Editing Otello (section)

===From libretto to first performance: 1879 to 1887===
[[File:Francesco Tamagno as Otello 1887 - Sadie 1992 4p639.jpg|thumb|[[Francesco Tamagno]] as Otello in a costume designed by [[Alfred Edel]] for the original production]]
The process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. As Walker charts it, the opera was completed:<blockquote>
in three comparatively short bouts of composition: the first, very brief, was at Genoa in March 1884 [five years after the first drafts of the libretto began!]; the second, the principal one, at Genoa from December 1884 to April 1885; the third at Sant' Agata from the middle of September to early October 1885.{{sfn|Walker|1982|p=493}}</blockquote>

By late August 1881, it appears that the text of the finale of act 3, over which there had been some considerable discussion (with ideas exchanged between both men) was sent to Verdi, who responded in a long letter from Milan regarding his feelings about its overall structure, the role of the chorus, and other issues.<ref>Verdi to Boito, date?, in {{harvnb|Walker|1982|pp=486–487}}: Walker notes that there were no more letters concerning act 3 and assumes that the issues were resolved.</ref> Throughout 1882 and 1883 very little happened, although during the winter of 1883 Verdi and Boito met in Genoa where the Verdis spent their winters, but it prompted Ricordi for three Christmases in a row to send a cake to Verdi with the figure of the Moor—in chocolate—on the top.{{sfn|Budden|1992|pp=314–315}} In order to keep information about the composition within the group, this gesture may have been the cause for the name given to the project for many years, "chocolate", as in Boito's letter of 1864 noting that "the manufacture of chocolate was going ahead".{{sfn|Budden|1992|p=315}}

Early the following year, Verdi began to compose and on 20 March 1884, in a letter from Boito to Ricordi, the librettist announced that Verdi had begun with the "opening of first act and seems to be working with fervor".{{sfn|Walker|1982|p=488}} There then occurred an event which unsettled both Verdi and Boito, and which nearly caused the project to come to a complete stop. While attending a banquet in Naples following the successful presentation of his opera ''[[Mefistofele]]'', Boito gave an interview to a journalist and, in trying to keep information about the proposed ''Otello'' as quiet as possible, appears to have been misquoted by another journalist who overheard part of the conversation. The key point was that Boito, himself a composer, appeared to want to compose the music for ''Otello'' himself. When Verdi read this in a Milan newspaper, he was horrified and, in a letter to Faccio (rather than directly confronting Boito) stated that he wanted Faccio to directly tell the librettist that "I will give him his manuscript intact, without a shadow of resentment, without rancor of any kind".<ref>Verdi to Faccio, date?, in {{harvnb|Walker|1982|p=489}}</ref>

When he heard of the newspaper report, Boito was horrified. Writing immediately to Verdi, he states:<blockquote>
The theme and my libretto are yours by right of conquest. You alone can set ''Othello'' to music—all the dramatic creations you have given us proclaim the truth.<br />
[He continues by discussing his own preoccupation with [[Emperor Nero]] and his love for the period of Ancient Roman history, pointing to his ongoing work on his own opera, ''[[Nerone (Boito)|Nerone]]'']<br />
... no other subject in the world can distract me, not even Shakespeare's ''Othello'', could distract me from my theme.<br />[He asks the composer, given the above comments, whether he really believes that he would accept his offer. Boito begs Verdi to not to abandon ''Otello'':] It is predestined for you.  Create it. You had begun work upon it [so..] take up you pen again and write me soon: 'Dear Boito, do me the favour of altering these verses, etc. etc...'<ref>Boito to Verdi, date?, in {{harvnb|Walker|1982|pp=489–490}}</ref></blockquote>

Verdi's response, which came right away was quite blunt: in addition to complaining of his age, his years of service, and raising other objections, he states: "The conclusion is that all this has cast a chill over this ''Otello'', and stiffened the hand that had begun to trace out a few bars!",<ref>Verdi to Boito, 26 April 1884, in {{harvnb|Walker|1982|p=490}}</ref> but, in total contrast, Boito appears to have simply decided to carry on. Albeit "somewhat disquieted", he immediately proposes "a sort of ''evil Credo'' [which] I did... for my own comfort and personal satisfaction, because I felt the need of doing it".<ref>Boito to Verdi, date unknown, in {{harvnb|Walker|1982|p=490}}</ref> On 3 May, Verdi wrote back, calming this down: "Most beautiful this Credo; most powerful and wholly Shakespearian... it would be well to leave this ''Otello'' in peace for a bit ... [and encouraging Boito to come to Sant'Agata where] "we shall be able to talk it over again, and by then with the necessary calm".<ref>Verdi to Boito, 3 May 1884, in {{harvnb|Walker|1982|pp=490–491}}</ref> Boito did visit Verdi in September for three days.

