{"id":28382,"date":"2024-06-07T11:40:41","date_gmt":"2024-06-07T09:40:41","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/?post_type=show&p=28382"},"modified":"2025-04-05T08:39:54","modified_gmt":"2025-04-05T06:39:54","slug":"falstaff","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/falstaff\/","title":{"rendered":"Falstaff"},"content":{"rendered":"\n
<\/div>\n\n

Lyric comedy in three acts by Giuseppe Verdi<\/strong>, libretto by Arrigo Boito from the play The Merry Wives of Windsor<\/em> and the play The History of Henry the Fourth<\/em> by William Shakespeare<\/p>\n\n

Produced by Fondazione Teatro Carlo Felice di Genova<\/strong><\/p>\n\n

<\/div>\n\n

Characters and interpreters:<\/em><\/p>\n\n

Sir John Falstaff<\/em>Ambrogio Maestri<\/strong><\/p>\n\n

Ford<\/em>Ernesto Petti<\/strong><\/p>\n\n

Fenton<\/em>Galeano Salas<\/strong><\/p>\n\n

Dottor Caius<\/em>Blagoj Nacoski<\/strong><\/p>\n\n

Bardolfo<\/em>Oronzo D’Urso<\/strong><\/p>\n\n

Pistola<\/em>Luciano Leoni<\/strong><\/p>\n\n

Alice Ford<\/em>Erika Grimaldi<\/strong><\/p>\n\n

Nannetta<\/em>Caterina Sala<\/strong><\/p>\n\n

Mrs. Quickly<\/em>Sara Mingardo<\/strong><\/p>\n\n

Mrs. Meg Page<\/em>Paola Gardina<\/strong><\/p>\n\n

<\/div>\n\n

Concertmaster and conductorJordi Bern\u00e0cer<\/strong><\/p>\n\n

DirectorDamiano Michieletto<\/strong><\/p>\n\n

taken fromAndrea Bernard<\/strong><\/p>\n\n

ScenesPaolo Fantin<\/strong><\/p>\n\n

CostumesCarla Teti<\/strong><\/p>\n\n

LightingAlessandro Carletti<\/strong><\/p>\n\n

Videorocafilm Filmproduktion<\/strong><\/p>\n\n

Orchestra, Chorus and Technicians of the Opera Carlo Felice Genova<\/strong>Choirmaster Claudio Marino Moretti<\/strong>Ballet Fondazione Formazione Danza e Spettacolo \u2018For Dance\u2019 ETS<\/strong><\/p>\n\n

<\/div>\n\n

Stage DirectorLuciano Novelli<\/strong><\/p>\n\n

Stage musical director<\/p>\n\n

Simone Ori<\/strong><\/p>\n\n

Maitre d\u2019sSirio Restani<\/strong>, Antonella Poli<\/strong>, Silvia Gasperini<\/strong><\/p>\n\n

Stage MastersAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterLuca Salin<\/strong><\/p>\n\n

Master of supertitlesSimone Giusto<\/strong><\/p>\n\n

Music archive managerSimone Brizio<\/strong><\/p>\n\n

Stage directorAlessandro Pastorino<\/strong><\/p>\n\n

Console Handling ManagerAndrea Musenich<\/strong><\/p>\n\n

Engineer foremanGianni Cois<\/strong><\/p>\n\n

Foreman electricians\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Head of audio\/video departmentWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Scenes assistantGianluca Cataldo<\/strong><\/p>\n\n

