Master Criminal’s Artful Manipulation

The opening scene in Act II of Verdi’s Otello finds Iago Otello’s ensign in conversation with Cassio who was relieved of his command in Act I ostensibly because of his involvement in the brawl engineered by none other than Iago himself. It is a casual, almost innocent, conversation about a falling out between Cassio and a woman called Bianca. The gist of the conversation suggests that Cassio has fallen out of favor with Bianca as a result of the former’s falling out of Otello’s grace. Iago advises Cassio to ask Desdemona Otello’s wife to intercede on his behalf, insinuating in a conspiratorial manner, that they both know that she is the true ruler in Cypress. What, if anything, gives credence to Iago’s statement and what evidence is there to its existence? In a novel or play the artist can spin out an explanation in countless words but in opera, this is not possible. How then does Verdi cope with that allegation? To what effect? As opera is drama set to music it follows that the action must be logical because the human mind requires it. And since the composer’s main tool of expression is music, he must translate it into understandable human motive or motivation. The scene itself provides us with ample clues. Let’s consider. Five characters appear in the opening scene; all but Bianca convene together in Act I – when Otello demotes Cassio beginning with “Abbaso le spade” [Lower your swords]. (https://youtu.be/Pj_XSeLT3qU [18:24 - 20:27]. The musical figure at 18:35-18:37 appears a total of five times within this time frame. During this span, Otello gathers evidence relating to the cause of the disturbance and has sufficient information to make a command decision. But only on the fourth time, upon Desdemona’s appearance, does Otello take action and relieve Cassio of his command; the final sounding seals Casssio’s fate. The cause for Cassio’s demotion is clear. It is because he disturbed Desdemona’s sleep – not because of behavior unbecoming of an officer on duty! Who then rules in Cypress if not Desdemona? This is Verdi’s keen observation and understanding of the human condition and his masterful use of music to define it. A further observation bears mentioning. In repeating the musical figure several times, Verdi calls into question Otello’s ability to make decisions appropriate to a military commander. By this clever and insightful use of music, Verdi opens a vast expanse to explain the human elements in the plot. Iago’s calculated enlistment of Cassio as a witness to Otello’s inept leadership is only the beginning; he will make expert and damaging use of this material in the course of the opera.