- Hepokoski, James A. “Boito and F.-V. Hugo’s ‘Magnificent Translation’: A
Study in the Genesis of the OtelloLibretto.” In Reading Opera(#218), 34–59.
Concludes, after a study of the alternatives, that Boito’s libretto was most
indebted to the French translation of François-Victor Hugo of 1860. In addi-
tion to Hugo’s text, his comments resonated with Boito, who may have devel-
oped Iago’s character in part as a consequence of them. The Italian stage
traditions for the Shakespeare play are also taken into account. - Noske, Frits. “Otello: Drama through Structure.” In Essays on Music(#67),
14–47, and in Signifier(#1285), 133–170.
Compared to Shakespeare, the Verdi-Boito personages are “flat.” Interest in
the work is sustained by the dramatic impact of specific situations. Noske
speculates about who the protagonist is: Iago seems to be the central character
of the plot, but Otello is central in the drama. - Fairtile, Linda B. “Verdi’s First ‘Willow Song’: New Sketches and Drafts for
Otello.” 19thCM19 (1995–1996): 213–230.
The new material is in the New York Public Library: it contains sketches and a
continuity draft for act 4 through the “Ave Maria” and sketches for the act 1
“Brindisi.” The text and music of the “Willow Song” are completely different
in these documents from the final version. Fairtile suggests that Verdi aban-
doned his initial setting and asked Boito for a new version. - Coe, Doug. “The Original Production Book for Otello: An Introduction.”
19thCM2 (1978–1979): 148–158.
The production books indicate Verdi’s intentions for staging and should be fol-
lowed in modern performances. - Archibald, Bruce. “Tonality in Otello.” MR35 (1974): 23–28.
An imaginative approach to tonal structure, taking the key of F major as the
tonic of act 1, from which prior and later keys are said to “radiate” in the form
of a star. - Lawton, David. “On the bacioTheme in Otello.” 19thCM1 (1977–1978):
211–220.
Approaches the baciotheme through Schenkerian analysis, finding that the
tonalities are a microversion of the tonal form of the entire opera. Keys are
associated with Otello’s conflicts: C major with his downfall, E major with his
triumphs, and D-flat major with his loving nature. - Parker, Roger, and Matthew Brown. “Ancora un bacio: Three Scenes from
Verdi’s Otello.” 19thCM9 (1985–1986): 50–61.
Having reviewed analytical results of other writers (Budden, Noske, Lawton),
the authors offer their own perspectives. Coherence in the love scene is
achieved through recurring harmonic and melodic elements, and the return of
the baciotheme at the end of the opera is a culmination of many melodic and
harmonic relationships.
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