'I believe in a cruel God,' declares Iago in Verdi's Otello. But whose cruelty is greatest of all?
Alberich, the chief of the Nibelungen race of dwarves, tops Wagner's list of evil-doers. In Wagner's story, Alberich renounces love and steals the Rheingold to forge the ring. He is wily and cunning, often outsmarting his opponents. Along with the Rhinemaidens, he is the only character who survives to the end of the cycle. His legacy is one of deceit and betrayal, setting the tone for all that follows.
Herod, the Biblical ruler, is another ambivalent character. In Strauss's opera, he is depicted as decadent and morally weak, easily manipulated by his stepdaughter Salome. Herod's anxious sensuality makes him vulnerable to manipulation. While he is undoubtedly corrupt, his character raises questions about Salome's motivations and the true nature of villainy.
Claggart, the master-at-arms in Britten's Billy Budd, is a villain who meets his just deserts. He despises the innocent recruit Billy Budd and is determined to destroy him. Claggart's cruelty is matched only by his own downfall, as he is struck out and killed by Budd. His character serves as a cautionary tale about the dangers of unchecked ambition.
Lady Macbeth, the villainess of Verdi's opera, is a force to be reckoned with. She urges her husband to murder the king and then pays the price for her actions, descending into madness. Musically, her character is marked by forcefulness and terror, as she conjures the dislocation of her own mind.
Iago, the subtle villain in Verdi's Otello, keeps his evil under wraps. He pretends to be Otello's faithful associate, all while undermining his relationship with Desdemona. Iago's declaration of infamy is dramatic, but his escape from the scene underscores the ease with which villains can evade accountability.
The Queen of the Night, the portentous figure in Mozart's The Magic Flute, tries to force her daughter Pamina to murder the leader of the priests. Her two brilliant, dangerously attractive coloratura arias bring the house down, but her eventual downfall serves as a reminder that even the most powerful villains can fall.
Bluebeard, the sick, obsessive collector of women, is a more complex figure. He is a total bastard, but his character raises questions about the nature of villainy. Is he a monster, or simply a product of his own twisted desires?
Pinkerton, the American naval officer in Puccini's Madama Butterfly, is a villain who exploits the young Butterfly, leaving her with a child while he goes back home to marry. His character serves as a cautionary tale about the dangers of imperialism and the exploitation of the vulnerable.
Scarpia, the toxic mixture of a lust for power and a lust for women, is a familiar but deadly villain. He lords it over Rome with an iron hand, torturing and murdering without restraint. His intentions are always to seduce the singer Floria Tosca, and the scene where she bargains for a safe passage for her and her lover Cavaradossi is among the most compelling in any opera.
Don Giovanni, the psychopath, is a man of no moral compass. He is violent, exploitative, and predatory towards women. The opera shows him killing the Commendatore after attempting to seduce his daughter.