falstaff libretto arrigo boito

The first stereophonic recording was conducted by Herbert von Karajan for EMI in 1956. Can it be that he has been made a fool of? Falstaff celebrates his potential success ("Va, vecchio John" / "Go, old Jack, go your own way"). They now concoct a plan for Falstaff's punishment: dressed as supernatural creatures, they will ambush and torment him at midnight. [n 11]. These 301 letters between Giuseppe Verdi and his last, most gifted librettist, Arrigo Boito, document an extraordinary chapter in musical history. '"[41] By the time of Verdi's death in 1901 the work had fallen out of the international repertoire. Sa mère, née comtesse Josefa Radolinska, est d'origine polonaise. But the Italian Falstaff moves more quickly. Or will I not finish it? Nannetta, as the Fairy Queen, instructs her helpers ("Sul fil d'un soffio etesio" / "On the breath of a fragrant breeze, fly, nimble spirits") before all the characters arrive on the scene. The item Falstaff, Giuseppe Verdi ; [libretto, Arrigo Boito] represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Brigham Young University. !") It took the collaborators three years from mid-1889 to complete. Toggle book search form. Both operas were adapted from plays by William Shakespeare, and are the most faithful operatic treatments of Shakespeare up to that time. Keres egy könyvet Falstaff től: Arrigo Boito? von Arrigo Boito ; Musik von Giuseppe Verdi. Richard Aldrich, music critic of The New York Times, wrote that Toscanini's revival "ought to be marked in red letters in the record of the season. The stereo version is S-416/3. Verdi followed the libretto with a detailed, fully composed tour de force full of wit and depth, in which the driving grotesque is set just as … Falstaff, commedia lirica in tre atti, di Arrigo Boito. Mail He tells Falstaff that he is in love with Alice, but she is too virtuous to entertain him. [27] By early 1891 he was declaring that he could not finish the work that year, but in May he expressed some small optimism, which by mid-June, had turned into: The Big Belly ["pancione", the name given to the opera before the composition of Falstaff became public knowledge] is on the road to madness. Votre mot de passe. Verdi still had doubts, and on the next day sent another letter to Boito expressing his concerns. ... No one could have done better than you", he wrote back. The first act was completed by March 1890;[25] the rest of the opera was not composed in chronological order, as had been Verdi's usual practice. Kimbell, pp. [79] The first recording of the complete opera was made by Italian Columbia in March and April 1932. Giulio Ricordi arranged the collaboration. Arrigo Boito, original name Enrico Giuseppe Giovanni Boito, pseudonym Tobia Gorrio, (born Feb. 24, 1842, Padua, Lombardy-Venetia, Italy—died June 10, 1918, Milan), Italian poet and composer acclaimed for his opera Mefistofele (1868; for which he composed both libretto and music) and his librettos after William Shakespeare for Giuseppe Verdi’s Otello (1887) and Falstaff (1893). [17] He wrote to Boito in August 1889 telling him that he was writing a fugue: "Yes, Sir! The women arrive and disguise Fenton as a monk, telling him that they have arranged to spoil Ford's and Caius's plans. Just think for a moment how many musical means – beautiful ones, certainly – Wagner must make use of to describe the Nuremberg night. Although the prospect of a new opera from Verdi aroused immense interest in Italy and around the world, Falstaff did not prove to be as popular as earlier works in the composer's canon. Fondazione Adriano Olivetti Roma, Italy. "[77] Osborne concludes his analysis, "Falstaff is comedy's musical apogee: the finest opera, inspired by the finest dramatist, by the finest opera composer the world has known". [n 8] That was followed by a tumultuous welcome when the composer, his wife and Boito arrived at the Grand Hotel de Milan. [43] The London premiere, sung in Italian, was at Covent Garden on 19 May 1894. Falstaff laughs at him; he leaves, vowing only to go drinking with honest, sober companions in future. [76] The young lovers, Nannetta and Fenton, are given a lyrical and playful duet ("Labbra di foco") in Act I;[75] in Act III, Fenton's impassioned love