"It seems impossible, but it's true all the same! I'm busy, writing!! ... without purpose, without worries, without thinking of what will happen next..."{{sfn|Budden|1992|loc=Verdi to Boito, 9 December 1884. p.&nbsp;318}} So Verdi wrote to Boito, with a request for a few more lines for act two, to which the librettist immediately responded: "One can't escape one's destiny, and by a law of intellectual affinity that tragedy of Shakespeare's is predestined for you".<ref>Boito to Verdi, (undated) December 1884, in {{harvnb|Walker|1982|p=491}}</ref>

[[File:Victor Maurel-baritone-as Iago.jpg|thumb|Baritone Victor Maurel, the first Iago]]Verdi's second burst of creative energy lasted until mid-April 1885, and was followed by the usual summer break and a lack of any activity. He confesses to Boito in a letter of 10 September of that year, when he invites him to come to Sant'Agata the following Sunday, stating "since I've been here [from the end of April] (I blush to say it) I've done nothing!"<ref>Verdi to Boito, 10 September 1885, in {{harvnb|Walker|1982|p=491}}</ref> It was during this time that the fourth act was pulled together. Walker speculates that Boito's visit and his conversations with the composer must have had some effect on Verdi because, on 5 October, Verdi made the announcement: "I have finished the fourth act, and I breathe again".<ref>Verdi to Boito, 5 October 1885, in {{harvnb|Walker|1982|p=493}}</ref>

Scoring took another year which, from January 1886 onward, involved the librettist in re-writes and additions at Verdi's request. It was at this time that it was decided to call the opera ''Otello'' rather than ''Iago'' (as noted above). Verdi's letter to Boito in January settles the matter: "I would find it hypocritical not to call it ''Otello''.{{sfn|Budden|2002|loc=Verdi to Boito, 21 January 1886. p.&nbsp;319}} [[Emanuele Muzio]] (Verdi's long-time assistant) tells Ricordi in March that the love duet in act 1 was finished and performed.

In May, Verdi "hit upon the precise form of one of the most famous entrances in all opera"{{sfn|Budden|1992|p=320}} – Otello's "Esultate" – in act 1. Boito modified his verses accordingly. Other minor changes and proposed revisions were wrapped up into September so that Verdi could write to Ricordi on 9 September: "Tomorrow I shall send to Casa Ricordi, completely finished, all the first act and all scene ''vi'' of the third; and thus with the fourth, already sent, perhaps three-fifths of the Moor are ready".<ref>Verdi to Ricordi, 9 September 1886, in {{harvnb|Walker|1982|p=493}}</ref>

But on 1 November 1886, in a laconic communication, Verdi was able to proclaim: "DEAR BOITO, It is finished! All honour to us! (and to ''Him''!!). Farewell. G. VERDI".(''sic''){{sfn|Budden|2002|loc=Verdi to Boito. p.&nbsp;322|ps={{nbsp}}(There is a note that "Him" refers to Shakespeare)}} This left only a few minor tweaks to be done, with Boito providing two more lines in December and Verdi writing to him on the 18th saying "I have just consigned to [Ricordi] the last acts of ''Otello''! Poor Othello!... He won't come back here any more!!!"<ref>Verdi to Boito, 1 November 1886, in {{harvnb|Walker|1982|p=493}}</ref> The librettist replied: "The Moor will come back no more to knock on the door of the Palazzo Doria [Verdi's Genoa residence], but you will go to meet the Moor at La Scala. ''Otello'' exists. The great dream has become reality".{{sfn|Budden|1992|loc= Boito to Verdi, 21 December 1886. p.&nbsp;322}}