. there, in her bed, there where she sinned. OTELLO ‘kwesta dgustittsja tua ‘mi pjatfe Questa giustizia tua mi piace. This justice of yours _ pleases me.450 Otello, Act Il provivede'ra ‘A Cassio Jago provvedera. To Cassio Jago will soo to it. {I will see to Cassio.) OTELLO ‘jag ‘fin ‘dora ‘mio Kapitan —_teleg’go Jago, fin d’ora mio capitano _teloggo. Jago, from now on (as) my Captain —_‘I choose you. JAGO ‘mio ‘dutfe ‘grausje ‘vi'rendo —‘ekko ‘Ki ambaffetori Mio Duce, grazie virendo. —Eoco gli Ambasciatori. My — loader, thanks Igive you. Here are the ambassadors. ‘Takkossete madevitar sospetti_ -—-—dezdemona ‘si ‘mostri Li accogliete. Ma ad evitar sospetti Desdemona si mostri Receive them. But to avoid suspicion Desdemona must show herself a ‘kwei_me'sseri a quei_ Messeri. to those gentlemen. OTELLO ‘si ‘kwi latd:dutfi Si, qui Tadduci. Yes, here _ bring her. (logo leaves through one side and Otello goes towards the back to receive the ambassadors. Enter Lodovico, Jago, Roderigo, the Herald, Desdemona with Emilia, dignitaries of the Venetian Republic, gontlemen and ladies, soldiers, trumpoters and finally Cassio.) ALL ‘viva eviviva ‘viva ‘il leon ‘di ‘sam ‘marko Viva! Evvival Viva il Leon di San Marco! Hurreh! Hurrah! == Longlive the Lion of Saint Mark! LODOVICO (holding a rolled parchment in his hand) ‘il ‘dodge eddil se'nato 1 Doge ed il Senato The Doge andthe Senate sa‘lutano le'roe triomfatore ‘de ‘tfipro salutano —_Teroe trionfatore di Cipro. groot the hero triumphant of | Cyprus. ‘io ‘seko ‘nelle ‘vostre ‘mani messad:d3o — dogale To reco nelle vostre mani il messaggio —_dogale. 1 convey to your hands the message —_of the Doge.Otello, Act Il 451 OTELLO (taking tho scroll and kissing the soal) ‘io batfo il senno. ‘della so'vrana mae'sta To bacio il segno della Sovrana ——-Maesta. 1 kiss the symbol of the sovereign Majesty. (He then unrolls it and reads.) LODOVICO madonna ‘vabsbje ‘yet ‘in sua “gwardja Madonna, —v'abbia il ciel in sua guardia, Mylady, may ithave you heaven in its keep. (My lady, may heaven keep you.) DESDEMONA eiffel vaskolti E _ ilciel vascolti. And heaven may it listen to you. EMILIA (to Desdemona, aside) ‘kome ‘ssei_'mesta (Come sei mesta!) (How you're sad!) (How sad you are!) DESDEMONA (to Emilia, aside) emilja ‘una ‘gran ‘ube turba il'senns ——dotel:lo (Emilia! © Una gran ube turba ilsenno —d'Otello (Emilia! A groat cloud disturbs the mind _—_of Otello © mio destino e — ilmio destino.) and my destiny.) JAGO (to Lodovico) messere ‘son Ijeto. ‘di_——vedervi Messere, son lieto di —_vedervi, Sir, Tam happy to see you. (odovico, Desdemona and Jago form a group together.) LODOVICO ‘jago‘kwali ‘nwove ma ‘im'medidz9.a'voi_‘non'trova—_‘kas:sjo Jago, quali nuove... Ma in mezzo —avoi_ non trovo Cassio. Jago, what news?, But amid you Idon'tfind Cassio, JAGO kon ‘i e atells Con Ini ® Otello. With him ~ angry is Otello.452, Otello, Act Ill DESDEMONA. ‘kredo ‘ke ‘grattsja tomera Credo che in grazia tornera. Ibelieve that to. favor he will return, OTELLO (to Desdemona quickly as he continues to read) ‘ne ‘sjete ‘Yera Ne siete certa? Are you about it certain? (Are you certain about that?) DESDEMONA ‘ke dite Che dite? What are you saying? LODOVICO ci tedsdge ‘non ‘vi ‘parla Ei __ legge, non vi parla, He is reading, _he isn't speaking to you. JaGO “forse ‘ke ‘grattsja torne'ra Forse che in grazia tornera. Perhaps that to favor he will return, (Perhaps he will return to Otello's favor.) DESDEMONA ‘jago lo'spero ‘sai ‘se um veratfe affetts Jago, lo spero. Sai se un —_verace affetto Jago, Thopeso. Youknow that a — true fondness fist pond sa icles io porti_ a Cassio. 1 have for — Cassio. OTELLO (still reading, but in a low, feverish voice to Desdemona) fre'nate ‘dunkwe te labsbra Iokwatfi Frenate — dunque = le_—dabbra Toquaci. Restrain then your lips talkative. (Then stop your talking lips...) DESDEMONA perdonate —_sipor Perdonate, _ signo: Forgive me, my lor OTELLO (approaching Desdemona) demonjo ‘tatfi Demonio taci You demon, be quict!!ee: | Otello, Act Il 453 LODOVICO (restraining Otello's gesture) ferma Ferma! Stop! ALL orrore Orrore! Horror! LODOVICO ‘la ‘mente ‘mia nonoza pen'sar kio vidi ‘vero La mente mia nonosa —_pensar. chiio vidi vero. The mind mine doesn't dare think that saw truth. (My mind doesn't dare believe that what I saw was true.) OTELLO (lo the Herald, in a commanding tone) a mme kasisj A me Cassio! Bring Cassio to me! JAGO (to Otello, softly) eee ae (Che uy (What aro you attempting?) OTELLO (softly to Jago} ‘gwardala = ‘mentre. ‘ei dgundge (Guardala—mentre ci giunge.) (Watch her whilst he arrives.) CHORUS a triste ‘spoza Ah! triste sposa! Ah! Sed wife! LODOVICO (approaching Jago, aside) kweste ‘dugkwe le'roe kweste ‘il gwerxjero Quest’ dunque Terao? quest’ il guerriero Is this then the hero? Is this the warrior dai sublimi ardimenti dai sublimi ardimenti? ofthe sublime daring? JAGO (to Lodovico, shrugging his shoulders) & kwel_ keXtje E quel ch'ogli a. Heis what’ heis.454 Otello, Act IIT LODOVICO paleza ‘i tus pen'sjero Palesa il tuo pensiero. Reveal your thinking, JAGO ‘mesko © tener ‘su tf ‘la Tingwa Meglio & tener su cid la lingua Botter itis to keep on thatissue the —_ tongue (Better for me to keep silent on that issue.) OTELLO (who has been watching the entrance door) ‘ekikolo e ‘Thi (Eccolo! = EB tuit) (There! Itis he!) (To Jago, as Cassio appears.) neLlanimo ‘To 'skruta (Nell'animo _ lo scruta.) (into his soul scrutinize him.) messeri il dade Mosseri! 1 Doge Gentlemon! The Doge (Aside, to Desdemona) ben tu findsi il pjanto (Ben tu fingi il _pianto.) (Well you feign your tears.) (Aloud, to everyone.) ‘mirikjama a ——_venettsja Mirichiama a Venezia. Recalls me to Venice. RODERIGO inyfida ‘sorte (infida sorte!) (Treacherous fortune!) OTELLO ein hier eleddse ‘mio suttfessor —kolui "ke Ein Cipro cologge mio successor, _colui_ che And in Cyprus clects (as) my successor, he — who akckanto ‘kasisjo accanto. al mio vessillo, Cassi boside my — banner, Cassio. ‘muta muta, mute, ‘stava stava stoodEo Otello, Act IIT 455 JAGO (fiercely surprised) injfemo € — ‘mmorte (infomo —@ ~——mortel) (Hell and — death!) OTELLO (showing the parchment) ‘la patrola duvkale © ‘nostra ‘ledsdse La —_parola Ducale ® nostra legge. The word ofthe Doge is our law. CASSIO (bowing to Otello) obsbediro Obbedira, I shall obey. OTELLO (quickly, to Jago) vedi ‘nom ‘par kerzulti Timjfame (Wodi?.. Non par che esulti Tinfame.) (You see... It doesn't seem that he is rejoicing, the villain.) JAGO (No.) OTELLO (again in a loud voice, to all) ‘a tfurma © la ko ore La ciurma © Ia coorte.. The crew and the troops... (Softly, to Desdemona) konttinwa singgulti (Continua i (Continue (To all.) © le navi © il kastelilo laff ‘im poter E le navi_e —il_—_castello lascio in poter And the ships and the castle Tleave in the power ‘del ‘nwovo ‘dutfe del nuovo Duce. ofthe new leader. LODOVICO (pointing to Desdemona, who approaches pleadingly) tells ‘per pjeta lakomjfora 0 il ‘kore inyfrandsi Otello, per pista Iaconfora o il —cor__le infrangi, Otello, in pity comforther or her heart you will broak.458 Otello, Act I OTELLO (to Lodovico and Desdemona) ‘noi salperem = domani Noi salperom — domani. We will sail tomorrow. (He seizes Desdemona furiously and sho falls.) a ‘terra e “ppjandsi A terra!... e iangi! To the ground!.... and (With a torrible gesture Otello throws the scroll on the floor. Jago picks it up and secretly roads it. Emilia and Lodovico pityingly lift up Desdemona} DESDEMONA. a terra ‘si ‘nel jo 'fango perkossa io ‘dgatfo A terra! si.. nel livido fango... percossa io _—_giacio... ‘To the ground!... Yes... inthe livid mire... beaten 1 lie. ‘piango mag:gjatitfa ‘il brivido dellanima ‘ke =‘ mwor piango. m'agghiaccia il brivido dell'anima che muor. I woop. Tm chilled by the shudder of my soul that__is dying. € ‘un ‘di ‘sul ‘mio fjoria E un di sul mio fioria And oneday upon my _— smile blossomed Ya ‘speme ell ‘batfo edor langoffa ‘im 'vizo. la speme eil hacio ed or... Tangoscia in viso the hope andthe kiss. and now... anguish in my face e lagonia ‘nel ‘kor ~—'kwel_ ‘sol_—se'reno © ‘vivido e Tagonia nel cor. Quel sol sereno e __vivido and agony in my heart. That sun serene and bright ke aljeta ‘il Yfelo il ‘mare che allicta il cielo © il mare. that gleddens the «sky and tho sea, ‘nom ‘pwo ——‘ffugare: le amare ‘stile ‘del ‘mio dolor non pud —_sciugare =~ le._—amare stille del mio dolor. cannot ary the bitter drops of my grief. EMILIA kwellinnotfente “um ‘fremito ‘dodjo nona ‘ne ‘un ‘d3esto (Quell'innocente un fremito —d'odio non ha nd un gesto, That innocent gitl a shudder of hatred doesn't have, nor a gosture, (That innocent girl doesn't have a gesture or a shudder of hate in her.) tratajene —im'petto. il dgemito, kon dolorozo fren trattiene in petto —il’_-—_gemito con doloreso fren. she checks in her breast the — moan with painful restraint.Otello, Act It 457 la ‘Tagrima ‘muta ‘sul volts mesto La lagrima muta sul volto mesto, Her tear silent upon her face sad. (Hor tears broak silently upon her saddened face.) ‘no per ‘lei ‘nom pjandse_no'na pjetade in ‘sen No, chi per lei non piange non ha pietade in sen.) No, who for her doesn't weep has no pity in his breast.) CASSIO ‘Tora © fatal “um