Falstaff: When Verdi Found His Inner Comedian
Monday, July 02, 2012
"I don’t think Verdi had much of a sense of humor," F. Paul Driscoll, editor in chief of Opera News tells us. "His life was marked by tragedy early on." His two children died in infancy and his first wife whom he loved deeply died shortly after at the young age of 26. "He was a very, very serious man."
And yet, at the time of his wife’s death, Verdi was writing his second opera, Un giorno di regno, which happened to be a comedy about a man who is "King for a Day." Not surprisingly, the premiere was a failure, and Verdi didn’t try his hand at comedy again until the end of his career – after 23 more operas and at the age of 80 – with Falstaff.
Falstaff is based on Shakespeare’s "The Merry Wives of Windsor" which was written – they say – at the behest of Elizabeth I who loved the character of Plump Jack or the Fat Knight in Shakespeare’s Henry IV and wanted more. The librettist Arrigo Boito adapted the play for Verdi to set to music. And though The Merry Wives of Windsor comes very close to being a situation comedy, Driscoll makes it clear that Falstaff is not a sitcom.
"Falstaff gives you these wonderful moments that expand on what Shakespeare had set forth and it makes it a bigger work,” he said. It’s often described as “an autumnal comedy... with a certain warmth and color that has the flavor of Verdi’s age and reflects the fact that he’s at a place where he’s perhaps not happy, but a little bit more content."
F. Paul Driscoll on why conductors love Falstaff
Falstaff was Verdi’s last opera and one of his greatest. His gifts as a “supreme melodist” and as a composer who is able to “capture within a few phrases the essence of a man or woman’s soul” are in full force in the piece. And in "Falstaff the man," Driscoll explains Verdi creates a character who is “absolutely irresistible – a rascal and a thief whom you’d love to spend time with. Whether you’re sitting down having a drink together or listening to him sing for a couple of hours, he’s a delightful companion.”
F. Paul Driscoll on the director’s challenge in staging Falstaff
Driscoll calls Falstaff’s final fugue “the most joyous piece of music that Verdi ever wrote.” And though he feels sure that Verdi could have written more opera over the course of his final eight years, he thinks that Verdi “wanted to go out on a high... and that’s what he did!”
F. Paul Driscoll on Falstaff
FALSTAFF: The Plot
by Giuseppe Verdi
Falstaff is based on Shakespeare's fictional character Sir John Falstaff, a fat, conniving old drunk who lies and cheats with captivating charisma and a contagious zest for life
F. Paul Driscoll on baritone Bryn Terfel as Falstaff
Watch: Bryn Terfel as Sir John Falstaff sings the Honor aria at the 2008 BBC Proms:
As the opera begins, Falstaff – ever short of cash – has devised a plan to woo two wealthy women (both of whom are married) at the same time. The ladies quickly uncover his plan and create one of their own.
One of the women, Alice Ford, enlists her husband, her daughter and several friends to help avenge the family honor. Falstaff is lured into their trap and summarily dumped into the River Thames.
But the portly knight doesn’t give up so easily.
Warned of evil spirits in Windsor Park, he accepts an intriguing invitation from Alice to join in a midnight masquerade. Dressed as creatures of the forest Alice’s cast of friends torment Falstaff until he begs for mercy.
When they finally unmask, Falstaff laughs and admits that he deserved the punishment saying life is a charade and that he who laughs last, laughs best!
F. Paul Driscoll on Tito Gobbi and Elizabeth Schwarzkopf in Falstaff