The effects of the transformation of the social order following the 18th century French Enlightenment, is felt in the art of opera as in many other fields. The rise of the bourgeoisie and the habitualization of its social power procures a respectability similar to that possessed by the aristocracy. When it comes to the opera, one of the arts that reflects the political, cultural and economic aspects of its time, the bourgeoisie does not object to the definition of this art form by the nobility as elite. However, it invests in changing its appearance (Kehler, 1994: 42). It is possible to emit that Shakespeare’s plays – which have been the subject of many operas - and the art of opera have similar functions in displaying the recent history of the bourgeoisie. This article evaluates the representation of the bourgeoisie in Otello, W. Shakespeare’s homonymous play adapted to the opera by Giuseppe Verdi and the libretto writer Arrigo Boito.
Opera, Giuseppe Verdi, Otello, Bourgeoisie