fulmine ‘sul mio kam:min ——lad:dita (ora 2 fatal! Un fulmine sul mio cammin —_addita. (The hour is decisive! A thunderbolt on my path indicates it. ‘sa ‘di mia ‘sorte il kulmine ‘softre aklinete ‘man Gia di mia sorte il culmine —_—s offre allinerte man. Already | of — my fate the pinnacle is offered + to my inert hand. (Already the pinnacle of my fate is offered to my inert hand.) ‘lebsbra fortuna igkaltsa la fuga ‘della. ‘vita Liebbra fortuna incalza la fuga della vita. Drunken fortune presseson the race of life. kkwesta ke ‘al tfel nmaltsa © =—utnonda duraigan Questa che al ciol minnalza @ —un'onda—d'uragan.) This that toheaven lifts me is a wave of a hurricane.) (What is lifting me to heaven is the wave of a hurricane.) RODERIGO perme —soskura ‘il ‘mondo sdnmuvola il destin (Per me soscura il,_~—smondo, ~_—s‘annuvola il destin; (For me darkens the _—_world, becomes clouded my destiny; landsol soave © djondo skompar ‘dal mio. kam:mnin L'angiol soave @ biondo scompar dal mio cammin.) Theangel tender and blond disappears from my path.) LODOVICO ‘eki la man funerea skwote ane'lando (sli la man funerea —_—scuote anelando (He his hand gloomy shakes sesping —_with rage, ‘ki ‘per lei ‘nom /pjandge nona Pjetade in ‘sen Chi per lei non piange non ha pietade in sen, who for her doesn't weep has no pity in his breast. ‘essa ‘la “fatitfa eterea ‘Voldse pjandsendo ‘al —tfel essa la faccia eterwa volge piangendo al _ ciel. she her face ethereal turns. weeping = to._—_—iheaven, ‘nel kontem’plar ‘kwel ‘pjanto la karita sos'pira Nel contemplar quel pianto Ta carita sospira, In watching that weeping, charity sighs,458 Otello, Act IIT © ‘un ‘tenero kom'pjanto ‘stempra ‘del kore il ‘dgel © un tenero compianto stempra —del_— core il’ gel.) and a tender sympathy melts of the heart the chill.) DESDEMONA E un di sul mio sorviso fioria la spome ¢ il bacio, etc. LADIES peta ‘ansja mortale ‘bjeka ‘ne inygombra Pietal Ansia mortale, bieca, ne ingombra, Mercy! Anxiety mortal, grim, obstructs them, ‘anime a's:sorte ‘in ‘lugo or:ror jista krudel anime assorte in lungo orror. Vista crudel! souls absorbed in —_long_ horror. Sight cruel! ei ‘la kolpi ‘kwel vizo ‘santo ‘pal Ei lacolpi, —quel_viso__santo, pallido, He struck her, that face holy, pale, ‘blando ‘si ‘kina e ‘tatfe e 'pjandse € ‘mwor blando sichina, @ taco, © piange e — muor, softly itbends and issilent, —and_—_woops end dies. ‘pjangon kozi ‘nel ‘fel lor ‘pjanto Piangon —cosi_nel_—_ciol lor panto ‘Weep thus in heaven their toars the angels ‘kwando perduto ‘dsatfe ‘il pek:kator quando: perduto giace il peccator. when lost lies the — sinner. GENTLEMEN mistero, kel:lwomo ‘nero & sepolkrale. Mistero! Quell'uomo nero @ ~—_sepolcrale, Mystery! Thatman black is tomblike, © ‘eka unombra e ‘in ui di morte ‘di tervor e cieca unombra «= @~—in. Ss tui_—sdi_—Ss morte. © ~—di_—_ terror! and blind ashadow is in him of death and of __ terror! (and he has in him a blind shadow of death and terror!) ‘strattsja kol:luppa ‘Torrido. ‘petito, Strazia coll'ugna Yorrido petto! Herends with his nails his fearful breast! “Ki "gwardi fid:dse ‘al ‘swol Gli sguardi_——_figge al suol. His gaze is fixed on the ground. ‘poi ‘sfida ‘iltfel ‘pupa Poi sfida il ciel pugna Then he defies. heaven with his grim fistsOtello, Act Il ‘lispido aspet:to: erdgendo ‘ai ‘dardi ‘alti ‘del ‘sol Tispido aspetto ergendo —ai_—darddi alti del Sol. his rough countenance lifting tothe rays high of the sun, JAGO (coming close to Otello, who has slumped on a chair) ‘una parola Una parola. One word. OTELLO eke E che? What? JAGO aftrets ‘rapids ‘lantfa ‘la ‘twa vendetta il ‘tempo Taffretta! Rapido slancia latua vendetta! I tempo Make haste! Quickly unleash ~—your vengeance! Time OTELLO "bem ‘parti Ben parli, You are right. ‘muti ‘Yantfa ‘skwotit BE llira inutil ciancia. Scuotitit Anger is (a) useless chatter. Bostir yourself! altdopra ‘erdsi tua ‘mira allopra ‘sola Alfopra —ergi_ tua mira! Allopra sola! To the task lift’ your sights! To the task alone! io penso a ‘eile sue ‘trame espia penso a Eile sue trame espia. I think of Cassio. He his plots expiates, linjfame ‘anima tia lavemo iggjotte Linfame anima ria. Tavermo—_inghiotte! His infamous soul guilty hell swallows! (His guilty and infemous soul will bo swallowed up by hell!) OTELLO ‘ki “Xjela 2velte Chi gliela svelle? Who is to tear it from him? 459 ‘vola vola,460 Otello, Act HII OTELLO ‘tu Tu? ‘You? JAGO dsuirai I swore, OTELLO ‘tal Tal ia. So be it. JAGO ‘uw atvrai le'sue novekle west notte Tu avrai le sue novella questa notte. You willhave his news tonight. (You will have news of him tonight.) (ironically, to Roderigo.) i soppi twoisalran:no ‘im ‘mar domani (sogni tuoi saranno in mar domani (Your dreams will be on the sea tomorrow ew spra terra e tu sull'aspra terra.) and you onharsh land.) RODERIGO (to Jago) ‘ai triste (Ahi triste!) (Ah! How sad I am!) JAGO ‘ai 'stolta ‘se ww. tu 'pwoispe'rar Ahi stolto! Se vuoi tu puoi sperar; Ah! Fool! If youwant you can _ hope; i mani orsu afiferra e — ‘mmodi Gli umani, ors! afferra, e modi. Tho human, come now! Boldness seize, and hear me out. (Come now! Grasp some human boldness and hear me out!) RODERIGO taskolto | ‘Tascolto, i Tam listening to you.