song, "Dal labbro il canto estasiato vola" briefly becomes a duet when Nannetta joins him. Ford arrives, masquerading as a wealthy stranger, using the false name "Signor Fontana". "[70] Verdi himself, however, felt that the Falstaff of the opera is not a conventional Italian buffo character, but portrays Shakespeare's fuller, more ambiguous Falstaff of the Henry IV plays: "My Falstaff is not merely the hero of The Merry Wives of Windsor, who is simply a buffoon, and allows himself to be tricked by the women, but also the Falstaff of the two parts of Henry IV. Although it is based on the same material as Otto Nicolai’s »The Merry Wives of Windsor«, Verdi succeeded in writing a distinct, subversive version of the comedy. [58], Although Falstaff has become a regular repertoire work there nonetheless remains a view expressed by John von Rhein in the Chicago Tribune in 1985: "Falstaff probably always will fall into the category of 'connoisseur's opera' rather than taking its place as a popular favorite on the order of La traviata or Aida."[59]. The composer did not speak English, but he owned and frequently re-read Shakespeare's plays in Italian translations by Carlo Rusconi and Giulio Carcano [it], which he kept by his bedside. (punctuation used here are as in the book). Paiement et envoi Protection des données Droit de rétractation CGV Collaborateurs À propos de Stretta Emplois chez Stretta Mentions légales Paramètres de confidentialit é. Login. [39] The Verdi scholar James Hepokoski considers that a definitive score of the opera is impossible, leaving companies and conductors to choose between a variety of options. [74] Milnes suggests that this shows "a wise old conservative's warning about the excesses of the verismo school of Italian opera" already on the rise by the 1890s. Votre adresse e-mail. The entire company repeats his proclamation in a bewildering ten-voice fugue. Another recurrent question is how much, if at all, Verdi was influenced by Wagner's comic opera Die Meistersinger. [35][n 7] Royalty, aristocracy, critics and leading figures from the arts all over Europe were present. A young, handsome fellow called Fenton is in love with Ford's daughter Nannetta, but Ford wants her to marry Dr. Caius, who is wealthy and respected. [44] On 4 February 1895 the work was first presented at the Metropolitan Opera, New York;[45] Mancinelli conducted and the cast included Maurel as Falstaff, Emma Eames as Alice, Zélie de Lussan as Nannetta and Sofia Scalchi as Mistress Quickly. The work was a lyrical comedy in three acts with a libretto by Arrigo Boito that was based on The Merry Wives of Windsor by William Shakespeare plus some material from King Henry IV. Riduzioni di Carlo Carignani. Services . [35], Over the next two months the work was given twenty-two performances in Milan and then taken by the original company, led by Maurel, to Genoa, Rome, Venice, Trieste, Vienna and, without Maurel, to Berlin. In the meantime Fenton and Nannetta hide behind the screen for another moment of privacy. Personen: SIR JOHN FALSTAFF. [72] Nevertheless, Verdi's new style was markedly different from that of his popular works of the 1850s and 1860s, and it seemed to some to have Wagnerian echoes. Ford draws Dr. Caius aside and privately proposes a separate plot to marry him to Nannetta: Nannetta will be disguised as Queen of the Fairies, Caius will wear a monk's costume, and Ford will join the two of them with a nuptial blessing. He and Mistress Quickly go inside the inn. List of singers taken from Budden, Vol 3, p. 416. 714–715, "Performance History", programme booklet, Royal Opera House, Covent Garden, 6 December 1999, p. 43, Solti, pp. "Falstaff and the Verdi canon", Walker, Malcolm. Falstaff. The act ends with an ensemble in which the women and the men separately plan revenge on Falstaff, the women gleefully anticipating an enjoyable prank, while the men angrily mutter dire threats. 