Costume assistantGiulia Giannini<\/strong><\/p>\n\n

Light designer assistantLudovico Gobbi<\/strong><\/p>\n\n

Scenes and propsFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

CostumesTeatro alla Scala<\/strong><\/p>\n\n

FootwearC. T. C. Pedrazzoli<\/strong><\/p>\n\n

WigsAudello Teatro<\/strong><\/p>\n\n

Special effectFlavio Guerini<\/strong><\/p>\n\n

Supertitles byFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/p>\n\n

When Giuseppe Verdi began working on his last opera, Falstaff<\/em>, he was seventy-seven years old and had written twenty-six musical theatre works (thirty-two if you consider the different versions of some of them). The last of these was the lyric drama Othello<\/em>, first performed in 1887 and created together with the librettist Arrigo Boito. The special harmony with Boito was a new experience for Verdi; he had rarely experienced such affinity with his librettists, so much so that the two of them started work on Falstaff<\/em> shortly afterwards. Boito adapted William Shakespeare’s comedy The Merry Wives of Windsor<\/em> (Le allegre comari di Wiondsor)<\/em> and the drama The History of Henry the Fourth<\/em> (Henry IV<\/em>) into a single libretto. The combination of the two plays was one of the key elements for the psychological development of the protagonist, for whom Boito drew some traits from Henry IV<\/em>, adding depth and facets to the lighter plot of The Merry Wives of Windsor<\/em>. Verdi was so satisfied with the first reading of the libretto that he didn’t want to make any changes. Perhaps also because of the trust he placed in Boito, the composer was about to tackle a comic work for the first time after his youthful opera buffa Un giorno di regno<\/em>, composed in 1840 and received lukewarmly by the public. The first performance of Falstaff<\/em> was held at the Teatro alla Scala on 9 February 1893. The audience included the most famous composers and artists of the time, and an exceptional cast performed on stage. Falstaff<\/em> was an immediate success.The plot centres on the elderly protagonist, Sir John Falstaff, a funny but complex character, equally clever, ironic, melancholic and cynical, the dramatic fulcrum of the entire story. The group of women consists of Alice and Meg, the women that Falstaff tries to seduce with the intention of obtaining their husbands’ money, and his accomplices Mrs Quickly and Alice’s daughter Nannetta, who join forces with the aim of unmasking Falstaff. The men’s group acts as a counterpoint, made up of Ford \u2013 Alice’s husband, first jealous and then complicit in the prank \u2013 his friend Cajus, and Falstaff’s former followers Pistola and Bardolfo, determined to take revenge on the old knight. In the background, the love story between the young Nannetta and Fenton unfolds, whose sincere and spontaneous dimension is in a certain sense a tribute to the \u2018canon\u2019 of the tenor and soprano in love but unable to live their love openly, typical of comic opera. Each of the three acts is divided into two parts. In the first two acts, the drama adheres completely to a principle of realism that is also typical of the genre, while in the third act, thanks to a game of ghostly disguises and the nocturnal setting, a surprising fairytale element is introduced. The realism of the comedy remains a key point of the dramaturgy of the opera, which in this sense is not only an exploration of the comic genre but a true reinterpretation of the genre in a contemporary key, with attention to verisimilitude and psychological depth.One of the elements that most surprised and continues to surprise in this last title is the stylistic innovation implemented by Verdi, who has always been a protagonist of the developments of 19th century opera in Italy and even at the end of his career was still searching for new expressive languages on all possible levels. As mentioned, the genre itself is a novelty, that of the lyric comedy. Structurally, the succession of more or less closed numbers is completely absent, the musical discourse is continuous from beginning to end, and this continuity is guaranteed by the use of a new musical style. In the vocal lines, moments of greater melodism alternate with more declamatory passages, and it is also thanks to the skilful orchestral blend and the pressing and sustained rhythm that no interruption is perceived. It is certain that on the one hand Falstaff<\/em> was the crowning glory of Verdi’s artistic career and of the history of 19th-century Italian opera, and on the other hand it was one of the first experiments in musical theatre that was truly free from the models of melodrama as it had been understood until then, and a valuable point of reference for young contemporary opera composers who would from then on develop a new way of understanding opera. <\/p>\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Jordi Bern\u00e0cer directs Verdi\u2019s opera comedy, directed by Damiano Michieletto<\/p>\n","protected":false},"featured_media":27864,"template":"","discipline":[202],"season":[460],"tag_spettacoli":[525,526,487,524,532,529,271,528,531,527,130,696,530,154,158,534,523,533,40],"class_list":["post-28382","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-alessandro-carletti","tag_spettacoli-ambrogio-maestri","tag_spettacoli-blagoj-nacoski","tag_spettacoli-carla-teti","tag_spettacoli-caterina-sala","tag_spettacoli-cristiano-olivieri","tag_spettacoli-damiano-michieletto","tag_spettacoli-dave-monaco","tag_spettacoli-erika-grimaldi","tag_spettacoli-ernesto-petti","tag_spettacoli-giuseppe-verdi","tag_spettacoli-jordi-bernacer","tag_spettacoli-luciano-leoni","tag_spettacoli-opera-carlo-felice-genova","tag_spettacoli-orchestra-dellopera-carlo-felice-genova","tag_spettacoli-paola-gardina","tag_spettacoli-paolo-fantin","tag_spettacoli-sara-mingardo","tag_spettacoli-teatro-carlo-felice"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/28382","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/28382\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/27864"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=28382"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=28382"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=28382"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=28382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}