| | | i : Otello, Act HIT 461 JAGO Kol ‘primo albor ‘salpa ‘il vaiffella or, il dutfe Col primo albor salpa il vascello, or il duce. At first dawn sails the ship, now Cassio is the —_ leader. eppur se avivien ‘ke akwesti ——akckada aventura Eppur se avvien che aquesti —_accada sventura... And yet if it happens —that__to him should befall a misfortune... (He touches his sword.) allor ‘kwi ‘testa steko allor qui resta Otello. then here remains Otello. RODERIGO ‘lugubre ‘lutfe ‘date baten Lugubre Inco datro balen! Gloomy light of grim flash of lightning! JAGO ‘mano ‘alla 'spada Mano alla spada! Hand on your —_ sword! a ‘notte falta io Ta ‘sua ‘rattfa ‘vidsilo A nottefolta io —lasua traccia vigilo, In the dead of night I his tracks will watch, e€ il varko © = ora skruto ‘il resto alte e il varco @ ‘Tora scruto. 1 resto ato. and the path and thehour = Tillobserve. Tho rest is up to you. sao ‘tua 'skorta avkattfa ——tfindgiti larko sat tua —scorta. Acacia! Cingiti Tarco! Mbe your sentry. To the hunt! Tekeup your bow! RODERIGO ‘sito veriduto onore e fe Si! Tho venduto onore eft Yes! I've sold you (my] honor and _ loyalty. JAGO (to himsolf) ‘kori “all il fradsile tuo ‘senino (Coni al 1 fragile tuo senno Run to your Tho fragile your intelligence ada konjfuzo un ‘Sonn mentso'pper ha gia confuso un _—_sogno menzogner. hes already confused a —_—_droam lying. (Run to your mirage! Your fragile intelligence has already confused a lying dream.)462 Otello, Act IT ‘segwi lastuto, eldadgile ‘tfen:no Sogui Tastuto ed agile mio_cenno. Follow my sly and swift (my) indication. almante iltuzo ‘io ‘segwo ‘il mio. pen'sjer Amante _illuso, io seguo il mio pensier.) Lover deluded, 1 follow my thought.) RODERIGO iL ‘dado © ‘tratto. impavi ‘ultima (@ = dado & —_tratto. Impavido ultima (The dio is cast. Fearless I await you, ultimate ok:kulto, ‘mio destin. ‘mi ‘sprona ‘amor occulto mio destin. Mi sprona ‘amor, hidden my destiny. + ‘I'mspurredby —_love, (my hidden destiny. 1 am spurred by love.) ‘ma unavido temends ‘astro ‘di'morte injfesta ma un avido, tremendo astro di morte infesta but anavid, _—terrible. star ofdeath —_—infests OTELLO (rising, and addressing the crowd in a terrible voice) fud:dgite Fuggite! Be gone! ALL ‘Yel Ciel! Heaven! OTELLO (hurling himself against the crowd) ‘tut fuddsite —otello Tutti fuggite Otello! Allof you flee from Otello! JAGO (to all) ‘fo a'vale ‘una malia ‘ke ‘doppi Lo assale una malia che d'ogni He isassailed by a spell that of his OTELLO (vigorously) ‘sorte sorte, fate, ‘il mio kammin il mio cammin.) my — path.) ‘senso ‘il'priva sonso il priva. senses deprives him. ‘ki ‘non ‘si 'skosta e ‘kontro ‘mme —nbel:lo- Chi non siscosta 8 — controme _rubello! Whoever doesn't leave is against me a rebel! (Whoever doesn't leave I will consider rebellious and against me!) LODOVICO (starts to take Desdemona away) ‘mi ‘segwi Mi sogui.. Follow mo...Otello, Act I 463 VOICES (from within) eviviva Evviva! Hurrah! DESDEMONA (freeing herself from Lodovico and running to Otello) mio 'spozo Mio sposo! My husband! OTELLO (torribly, to Desdemona) ‘anima ‘mia ‘ti malediko Anima mie, ti malodico! My soul, I curse you! ALL Orror! Horror! (Desdemona leaves, helped by Lodovico and Emilia. All leave horrified.) OTELLO fuldsdsirmi io ‘sol ‘non'so ‘sangwe Fuggirmi io sol nonsol.. — Sangue! To floo from myself I only _cannot!... Blood! (Only I cannot flee from myself!...Blood!) a labsbjetto pensjero Ah! L'abbietto if ‘Ahl The despicable thought... ‘Yo makskora vederli insjeme —a'vvinti Cid m'accora! Vederli insieme avvinti... That distrosses me! To see them together embracing, il fatitsoletito a a H—fazzoletto, ah! ah! The handkerchief, ah! ah! (He faints.) JAGO ‘il'mio velen lavora (0 mio velen lavora.) (My poison is working.) VOICES (from within) viva steko Viva Otello! Longlive Otello!464 Otello, Act It JAGO (listening to the shouts) ‘Teko ‘della vititorja Leco della vittoria... Theecho of victory... VOICES evwviva ‘viva Evviva, vival Hurrah, hurrah! JAGO ‘pordse sua ‘laude _estrema porge ua laude estroma. offers its praise last. (offers its lest praise.) (He looks at Otello stretched out senseless on the floor.) VOICES eviviva Evviva! Hurrah! JAGO ‘ki 'pwo._yjetar ‘ke “west fronte ‘prema Chi pud vietar che questa fronte prema Who can prevent that this forehead I step on ‘kol_ ‘mio talklone col mio tallone? with my — heel? VOICES (nearer) evviva stelilo ‘glorja ‘al leon ‘di_—vernettsja Ewviva Otello! Gloria al Leon di Venezia! Long live Otello! Glory tothe Lion of Venice! JAGO (erect, with a gesture of horrible triumph, pointing to Otello ‘ektko leone Ecco Leonel, There's the — Lion!... VOICES Viva Otello! END OF ACT IOtello, Act IV ACTIV 465 (In Desdemond’s bedroom there is a bed, a prie-Dieu, a table, a mirror and chairs. Hanging from the image of the Madonna, that stands above the prie-Dieu is a burning lamp. To one ‘side there is a door and a lighted lamp on the table. It is night and Desdemona and Emilia aro talking.) EMILIA ‘era ‘pju ‘kalmo Era pitt calmo? Wes he calmer? DESDEMONA ‘mi parea mindsunse “di_—sKorikarmi ~~ datttenderlo Mi parea. Mingiunse di coricarmi_ © ~—_—dattonderlo. Itseemed tome. Heasked me to gotobed and _to await him. emilja ‘te ne prego ‘sul mio Tetto Emilie, to ne prego, sul mio ietto Emilia, Theg of you, over my — bed Ja ‘mia ‘kandida ‘este nuttsiale Tamia candida —veste_nuziale. my white gown nuptial. (Emilia obeys.) ‘senti ‘sepia “dite morir dovessi Senti. Se pria dite morir dovessi Listen. If before you die I should (Listen, if I should die before you) mi seppeliiffi konun di kwei_ ‘vel mi soppellisci con un di quei_voli. bury me with one of those veils. EMILIA skattfate _kwestide: Scacciate _questidee. Banish those ideas. DESDEMONA ‘som ‘mesta tanto ‘tanto Son mesta tanto, tanto. Tam sad somuch, — so much. (She sits down mechanically before the mirror.) ‘mia ‘madre a'veva ‘una = 'povera antfella innamorata aveva una povera ancella _innamorata hed a poor maidservant, in love e bbelila © bella; and beautiful;466 Otello, Act IV ‘era 'il'suo ‘nome ‘barbara amava unwom ke ‘poi labsbando'no Era ilsuo nome Barbara. © Amava un uom che poi —_l'abbandond, Was her name Barbara. She loved a man. kanitava una kantsone = ‘la_—skanitson cantava una canzone, la._—canzon shesang a —_— song, the Song (To Emilia in a speaking voice.) ‘mi diffoxsi_ le “kjome who then left her, ‘del ‘salitfe del Salice. of the willow, Midisciogli lo chiome. Loosen my hair ‘io ‘kwesta'sera. la me'morja ‘pjena ‘di ‘kwella kentilena To questa sera ho lamemoria piena di quella cantilena: T tonight have my memory filled with that sad song: pjandsea kantando netlerma ‘Tanda _pjandsea ‘la ‘esta Piangea cantando _—nelferma__—landa, piangea = la_—smesta. She wept singing on the lonely moor, she wept, the sad girl. 9 'saltfe ‘saltfe sedea Osalce! —_Salce! Sedea Oh willow! Willow! She sat kinando ‘sul sen la testa chinando sul sen la testa! bending overher bosom her head! a'saltfe kantjamo il ‘saltfe_‘funebre sara ‘la ‘mia girlanda Osalce! Cantiamo! i! —salce funebre sari la mia ghirlanda. Oh willow! Let us sing! The willow funereal will be. my garland. (To Emilia, in a speaking voice.) ‘fra ‘poko ‘dgundge dteklo fra poco _giunge Otello. soon will come Otello, sko'rreana rivi ‘fra le ‘ddzolde im for Scoreano i ivi fra le —_zollle in fior, Flowed the rivers ‘amid the _ fields flowering, dge'mea_ ‘kwel ‘kore gemea quel core moaned that _heart (and that broken heart moaned,) e ‘dalle ‘tfikka ‘le zgorgava il ‘kor e dalle ciglia Jesgorgava il cor and from hor eyelids released her heart. Sree ce omen ORE MRS IP BESOIN lamara ‘onda ‘del Tamara onda del the bitter. wave of Otello, Act IV ‘pjanto Pianto. tears. (and hor heart roloased the bitter wave of tears from her eyelids.) Salce! Cantiamo! I salce funebro sara la mia ghirlanda. Jenidean lautdgeleli ‘Scendean —_augelli Flew down the birds ‘verso kwel ‘doltfe verso quel dolce towards that sweet © Kjskiki ‘swoi E glocchi suoi And the eyes hers ‘da impjetozir da impietosir so.as to move to pity a ‘vol ‘dai ‘rami, a vol dai romi in flight fromthe branches ‘Kanto canto. song. pjantdsean tanto piangean tanto were weeping so Ye ‘rupi le rupi. the stones. (She removes her ring and speaks to Emilia) riponi kwestatnel:ls Riponi quest'anello. Put back this ring. (She rises.) 