Knowing Otello suffers from epilepsy, Desdemona tries to calm him by wiping his brow with a handkerchief he’s given her, but he ignores this and pushes her away. When Desdemona then approaches Otello to beg forgiveness for Cassio, Otello’s suspicion grows and he becomes visibly agitated. As Cassio appeals to Desdemona, Otello walks in, and Iago slyly hints that Desdemona and Cassio appear to be a little too affectionate ( really subtle, Iago). Iago counsels Cassio to plead with Desdemona to help get him reinstated. Roderigo raises the city alarm, and the commotion wakes both Desdemona and Otello, who’s so shocked at Cassio’s behavior, he fires him on the spot (sorry, buddy). Roderigo then provokes Cassio into a fist fight, and an innocent Cypriot governor gets caught in the middle. The plan works: Iago keeps the wine flowing long enough for Cassio to get completely intoxicated. Seeing a chance to ruin both Otello and Cassio, Iago insinuates Captain Cassio is also in love with Desdemona, and suggests Roderigo get Cassio drunk in order to jumpstart a riot that will get Cassio demoted.
Turns out Roderigo is in love with Desdemona, and wants Iago’s help in getting Otello out of the picture. Iago’s evil scheme takes shape as he chats with Roderigo (roh-dehr-EE-goh), another Venetian who’s jealous of Otello. Driven by his resentment and by a prejudiced hatred for Otello’s Moorish heritage, Iago decides to stir up trouble for the general and his beautiful new bride, Desdemona (dez-DEH-moh-nah). The reason? The general has achieved fame and glory while Iago still remains a lower-ranking soldier, despite being just as qualified as Cassio (KASS-eyoh), Otello’s captain. This performance practice of using makeup to darken a performer’s skin (known as “blackface”) is part of an ongoing debate in the opera world regarding how to cast characters of color in a way that honors their respective stories as well as the complicated history of skin-altering makeup.Įveryone rejoices, that is, except Iago (EYAH-goh), a Venetian officer with a massive grudge against Otello. Sometimes these singers will wear makeup to help indicate a darker skin tone. You’re about to see some video clips from prior productions of this opera that feature white singers in the role of Otello, who is actually a Moor (a man with Arab or African heritage). Roderigo, a Venetian (tenor) A Quick Heads-up! Iago, an officer in Otello’s army (baritone-a middle-range male voice)Įmilia, Iago’s wife and Desdemona’s handmaid (mezzo-soprano-a middle-range female voice)Ĭassio, a captain in Otello’s army (tenor) Otello, a Venetian general of Moorish descent (tenor––the highest male voice)ĭesdemona, a Venetian noblewoman and Otello’s wife (soprano-the highest female voice) Based on the play Othello by William Shakespeare
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