malignity, and is followed by his monologue, in which he sings a mock
Credo which is Satanic in utterance. It is accompanied with tremendous
outbursts of trumpets, and leads up to a furious declamatory duet with
Othello. The next number brings a grateful change. It is a graceful
mandolinata, sung by children's voices and accompanied by mandolins
and guitars, followed by a charming chorus of mariners, who bring
shells and corals to Desdemona. The intercession episode ensues,
leading to a grand dramatic quartet for Desdemona, Emilia, Iago, and
Othello. The latter then sings a pathetic but stirring melody with
trumpet accompaniment, the farewell to war, and the act closes with a
tumultuous duet between himself and Iago.

The third act opens with a very expressive duet for Othello and
Desdemona, in which the growing wrath of the former and the sweet and
touching unconsciousness of the other are happily contrasted. A sad
monologue by Othello prepares the way for the coming outbreak. The
handkerchief trio follows, in which the malignity of Iago, the
indignation of Othello, and the inability of Cassio to understand the
fell purpose of Iago are brought out with great force. At its close a
fanfare of trumpets announces the Venetian embassy, and the finale
begins with much brilliancy. Then follows the scene in which Othello
smites down Desdemona. She supplicates for mercy in an aria of tender
beauty, which leads up to a strong sextet. All the guests depart but
Iago; and as Othello, overcome with his emotions, swoons away, the
curtain falls upon Iago's contemptuous utterance, "There lies the lion
of Venice."

The fourth act is full of musical beauty. After an orchestral
introduction in which the horn has a very effective solo, the curtain
rises and the action transpires in Desdemona's chamber. The scene