1893. : … The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. Alice orders her servants to throw the laundry basket through the window into the River Thames, where Falstaff endures the jeers of the crowd. [55] A 1982 production by Ronald Eyre, more reflective and melancholy than usual, was staged in Los Angeles, London and Florence; Renato Bruson was Falstaff and Giulini conducted. [2] The singer Victor Maurel sent him a French libretto based on Shakespeare's The Taming of the Shrew. Mistress Quickly arrives and delivers another invitation to meet Alice. He wrote of "the large number of years" in his age, his health (which he admitted was still good) and his ability to complete the project: "if I were not to finish the music?" = 1 mark"--back cover. Caius finds that instead of Nannetta, his bride is the disguised Bardolfo, and Ford has unwittingly blessed the marriage of Fenton and Nannetta. Sign In; Register; Help; You have items in your cart. Vásárolja meg egy elismert boltban kedvező áron. Photo by Valter Ventura. Falstaff at first wants nothing to do with it, but she persuades him. [23], The writer Russ McDonald observes that a letter from Boito to Verdi touches on the musical techniques used in the opera – he wrote of how to portray the characters Nannetta and Fenton: "I can't quite explain it: I would like as one sprinkles sugar on a tart to sprinkle the whole comedy with that happy love without concentrating it at any one point."[24]. [79], Among the singers whose performances of the title role are on live or studio recordings, Italians include Renato Bruson, Tito Gobbi, Rolando Panerai, Ruggero Raimondi, Mariano Stabile, Giuseppe Taddei and Giuseppe Valdengo; Francophone singers include Gabriel Bacquier, Jean-Philippe Lafont and José van Dam; Germans include Walter Berry, Dietrich Fischer-Dieskau and Hans Hotter; and UK and US singers include Geraint Evans, Donald Gramm, Bryn Terfel, Leonard Warren and Willard White. … They were both taken ill there, and two months of work were lost. He said that the project could all be a waste of the younger man's time and distract Boito from completing his own new opera (which became Nerone). [1] His fellow composer Rossini commented that he admired Verdi greatly, but thought him incapable of writing a comedy. Verdi scored Falstaff for three flutes (third doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, four trombones, timpani, percussion (triangle, cymbals, bass drum), harp, and strings. Il a alors déjà écrit 27 opéras, dont un seul est une comédie : sa deuxième pièce, Un giorno di regno, représentée sans grand succès en 18401. Verdi accepted the need to trim Shakespeare's plot to keep the opera within an acceptable length. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. [3], For a comic subject Verdi considered Cervantes' Don Quixote and plays by Goldoni, Molière and Labiche, but found none of them wholly suitable. Libretto by Arrigo Boito, based on the plays The Merry Wives of Windsor and Henry IV by William Shakespeare Saturday, December 14, 2013, 1:00–3:50 pm New Production The production of Falstaff was made possible by generous gifts from the Betsy and Ed Cohen/ Areté Foundation Fund for New Productions & Revivals, and Harry and Misook Doolittle Additional funding was … By mid-April 1892 the scoring of the first act was complete and by June–July Verdi was considering potential singers for roles in Falstaff. Italian librettist, composer, poet and critic Arrigo Boito (1842–1918) was an important figure in late 19th-century Italian musical life. Restez connecté sur cet … INTRODUCTION: Main features of Boito's libretti - AMLETO: background. Who knows! For some of these he altered his manuscript, but for others musicologists have had to rely on the numerous full and piano scores put out by Ricordi. Alice notices that Nannetta is too unhappy and anxious to share their gleeful anticipation. Added title page in Italian; libretto in Italian and German on facing pages. [78], There are two early recordings of Falstaff's short arietta "Quand'ero paggio". Higgins, John. [57] and at the Metropolitan Opera in a revival of the Zeffirelli production, conducted by James Levine in 2006. Conductors of the generation after Toscanini to champion the work included Herbert von Karajan, Georg Solti and Leonard Bernstein. November 19, 2020: Biblio is open and shipping orders. Arrigo Boito was an Italian poet, journalist, novelist, librettist and composer, best known today for his libretti, especially those for Giuseppe Verdi's last two monumental operas Otello and Falstaff and his own opera Mefistofele. [13] Like Boito, Verdi loved and revered Shakespeare. They compare them, see that they are identical and, together with Mistress Quickly and Nannetta Ford, resolve to punish Falstaff. The work was first recorded in 1932 and has subsequently received many studio and live recordings. Átvételi pontok Csehország egész területén 30 napos visszatérítéssel! On 10 July 1889 he wrote again: Amen; so be it! Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession. [63] The score differs from much of Verdi's earlier work by having no overture: there are seven bars for the orchestra before the first voice (Dr Caius) enters. For now, let's not think of obstacles, of age, of illnesses! [26], The score is seen by the critic Richard Osborne as rich in self-parody, with sinister themes from Rigoletto and Un ballo in maschera transmuted into comedy. "Synopsis", programme booklet, Royal Opera House, Covent Garden, 6 December 1999, p. 43. The work premiered on 9 February 1893 at La Scala, Milan. Ladri ... ! Badly cramped and almost suffocating in the laundry hamper, Falstaff moans with discomfort while the men resume the search of the house. Singers closely associated with the title role have included Victor Maurel (the first Falstaff), Mariano Stabile, Giuseppe Valdengo, Tito Gobbi, Geraint Evans, Bryn Terfel and Ambrogio Maestri. [73], Verdi scholars including Julian Budden have analysed the music in symphonic terms – the opening section "a perfect little sonata movement", the second act concluding with a variant of the classic slow concertante ensemble leading to a fast stretto, and the whole opera ending with "the most academic of musical forms", a fugue. As musical director of La Scala (from 1898) and the Metropolitan Opera (from 1908), he programmed Falstaff from the start of his tenure. [2] A contemporary critic argued that the text "imitated with marvellous accuracy the metre and rhythm of Shakespeare's verse",[21] but Hepokoski notes Boito's use of traditional Italian metric conventions. [2] Many composers had set the play to music, with little success, among them Carl Ditters von Dittersdorf (1796), Antonio Salieri (1799), Michael William Balfe (1835) and Adolphe Adam (1856). [75] Among the solo numbers woven into the continuous score are Falstaff's "honour" monologue, which concludes the first scene, and his reminiscent arietta ("Quand'ero paggio") about himself as a young page. Vittorio Maurel -- FORD. Herring! [35] The performance was a huge success under the baton of Edoardo Mascheroni; numbers were encored, and at the end the applause for Verdi and the cast lasted an hour. Part III - Boito the librettis. It was conducted by Lorenzo Molajoli with the chorus and orchestra of La Scala, and a cast including Giacomo Rimini as Falstaff and Pia Tassinari as Alice. A contemporary critic summed it up: "'Is this our Verdi?' As it is, he is a hero. [69] In 1961 Peter Heyworth wrote in The Observer, "Because of Shakespeare we like to think of Falstaff as a work that has a certain Englishness. / "Honour! Ford has realized his error in suspecting his wife, and they and their allies have been watching secretly. Falstaff is a comic opera in three acts by the Italian composer Giuseppe Verdi. Falstaff loses his temper and rants at them, saying that "honour" is nothing but a word, with no meaning (Monologue: L'onore! Hän sävelsi … Falstaff : lyrische Komödie in drei Akten von Arrigo Boito ; Deutsch von Max Kalbeck ; Musik von Giuseppe Verdi. The Berlin premiere of 1893 so excited Ferruccio Busoni that he drafted a letter to Verdi, in which he addressed him as "Italy's leading composer" and "one of the noblest persons of our time", and in which he explained that "Falstaff provoked in me such a revolution of spirit that I can ... date [to the experience] the beginning of a new epoch in my artistic life. "[68], The extent to which Falstaff is a "Shakespearian" opera has often been debated by critics. / "Everything in the world is a jest ... but he laughs well who laughs the final laugh"). [22] They worked on the opera for a week, then Verdi and his wife Giuseppina Strepponi went to Genoa. Ford orders Fenton to leave. Commons Attribution 4.0 International License. Out of Giuseppe Verdi’s adoration for William Shakespeare three masterpieces were born : Macbeth, Otello and, as a musical testament, his only comedy Falstaff. So let's do Falstaff! 