THE OPERA OF "OTELLO."
Othello is altogether unsuited to the lyrical drama, and supposing the contrary, Rossini, of all composers, was the most unfit to treat such a subject in music. The catastrophe in the English tragedy is necessary; we see it from the beginning as through a long and gloomy vista. We weep, or shudder, we draw a long sigh of despair, and feel that it could not have been otherwise. But in the opera, Othello is a ruffian, without excuse for his crime. We have suddenly a beautiful woman running distracted about the stage to a symphony—and a very noisy symphony—of violins, and butchered before our eyes to an allegro movement.—Foreign Review.