'povera "barbara Povera Barbara! Poor Barbara! {in a speaking tone.) solea la ‘storja ‘kon Solea la storia con Used the story with ekkera inato ‘per Egli era nato per He was born for “kwesto semplitfe —‘swond finir questo semplice _suono finii this simple tune end: a‘sua ‘glorja ‘io ‘per amar sua gloria, io |= per_— amar. his glory, 1 to _love. (To Emilia, in a spoaking tone.) askolta ‘odo un Ascolta. Odo un Listen, Thear a (Emilia takes a fow steps.) lamento lamento. moan, 467468 Otello, Act IV tai ki atte a kwella ‘porta Taci, Chi batte a quella porta’. Hush, Who is knocking at that door?.. EMILIA © il vento z il vento. Its the wind. DESDEMONA ‘io ‘per amarlo © per motir kantjamo To per amarlo e@ per morir. Cantiamo! 1 to love and to die. Let us sing! emilja ad:dio ‘kome mardon le tiga Emilia addio. Come m'ardon = le-_—ciglia. Emilia farewell. How burn my eyelids. © pre'zago ‘di 'pjanto "bwona ‘notte Presago di pianto. Buona notte. Isa presentment of tears. Good night. (Emilia turns to go.) a emilja Ab! Emilia Ah! Emilia, farewell! (Emilia leaves.) DESDEMONA (kneeling at the praying stool) ave ‘maria pjena ‘di ‘grattsja Ave Maria piena di grazia, Heil Mary, full of grace, eletta ‘fra le 'spoze lotta fra lo spose chosen among tho brides © te verdsini sei tu 'sia_—_benedetto ele —_vergini sei tu, sia_benedetto and the virgins art Thou, be blessed 0 benedetta «di «Ste =~ mateme =—viffere o —_ benedetta, di tue mateme —_—_viscere, oh blessed one, of Thy maternal — womb, prega ‘per ki adsrandd, «ate Si 'prostra Prega per chi adorando a _—te_si prostra, ‘saltfe Salce!" Willow! ‘ll il the dea Gos. Jesus. Pray for who adoringly before Theo _prostrates himself, ‘frutto frutto, fruit,Otello, Act IV 469 ‘prega ‘pel pekikator ‘per _lintnotfente prega_pel poccator, por __T'innocente pray for the sinner, for __ the innocent one e pel ‘debole opipresiso e pel po'ssente e pel dobole oppresso fee pall possente, and for the weak oppressed one end for the powerful, ‘mizero ayjkesiso ‘tua pjeta_ddimostra misoro anch’esso tua iota dimostra, wretched alsohe, Thy mercy display, ‘prega ‘per Ki ‘sotto oltradxlso —pjega la_—‘fronte Prega per chi sotto Toltraggio pega la __fronte Pray for who under outrage bow their_heads e ‘sotto ‘las malvadsa_— ‘sorte e@ sotto Ia = malvagia_~— sorte. and under the evil fate. ‘per ‘noi tu ‘prega ‘sempre © ‘delila ‘morte ‘nostra Per noi tu prega sempre ° della morte nostra, For us Thou pray always and inthehour of death ours, prega ‘per ‘noi ‘ave ‘mmaria prega per noi. Ave Maria... pray for us. Hail Mary... (She remains kneeling resting her head against the prie-Diou, mentally repeating the prayer, of which we hear only the first and last words.) ‘ave amen Avel... amen! Hail!... amon! (Sho rises and goes to to bed. At the first note Otello appoars on the threshold of a secret entrance. He comes forward and sets a scimitar on the table. He stops in front of the torch, hesitant whether to extinguish it or not, looks at Desdemona and snuffs out the torch. He betrays a movement of fury, then comes close to the bad, draws open the curtains and watches the sleeping Desdemona. He kisses her once and then again, and once again.) DESDEMONA (waking) Kio e a Chi 8 la. Who is there! (She rises.) stella Otello?470 Otello, Act IV OTELLO ditfeste ‘kwesta sera le 'vostre ——pretfi i. Diceste questa sera lovostro preci? Yes. Did you say this evening your prayers? DESDEMONA ‘se ‘visovivjene ‘di kwalke ‘kolpa_kommessa ke —_attenda Se vi sovviene diqualche copa commessa che _attenda If you remember some sin committed that awaits ‘grattsja ‘dal fel imploratela—tosto grazia dal ciel, imploratela tosto. forgiveness from heaven, ask for it at once. DESDEMONA perke Porch’? Why? OTELLO taffretta —uttfidere ‘nom oko ‘anima ‘wa Trffrotta!_ Uccidere. non voglio anima tua, Hurry! To kill Idon't wish the soul yours. DESDEMONA dutafider —‘parli Duuccider _parli? Of killing you talk? OTELLO Si. Yes. DESDEMONA pjeta ‘ddi me mio ‘ddio Piota di me, mio Mercyon me, my OTELLO amen Amen. DESDEMONA e a'bibjate Pjeta ‘voi ‘pure E abbiate pieta voi pure. And have pity you also.sient ‘ernment Otello, Act IV OTELLO ipensa a tw Pensa a! tuoi Think of your sins. DESDEMONA ‘mio pekkats =e lator Mio poccato ® — Yamor. My sin is love. OTELLO pert{o ‘uw ‘mori Percid tu muori, For that you die. DESDEMONA © perke ‘tama mutt fidi E porch vamo miuccidi?.. And because [love you _you kill mo?... OTELLO ami asssjo Ami Cassio. You love Cassio. DESDEMONA ‘no sulllanima ‘mia No! sull'anima mia! No! Upon my soul! OTELLO ‘kwel fattsoletto kio ti dotnai ‘Ai ‘desti Quel fazzoletto chlo ti donai gli desti. That handkerchief thatI gave you you gave to him. DESDEMONA. none ‘vero Non & vero! It's not true! OTELLO ‘nella ‘sua man ‘lo 'vidi Nella sua man_ lo vidi. In his hand I sawit DESDEMONA io ‘rea ‘non ‘sono To rea _non sono! T guilty am not! 471472 Otello, Act IV OTELLO konnyfes:sa Confess