461–462; and Latham, Alison. At the time of the premiere this was a sensitive subject; many Italians were suspicious of or hostile to Wagner's music, and were protective in a nationalistic way of Verdi's reputation. they asked themselves. By 1889 Verdi had been an opera composer for more than fifty years. An early February date was mentioned along with the demand that the house would be available exclusively after 2 January 1893 and that, even after the dress rehearsal, he could withdraw the opera: "I will leave the theatre, and [Ricordi] will have to take the score away". The work premiered on 9 February 1893 at La Scala, Milan. Some editions of Shakespeare give the name as "Brainford". "Roll Up! Falstaff (Italian pronunciation: [ˈfalstaf]) is a comic opera in three acts by the Italian composer Giuseppe Verdi. The mono version is 416/3. "[65] In The New Grove Dictionary of Opera, Roger Parker writes that: the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. The Verdis, along with Boito and Giulio Ricordi, attended together with King Umberto I and other major royal and political figures of the day. Algernon St John-Brenon in. (Statement Of Responsibility). The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. Half-title--p. 1; legal notice dated 1893--p. 4-5; advertisements--p. [1]-[2] at end; printed price "Pr: netto 50 nkr. Paul Plishka is the lecherous, aging, fat knight Falstaff. [13] Yet, as his biographer Mary Jane Phillips-Matz notes, "Verdi could not hide his delight at the idea of writing another opera". In fact the opera is no more English than Aida is Egyptian. Verdi wrote Falstaff, which was the last of his 28 operas, as he was approaching the age of 80. [39] In a 2013 study Philip Gossett disagrees, believing that the autograph is essentially a reliable source, augmented by contemporary Ricordi editions for the few passages that Verdi omitted to amend in his own score. [n 1] Following the success of Otello in 1887 he commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little." Author of what are considered two of the greatest librettos ever written for the operatic stage, those for Giuseppe Verdi's "Otello" and "Falstaff". A fugue ... and a buffa fugue", which "could probably be fitted in".[18]. [40], The first performances outside the Kingdom of Italy were in Trieste and Vienna, in May 1893. [64] The critic Rodney Milnes comments that "enjoyment ... shines from every bar in its irresistible forward impulse, its effortless melody, its rhythmic vitality, and sureness of dramatic pace and construction. [n 9], Among revivals in the 1950s and later, Hepokoski singles out as particularly notable the Glyndebourne productions with Fernando Corena and later Geraint Evans in the title role; three different stagings by Franco Zeffirelli, for the Holland Festival (1956), Covent Garden (1961) and the Metropolitan Opera (1964); and Luchino Visconti's 1966 version in Vienna. [43] This translation, approved by Verdi, is quite free in its rendering of Boito's original Italian text. Verdi disagreed and said that he longed to write another light-hearted opera, but nobody would give him the chance. Retrouvez Falstaff: Libretto di scena con annotazioni et des millions de livres en stock sur Amazon.fr. The Characters. The two men met in October or November 1891,[29] after which the Verdis were in Genoa for the winter. Maurel's compliance stopped short of playing the title role in the original company's tour when it played in Germany. Giuseppe Verdi (2000) Paris : Opéra national de Paris , 2000. [72] In 1999 the critic Andrew Porter wrote, "That Falstaff was Verdi's and Boito's answer to Wagner's Meistersinger seems evident now. The behaviour of the ageing Sir John Falstaff, a devious … Boito was content to delegate the English and German translations to William Beatty-Kingston and Max Kalbeck respectively. Nannetta enters to finish the line with "Indeed, they renew it, like the moon." [56] Among more recent players of the title role Bryn Terfel has taken the part at Covent Garden in 1999, in a production by Graham Vick, conducted by Bernard Haitink. 79 and 191; and Hepokoski, p. 134. 