Name: Falstaff
Start: 2013-07-29T00:00:00.000Z
End: 2013-08-07T00:00:00.000Z
Location: Haus für Mozart

Admin

Organization

Baritone

Ambrogio Maestri

Sir John Falstaff

Soprano

Fiorenza Cedolins

Mrs. Alice Ford

Massimo Cavalletti

Ford

Eleonora Buratto

Nannette

Contralto

Elisabeth Kulman

Mrs. Quickly

Mezzo-soprano

Stephanie Houtzeel

Mrs. Meg Page

Tenor

Javier Camarena

Fenton

Luca Casalin

Doctor Caius

Gianluca Sorrentino

Bardolph

Bass

Davide Fersini

Pistol

Conductor

Zubin Mehta

Stage director

Damiano Michieletto

Costume designer

Carla Teti

Set designer

Paulo Fantin

Salzburger Festspiele

Others

Philharmonia Chorus

Orchestra

Wiener Philharmoniker

itāļu

Falstaff

Salzburg

Austria

Haus für Mozart

William Shakespeare (1564-1616), the most important author in the history of theater, also had a decisive influence on opera: his dramas inspired a large number of opera composers to set them to music. The development began as early as the 17th century ("The Fairy Queen" after "A Midsummer Night's Dream" by Henry Purcell) and can be traced to our time.

After an incomparable succession of tragic operas, Giuseppe Verdi ended his opera career at the age of almost eighty with a lyrical comedy. It is characterized by the fascinating richness of the musical means as well as the subtle drawing of the characters. Thus, the title character is portrayed not only as a comic hero, but also as a clever philosopher. Verdi's congenial librettist Arrigo Boito created a brilliant adaptation of Shakespeare's plays "The Merry Wives of Windsor" and "Henry IV."

Verdi's "Falstaff" premiered in Milan in 1893. The opera has little in common with Verdi's previous stage works and, in terms of the quality of the libretto and the composition, in some respects points ahead to the 20th century. In his last opera, Verdi was not concerned with reviving a funny or ridiculous character in the tradition of Italian opera buffa, but with portraying a human character in all its nuances. In collaboration with the experienced librettist Arrigo Boito, a lyrical comedy was created that is unlike any other.

For Falstaff he has a colorfully changing series of lively, agile, gallant, lyrical, even graceful phrases ready. That in itself provides a comical contrast to the hero's colossal corporeality, but it's also deeply rooted in his nature. Sir John is a nobleman, has a sense of form, frequented the court, and was a prince's friend. He is 'elephant and elegant at the same time', as Friedrich Vischer jokingly puts it." (Julius Korngold: The Romanic Opera of the Present, Vienna 1922)

Windsor, in the time of Henry IV Sir John Falstaff considers himself an irresistible womanizer. In need of money, he writes two identical love letters to the lovely and rich ladies Ford and Page. With the help of Mrs. Ford's daughter Nannetta and Mrs. Quickly, they want to play a trick on the fat paunch: They summon Falstaff to a fake tryst at Ford's house. There Nannetta's wedding to Dr. Cajus prepared, although Nannetta loves young Fenton. Falstaff appears and courts the lady of the house. Mrs. Page rushes in and announces the return of the jealous Ford. Falstaff is put in a giant laundry basket and dumped into the Thames.

Mrs. Quickly asks Falstaff to meet Mrs. Ford again - at midnight in the park. There, however, he is disturbed by a series of whimsical spooks. They abuse the old man until he recognizes the swindle. In the general confusion, Nannetta and Fenton are married. In the end, everyone agrees, and Falstaff sings the closing song: "Everything is fun on earth".

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