Word: otello
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...lack of originality. Clumsy gunmen run into nuns carrying food; when a tryst is interrupted by the return of the jealous husband, the young lover hides (you guessed it) under the bed; and the final chase scene takes place on-and off-stage during a performance of Verdi's Otello. To be fair, Bergman usually knows how cliched his situations are, and he often satirizes them in clever ways. In a typical over-melodramatic sequence, for example, handsome Bob Fine (O'Neal) meets and falls in love with the voluptuous and married Lira (Mariangela Melato). They gaze intensly at each...
...lyric roots. She comes from the world of the poor, consumptive Mimi in Puccini's La Bohème and the sparkling, scheming Susanna in Mozart's The Marriage of Figaro. Despite taking on some distinctly heavier parts, mostly Verdi heroines, in recent years-Aida, Desdemona in Otello and Elisabeth in Don Carlos-she is still rightly regarded as the finest Mimi and Susanna around. "The dramatic soprano voice is big, and for the coloratura you must have the high notes," says Freni. "But the lyric voice is about quality of expression. It must sing easily and softly...
...father and razed her city, Aquileia. In a fiery aria laced with coloratura, she swears vengeance. Around her a chorus of barbarians praises Attila's conquests. The scene is an early example of the art of dramatic juxtaposition perfected at the end of the third act of Otello, with lago gloating over his fallen master as the Venetians outside sing the Moor's praises...
...year, when they came to Boston, I was in (Verdi's) Don Carlos as captain of the king's guard and had my own spot in the procession. I stood behind the king looking very important while they burned people at the stake. I was also in (Verdi's) Otello and (Poulenc's) Dialogue of the Carmelites...
...virile, magnetic figure, believable as a military officer, charming when he needed to be, capable of holding his twisted, demonic drives in check with a keen intelligence. No moment in the opera was more splendidly sung or powerfully acted than the second act S i, pel ciel, with Otello looming over him with upraised hand, like a malign marionette master. In this scene Verdi transcended Shakespeare, said Shaw. Watching Domingo and Milnes, one could only agree...