Confess! DESDEMONA ‘duro Giuro! T swear! OTELLO ‘bada ‘allo sperdsuro—'pensa ‘ke sei ‘sul ‘two. ‘letto. ‘di mmorte Bada allo spergiuro.... pensa che sei sul tuo letto di morte, Beware of perjury... think that you're on your bed of death. DESDEMONA ‘nom per —morir Non per — morir. Not to die. OTELLO per motir tosto Per morir tosto. To die soon. DESDEMONA alta ‘kas:sio no‘namo ‘ei 'parli Alta! Cassio non amo... ch’ei qui venga... oi pari... Help! Cassio I don't love... let him come here... Jot him speak... OTELLO ‘muts © ‘per ‘sempre Muto 3 per sempre. Silent he is forever. DESDEMONA ‘Yelo ‘morta Cielo! Morto? Heaven! Dead? OTELLO ‘morto Morto. Dead. DESDEMONA ‘som perduta ‘ei tra'dito Son penduta!.. Ei tradito! Tm lost! He's betrayed!Otello, Act IV OTELLO (fiercely) e ‘'pjandger ‘lozi E __ piangor 'osi? And you dare weep for him? DESDEMONA ‘non —utitfidermi non — uccidermi, don't kill me ‘uw —imjvano ‘ti difendi Tu invano ti difendi, You in vain dofond yoursolf. DESDEMONA ‘Kio ‘viva. aykor Chiio viva Let me live _ still OTELLO ‘dsu ‘kadi ‘dsu_— ‘Kadi pros Gia! cadi, gid cadi, _prostituta! Down! Fall, down, fall, prostitute! DESDEMONA Pjeta Pieta! Marcy! OTELLO ‘mwori Muori! Diet DESDEMONA ‘kio 'viva kwesta ‘notte Chi viva questa notte... Let me live this night... OTELLO ‘no No! No! DESDEMONA nora Un’ora... One how OTELLO No! 473474 Otello, Act IV DESDEMONA. unistante Un‘istante. A moment. OTELLO No! DESDEMONA sol ‘kio ‘dika vnave Sol chiio dica un'Ave. Only let me say an Avo (Maria). OTELLO © ‘tardi E tardi! Its too late! (He suffocates her.) DESDEMONA (crying out) Ah! (Emilia knocks on the door from the outside.) OTELLO (contemplating the motionless body of Desdemona) ‘kalma ‘kome ‘la tomba Calma come la tomba. Calm as the grave. EMILIA (knocking again) aprite Aprite! Open up! OTELLO (startled) ki ela ki atte Chi @ la! — Chi__ hatte! Who is there! Who is knocking! EMILIA (knocking again) sinnor'mio ‘vem ‘prego la'ffate ‘Kio 'vi'parli Signor mio... ven prego, lasciate —ch'io_vi parli. My Lord... I bog you, allow that I speak to you... OTELLO (opening) emilja ‘ke. avivensne Emilia! Che — avvenne? Emilia! Whet happened? aprite Aprite! Open up!Otello, Act IV 475 EMILIA (entering) ‘uy ‘gran delitto ‘kasisjo uttfize rode'tig Un gran delitto! Cassio uccise Roderigo. A great crime! Cassio killed Roderigo. OTELLO © ‘kassjo E Cassio? And Cassio? EMILIA ‘vive Vive. He's alive. OTELLO “kas:sio ‘vive Cassio vivel! Cassio is elivel! DESDEMONA (from the bed) indgustamente uetfiza indgusta‘mente Ingiustamente.... _uccisa ingiustamente... Unjustly... killed unjustly... EMILIA (running to the bed) ‘ki “geme ‘la otsor Chi geme at... Orror! Who moans there?.... Horror! DESDEMONA ‘mwojo in:otfente Muoio innocente... Idie innocent. EMILIA ‘gran ‘ddio ki fu Gran Dio! Chi fu? Great God! Who was it? DESDEMONA nesisuno ——io'stessa_—'al_—=—'mio_—_sinpor ‘mi rak:komanda Nessuno... iostessa.. al mio signor mi raccomanda... Noone... Imyself.. to my Lord commend me... ‘mwojo innotfente —_aiddio muoio innocente... Addio... Idie innocent... Farewell (She dies.)476 Otello, Act IV OTELLO © ‘mmentitritfe io hut Oh —mentitrice! To Tuccisi Oh, liar! 1 killed her. EMILIA asisa'ssit Assassino! Murderer! OTELLO ‘fu ‘di kassjola—‘druda a jago il kjedi Fu di Cassiola rude. A Jago il chiedi. Shewas of Cassio the mistress. Of Jago ask it. (She was Cassio's mistrass. Ask Jago.) EMILIA a jago A Jago?! Jago?! OTELLO a jago A Jago. Jago. EMILIA ‘stolto © wi kredesti Stolto! e tu ill credesti? Fool And you believed him? OTELLO (starting to assault Emilia) neigarlo ardiffi Nogarlo —_ardisci? Todeny it you dare? EMILIA ‘non ti ‘temo Non ti temo. Ido not fear you, OTELLO (seizing her) "bada Bada! Beware! EMILIA (froos herself and runs to the door, shouting desperately) ala sokkorso —‘ajuto_atehlo e dezdemona Ola! Soccorso! Aiuto! Otello uccise Desdemona! Ho there! Help! Help! Otello killed Desdemona! (Lodovico, Cassio and Jago enter.)Otello, Act IV ALL (except Otello and Emilia) ‘kwai ‘grida Quai grida! What shouts! (Seeing Desdemona} orrore orror Orrore! Orror! Horror! Horror! EMILIA (to Jogo) ‘jago zmenttiffi ‘kwel ‘vile asisa's:sino Jago, smontisci quel vile _assassino Jago, contradict that vile murderer, ‘hai tw kreduts ——desdemona__infida parla Hei tu creduto. Desdemona _infida? Parla! Did you believe Desdemona unfaithful? Speak! JAGO ‘tal ‘la kredea Tal 1a credea. So I believed her. OTELLO ‘kwel fatitsolletto ke ‘un ‘di ‘le ‘djedi a ‘essa Quel fazzoletto cho undi lediedi a — Cassio essa That handkerchief that once I gave her to Cassio she EMILIA 2 potentsa vina O __potenza divinal Oh _ power divine! (Oh divine powers!) JAGO (to Emilia) ‘tatfi Taci! Bo silent! EMILIA ‘no tutto rivelo No! Tutto rivelo! No! Everything I am revealing! JAGO Taci. EMILIA (indicating Jago) ‘no kostui “dalla ‘mia man ‘kwel fattsoletto —‘zvelse a No! Costui dalla mia man quel fazzoletto _svelse a No! He from my hand thet handkerchief tore by donava donava. gave (it). ‘viva ‘fortsa viva forza. brute force. 