Falstaff (Salieri): Difference between revisions
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{{Salieri operas}}'''''Falstaff, ossia Le tre burle''''' (''Falstaff, or The Three Jokes'') is a ''[[dramma giocoso]]'' in two acts by [[Antonio Salieri]], set to a [[libretto]] by [[Carlo Prospero Defranceschi]] after [[William Shakespeare]]'s [[The Merry Wives of Windsor]]. |
{{Salieri operas}}'''''Falstaff, ossia Le tre burle''''' (''Falstaff, or The Three Jokes'') is a ''[[dramma giocoso]]'' in two acts by [[Antonio Salieri]], set to a [[libretto]] by [[Carlo Prospero Defranceschi]] after [[William Shakespeare]]'s [[The Merry Wives of Windsor]]. |
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One of the earliest operatic versions of Shakespeare's play, Salieri's Falstaff is notable for a general compression and |
One of the earliest operatic versions of Shakespeare's play, Salieri's Falstaff is notable for a general compression and streamlining of the original plot, note the absence of the two young lovers, Fenton and Anne, and the addition of a scene in which Mistress Ford pretends to be German to charm Falstaff (actually two such scenes exist, one in a separate score by Salieri was probably omitted from the original Viennese productions). Defranceschi moves the plot and structure away from Elizabethan drama and closer to the standard conventions of late 18th century opera buffa. |
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The architecture of the piece is designed to keep the action flowing, utilising dozens of arias bridged by brisque recitative, and contained |
The architecture of the piece is designed to keep the action flowing, utilising dozens of arias bridged by brisque recitative, and contained ensembles, leading towards grand finales and keeping the pace from flagging during the opera's three-hour span.<ref name="rg">Rough Guide to Opera, 4th ed., Boyden. ISBN 978-1-84353-538-6</ref> Highlights include the Sinfonia (overture) in the style of contra-dances. <ref name = "b"> http://www.bamptonopera.org/repertory/salierifalstaffdetail.htm</ref> The entire opera shows the influence of Mozart's ''La Nozze di Figaro'', which was being favorable revived during this time period. Among the musical highlights, besides the aforementioned sinfonia are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counter-point; traits that have helped return Falstaff to the playing boards. |
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[[Beethoven]] used the duet ''La stessa, La stessissima'' for a series of variations, WoO 73.<ref name="ng">Rice, John A.: ''Falstaff'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref> |
[[Beethoven]] used the duet ''La stessa, La stessissima'' for a series of variations, WoO 73.<ref name="ng">Rice, John A.: ''Falstaff'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref> |
Revision as of 06:20, 12 February 2010
Template:Salieri operasFalstaff, ossia Le tre burle (Falstaff, or The Three Jokes) is a dramma giocoso in two acts by Antonio Salieri, set to a libretto by Carlo Prospero Defranceschi after William Shakespeare's The Merry Wives of Windsor.
One of the earliest operatic versions of Shakespeare's play, Salieri's Falstaff is notable for a general compression and streamlining of the original plot, note the absence of the two young lovers, Fenton and Anne, and the addition of a scene in which Mistress Ford pretends to be German to charm Falstaff (actually two such scenes exist, one in a separate score by Salieri was probably omitted from the original Viennese productions). Defranceschi moves the plot and structure away from Elizabethan drama and closer to the standard conventions of late 18th century opera buffa.
The architecture of the piece is designed to keep the action flowing, utilising dozens of arias bridged by brisque recitative, and contained ensembles, leading towards grand finales and keeping the pace from flagging during the opera's three-hour span.[1] Highlights include the Sinfonia (overture) in the style of contra-dances. [2] The entire opera shows the influence of Mozart's La Nozze di Figaro, which was being favorable revived during this time period. Among the musical highlights, besides the aforementioned sinfonia are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counter-point; traits that have helped return Falstaff to the playing boards.
Beethoven used the duet La stessa, La stessissima for a series of variations, WoO 73.[3]
Performance history
It was first performed at the Kärntnertortheater in Vienna on the 3 January 1799. Twenty-six performances were given between then and 1802.
Roles
Cast | Voice type | Premiere, January 3, 1799 (Conductor: - ) |
---|---|---|
Sir John Falstaff | bass | Carlo Angrisani |
Master Ford | tenor | Giuseppe Simoni |
Mistress Ford | soprano | Irene Tomeoni |
Master Slender | baritone | Ignaz Saal |
Mistress Slender | soprano | Milloch |
Bardolf, Falstaff's servant | baritone | Gaetano Lotti |
Betty, Mistress Ford's maid | soprano | Marianne Gaßmann |
Discography
- Romano Franceschetto, Fernando Luis Ciuffo, Filippo Bettoschi, Milan Madrigalists, Chiara Chialli, et al. Alberto Veronesi cond, Guido Cantelli Orchestra Milan. 2 CDs, DDD, Chandos, 17 March 1998
- Simon Edwards, Salomé Haller, Liliana Faraon, Raimonds Spogis, Hjördis Thébault, et al. Jean-Claude Malgoire cond., La Grande Écurie et la Chambre du Roy, Chantres de la Chapelle de Versailles. 2 CDs, DDD, Dynamic, 3 March 2003
- József Gregor, Mária Zempléni, Dénes Gulyás, Istvan Gáti, Eva Pánczél, et al. Tamás Pál cond., Salieri Chamber Orchestra, Salieri Chamber Chorus. 3 CDs, DDD, Hungaroton, 27 September 2003
- John Del Carlo, Teresa Ringholz, Richard Croft, Delores Ziegler, Jake Gardner, et al. Claus Viller, Agnes Meth dir., Arnold Östmann cond., Radio Symphony Orchestra Stuttgart. DVD, 120 mins, Arthaus Musik, 31 July 2000
References
- ^ Rough Guide to Opera, 4th ed., Boyden. ISBN 978-1-84353-538-6
- ^ http://www.bamptonopera.org/repertory/salierifalstaffdetail.htm
- ^ Rice, John A.: Falstaff in 'The New Grove Dictionary of Opera', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7