176–177, Notes to Naxos Historical CD 8.110198–99 (2002), "Some Thoughts on the Use of Autograph Manuscripts in Editing the Works of Verdi and Puccini", "To be Given at a Special Saturday Night Performance at the Metropolitan", International Music Score Library Project, Victor Maurel's 1907 recording of "Quand'ero paggio", Orchestra Sinfonica di Milano Giuseppe Verdi, https://en.wikipedia.org/w/index.php?title=Falstaff_(opera)&oldid=996992073, Operas based on The Merry Wives of Windsor, Pages containing links to subscription-only content, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. In Britain, as in continental Europe and the US, the work fell out of the repertoire. He looks round and sees every one laughing at him. Bardolfo and Pistola, now in the pay of Ford, enter and beg Falstaff to allow them to re-enter his service, secretly planning to spy on him for Ford. As he observed at the time, he was not working on a commission from a particular opera house, as he had in the past, but was composing for his own pleasure: "in writing Falstaff, I haven't thought about either theatres or singers". "[47] Aldrich added that though the general public might have had difficulty with the work, "to connoisseurs it was an unending delight".[47]. [8] He trimmed the plot, halved the number of characters in the play,[n 2] and gave the character of Falstaff more depth by incorporating dozens of passages from Henry IV. [7], Boito was doubly pleased with The Merry Wives as a plot. Social. Falstaff and his servants, Bardolfo and Pistola, are drinking at the inn. Benissimo! 24) (Italian Edition) eBook: Verdi, Giuseppe, Boito, Arrigo: Amazon.fr Part II - Boito the critic Boito's ideas on music reform - Wagner's ideas on the subject. 700–701, Verdi to Boito, 18 August 1889, in Phillips-Matz, p. 702, Shakespeare and Alexander, Act IV, scene ii, Boito to Verdi, 30 October 1889, in Phillips-Matz, p. 703, Verdi to Maria Waldmann, 6 December 1890, in Philips-Matz, p. 707: Waldmann was a young singer with whom Verdi corresponded, Verdi to Boito, 12 June 1891, in Philips-Matz, p. 709, Verdi to Ricordi, 18 September 1892, in Phillips-Matz, pp. Libretto di Arrigo Boito, dalla commedia "The merry Wives of Windsor" e dal dramma "The History of Henry the Fourth" di William Shakespeare. "Son io," he exclaims with a triumphant inspiration, "che vi fa scaltri. Ford resolves to disguise himself and visit Falstaff and set a trap for him. He is best known today for his librettos for Verdi’s Otello and Falstaff and Ponchielli’s La Gioconda, and his own opera Mefistofele. [75] She then has the last substantial solo section of the score, the "fairy" aria, "Sul fil d'un soffio etesio", described by Parker as "yet another aria suffused with the soft orchestral colours that characterize this scene". Canto e pianoforte. "[42] Antonio Scotti played the title role in Buenos Aires in July 1893; Gustav Mahler conducted the opera in Hamburg in January 1894; a Russian translation was presented in St Petersburg in the same month. In "Otello", based on "Othello", Boito omitted the scenes with Brabantio (Desdemona's father), but … The three women plot their strategy ("Gaie Comari di Windsor" / "Merry wives of Windsor, the time has come!"). [50], When Karajan was in a position to do so he added Falstaff to the repertoire of his opera company at Aachen in 1941,[50] and he remained a proponent of the work for the rest of his career, presenting it frequently in Vienna, Salzburg and elsewhere, and making audio and video recordings of it. Sir Thomas Beecham revived it in 1919, and recalling in his memoirs that the public had stayed away he commented: I have often been asked why I think Falstaff is not more of a box-office attraction, and I do not think the answer is far to seek. Analysis of the libretto in relation to.

La Chiamata Di Matteo, Foglie Salice Piangente, Metafora Irti Colli, Meteo Luglio Ortisei, Sottomarino Più Grande E Lussuoso, Ispettore Barnaby - Stagione 1, Santo Messa Gen, Guidoriccio Da Fogliano Simone Martini, Laboratori Per Bambini Perugia, Brunori Sas - Guardia '82, Marzia Roncacci Segno Zodiacale,

Lascia un commento

Il tuo indirizzo email non sarà pubblicato. I campi obbligatori sono contrassegnati *

Questo sito usa Akismet per ridurre lo spam. Scopri come i tuoi dati vengono elaborati.