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Teatro Regio, Sunday 7 October 2007 - Wednesday 24 October 2007
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Falstaff. «Questa mia vecchia carne...»
by Luca Fontana
«On the subject of Falstaff one would want to keep silent out of consideration. The most appreciated by the critics, if not the public, the most analyzed from the start, but also the most diaphanous and delicate of Verdi’s operas, in whose subtle and intricate complexity Sir Donald Francis Tovey saw “a Chinese technical ability”».
by Franco Marenco
Among the great Shakespearian characters, Sir John Falstaff is the one with the most uneven record of service: he appears in a good four dramas written by Shakespeare towards the end of the sixteenth century, makes his debut in the history genre as the embodiment of cowardliness, evolves into a model of farcical humour, becomes the darling of popular audiences, falls into disfavor and arouses our pity.
by Elisabetta Fava
Giuseppe Verdi was born into a lower middle class family in 1813, whose reasonable economic conditions came from the good management of a modest inn in the tiny native village, the hamlet of Roncole di Busseto, where the organist was also priest, teacher and factotum of the local culture.
Return from the past
by Valeria Pregliasco and Giorgio Rampone
Judging from the exceptional amount of space the newspapers reserved for it, it seems clear that in terms of the international interest and expectation the debut of Falstaff was the last great event in nineteenth-century musical theatre.
Books, recordings and the web
by Marco Emanuele
A comprehensive and closer look at Verdi’s last creative period is found in the book by Fabrizio Della Seta, Italia e Francia nell’Ottocento: The main theme of Falstaff is revealed in the physical and inner decay caused by old age and vice […] even though Verdi shies away from the satisfaction of the sufferance typical of decadent sensitivity.
(L'argomento,L'Argument, Die Handlung)
The structure of the opera and the instrumental layout
by Enrico M.Ferrando
[…] in Falstaff the forms of the melodramatic tradition are by now entirely transcended, while a very strong sense of architectural balance seems evident to us, even at a first, superficial listening: divided into three acts, each act is in turn subdivided into two scenes, always framed by an opening moment […] and by an element of farewell…