477478 Otello, Act IV CASSIO © ‘nekla ‘mia dimora trovai ‘kwel ‘vel E nella mia dimora trovai quel vel. And in my — house T found thet handkerchief. MONTANO (entering with armed men and pointing to Iago) roderigo ——smarente ‘mi zve'lo ‘di kwestwon arti ne'fande Roderigo morente —_—ami svel di quest'uom arti nefande. Roderigo, dying, revealed to mo ofthat man the plottings evil. (Dying, Rodorigo revealed to me that man's evil plottings.) OTELLO (to Jago) a diskolpati Ah! _ Discolpat Ah! — Exonorate yourself! JAGO (running away) ‘no No! No! LODOVICO ‘ferma Ferma. Stop. MONTANO sinsegwa Sinsegua. Pursue him. (Some leave, in pursuit of Jago.) LOCOVICO AND CASSIO afferratelo Afferratelo! Seize him! OTELLO (rushing to seize his sword) ei tfel non ‘piu ‘fulmini EE Wciel non ha pit fulmini?... And heaven has no more thunderbolts?!. LODOVICO ‘la ‘spada a'mme La spada ame! That sword, give it to me! ‘ajum. ‘mi tema Niun mi tema (Let) no one fear mose'anko armato se anco armato even if armed ‘ekko ‘la fine Ecco la fine Here's the ond 2 ‘glorja Oh! gloria! Oh! Glory Otello, Act IV you see me, ‘del ‘mio kaimmin del mio cammin... of my road. stello ‘fu Otello fu." Otello was. (Oh! Glory! Otello is deed.) 479 (He drops his sword and goes near the bed, looking at Desdemona.) ett ‘kome ssei‘pal:lida © 'stanka Et, come sei pallida, © stanca, And you how you're pale, and tired, ‘pia kreatura’ mata ‘sotto mallinnia pia creatura ata sotto maligna pious creature born under a melignent fredida kome ‘lla kasta tua vita. ein Frodda come la casta tua vila @ in Cold asthe chaste your life and to (Cold as your chaste life, and borne up to heaven.) dezdemona a morta ‘morta Desdemona! Ah! morta! morta! Desdemon Ah! Dead! Dead! (Ho furtively takes out a dagger from under his cloak.) ° wnarma arykor Ho un'arma ——_ancor! Thave weapon still! (He stabs himself.) Cassio a ‘Terma Ah! Ferm Ah! Stop! LODOVICO AND MONTANO fagurato Sciagurato! Wretched man! e ‘muta © muta, and silent, and lovely, tfelo assorta cielo assorta, heaven borne up. *Fu is the remote past of ossore (to be). By saying that Otello was, he is actually saying that Otello is no more, and, by extonsion...dead.480 OTELLO ‘pria duttfiderti Pria_d'ucciderti... Before I killed you. in the darkness a unaltro Ab! un altro Ab! another (He dies.) 'spoza sposa... wife... ‘in tui in cui in which ‘batfo baci Otello, Act IV ‘tibatfai —or_-——morendo tibaciai, © Or — morendo... Tkissed you. Now, as I am dying. ‘um 'batfo- ‘um ‘batfo arykora un bacio.. un bacio ancora... a kiss. a kiss again. END OF THE OPERA484 ACT Il Chorus, scene and aria, (Cuniza): Oh, chi torna fardente pensiero . ceeees 360 Scena and aria, (Oberto): L’orror del tradimento...... +. 863 Scena and quartet, (Leonora, Cuniza, Riccardo, Roberto): Vili alfarmi, a donno eroi ... 366 Romanza, (Riccardo): Ciel, che feci!...Di qual sangue ee oe Scena with chorus, (Cuniza): Vieni, 0 misera . .. peononaoe wees B74 Scena and final rondo, (Leonora): Sciaguratal..aquesto ido... 1... ss se sees eee eee 875: OTELLO ACTI Opening scene: Una vela...un vessillo, Palato leon! ... 6.6... 6s eee sees 982 Entrance of Otello: Esultate! : : cerns 885 Drinking song, (Lago): Inaffia Pugola, trinca, tracanna 393 Second entrance of Otello: Abbasso le spade! ....... eee 28 Love duet, (Otello, Desdemona): Gia nella notte densa... 1. sssseeeeeeeeeseeees 401 ACT II Iago’s creed: Gredo in un dio crude! - er 408 Ensemble, (Desdemona, Otello, with choru: Splonde illciel, danza aura . 417 Scena, (Otello, Iago): Desdemona rea! : 423, Scona end era, (Otello): Mai legato alla croce “Ora 8 | per sompro ‘addio « ce 424 Aria, (lego): Era la nota... .. Bopboe : fe 7, Duet, (Iago, Otello): Si, pel ciel marmoreo giuro! Gou6 430 ACT IL Duet, (Otello, Desdemona): Dio di giocondi, 0 sposo 433 Scena and aria, (Otello): Dio, mi potevi scagliar Scena, (Iago, Cassio, Otello): Vieni, aula é deserta : Ensemble, (Chorus, Lodovico, Otello, Desdemona, ot al) l Doge ed il senato - 450 ACTIV ‘Willow song, (Desdemona): Salce, salco ..... 6. sees cess eee ev anes Prayer, (Desdemona): Ave Maria ....... 00. see eae Death of Desdemona (Otello, Desdemona): Chi é 1a? Otello? . Death of Otello: Niun mi tema! a - 478