Comic opera had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the 19th century by Gioachino Rossini in his masterpieces such as "The Barber of Seville" (1816) and "La Cenerentola" (1817). French composers eagerly seized upon the Italian model and made
Otello (Rossini) after uncovering the deceit of Jago and the innocence of his wife.” As in Verdi's "Otello", Desdemona's aria ""Salce"" ("Willow Song") is a pivotal moment in the final act. Franz Liszt based the Canzone from the Années de Pèlerinage supplement Venezia e Napoli on the offstage gondolier's song "Nessun maggior dolore" from this opera. Notes Sources Otello (Rossini) Otello () is an opera in three acts by Gioachino Rossini to an Italian libretto by Francesco Maria Berio di Salsa. The work is based on a French adaptation of the story, not Shakespeare's play "Othello" as neither Rossini nor his librettist