Name: Falstaff
Start: 2022-07-03T00:00:00.000Z
End: 2022-07-10T00:00:00.000Z
Location: Opernhaus

Organization

Singer

Baritone

Bryn Terfel

Sir John Falstaff

Konstantin Shushakov

Ford

Soprano

Irina Lungu

Mrs. Alice Ford

Sandra Hamaoui

Nannette

Contralto

Marianna Pizzolato

Mrs. Quickly

Tenor

Cyrille Dubois

Fenton

Iain Milne

Doctor Caius

Nathan Haller

Bardolph

Bass

Brent Michael Smith

Pistol

Stage director

Sven-Eric Bechtolf

Conductor

Gianandrea Noseda

Lighting designer

Jürgen Hoffmann

Costume designer

Marianne Glittenberg

Set designer

Rolf Glittenberg

Chorus master

Janko Kastelic

Mezzo-soprano

Niamh O'Sullivan

Mrs. Meg Page

Opernhaus Zürich

Others

Chor der Oper Zürich

Orchestra

Philharmonia Zürich

Statistenverein am Opernhaus Zürich

italiană

Falstaff

Zurich

Switzerland

Opernhaus

Falstaff Verdi

Public

germană

engleză

Approved

With the support of Hortense Anda-Bührle and the Friends of the Zurich Opera Conductor - Daniele Gatti Staging - Sven-Eric Bechtolf Stage Design - Rolf Glittenberg Costumes - Marianne Glittenberg Lighting Design - Jürgen Hoffmann Choir Mastering - Ernst Raffelsberger Orchester - Orchestra of the Zurich Opera Choir - Choir of the Opera Zurich With Barbara Frittoli (Alice Ford), Eva Liebau (Nannetta), Yvonne Naef (Mistress Quickly), Judith Schmid (Meg Page); Ambrogio Maestri (Sir John Falstaff), Massimo Cavalletti (Ford), Javier Camarena (Fenton), Patrizio Saudelli (Dr. Cajus), Martin Zysset (Bardolfo), Davide Fersini (Pistola) at the center of Giuseppe Verdi's late work, with which he himself turned towards musical comedy, stand the love chapades of the aging knight Sir John Falstaff, of which Verdi writes almost as if about a friend: “The pain in the stomach is on the way that leads to madness. There are days when he doesn't move, sleeps, or is in a bad mood; at other times he screams, runs and jumps like the devil in person ... I'll let him cool his cap a bit, but if he goes on like this I'll muzzle and straitjacket him. " Falstaff's slightly resigned conclusion that everything in the world is just fun (“Tutto nel mondo è burla”) has often been interpreted as a kind of legacy from Verdi, who once again pulled out all the stops of his ingenious skills in his last stage work. And for once when he was composing - as Verdi writes to Ricordi - "neither thought of theater nor of singers. I wrote it for my pleasure and for myself, and I think it should be performed in S. Agata instead of in Scala ». The work with which Verdi initiated a renaissance of musical comedy at the turn of the 20th century is particularly important to chief conductor Daniele Gatti and opens the series of new productions he has directed at our company. Director Sven-Eric Bechtolf, who has already brought the tragic counterpart to the “Falstaff” to our stage with Verdi's “Otello”, is responsible for the scenic implementation. Ambrogio Maestri designed the title role, Barbara Frittoli, Yvonne Naef and Judith Schmid put a stop to his activities as "Women of Windsor" and at the same time put the jealous Ford, sung by Massimo Cavalletti, in his place. With which Verdi initiated a renaissance of musical comedy at the turn of the 20th century, chief conductor Daniele Gatti is particularly close to the heart and opens the series of new productions he has directed at our house. Director Sven-Eric Bechtolf, who has already brought the tragic counterpart to the “Falstaff” to our stage with Verdi's “Otello”, is responsible for the scenic implementation. Ambrogio Maestri designed the title role, Barbara Frittoli, Yvonne Naef and Judith Schmid put a stop to his activities as "Women of Windsor" and at the same time put the jealous Ford, sung by Massimo Cavalletti, in his place. With which Verdi initiated a renaissance of musical comedy at the turn of the 20th century, chief conductor Daniele Gatti is particularly close to the heart and opens the series of new productions he has directed at our house. Director Sven-Eric Bechtolf, who has already brought the tragic counterpart to the “Falstaff” to our stage with Verdi's “Otello”, is responsible for the scenic implementation. Ambrogio Maestri designed the title role, Barbara Frittoli, Yvonne Naef and Judith Schmid put a stop to his activities as "Women of Windsor" and at the same time put the jealous Ford, sung by Massimo Cavalletti, in his place. chief conductor Daniele Gatti is particularly dear to the heart and opens the series of new productions he has directed at our house. Director Sven-Eric Bechtolf, who has already brought the tragic counterpart to the “Falstaff” to our stage with Verdi's “Otello”, is responsible for the scenic implementation. Ambrogio Maestri designed the title role, Barbara Frittoli, Yvonne Naef and Judith Schmid put a stop to his activities as "Women of Windsor" and at the same time put the jealous Ford, sung by Massimo Cavalletti, in his place. chief conductor Daniele Gatti is particularly dear to the heart and opens the series of new productions he has directed at our house. Director Sven-Eric Bechtolf, who has already brought the tragic counterpart to the “Falstaff” to our stage with Verdi's “Otello”, is responsible for the scenic implementation. Ambrogio Maestri designed the title role, Barbara Frittoli, Yvonne Naef and Judith Schmid put a stop to his activities as "Women of Windsor" and at the same time put the jealous Ford, sung by Massimo Cavalletti, in his place

.

«Hamsterbacke!», «Eingebildeter Fettwanst!», «Gefrässiger Wal!», lauten nur einige der schmeichelhaften Zuschreibungen der lustigen Weiber von Windsor für Sir John Falstaff, die beleibte Titelfigur von Giuseppe Verdis letzter Oper. Der verarmte Cavaliere ist, um seinen enormen Lebenshunger zu stillen, auf den Geldbeutel reicher Bürgersleute angewiesen und schreibt schon mal zwei identische Liebesbriefe, um an sein Ziel zu gelangen; Falstaff kennt keinerlei Verantwortungsgefühl, untergräbt permanent moralische Werte und wird doch für seine Ur-Lebenskraft von allen geliebt. Selbst der brutale Korbsturz in die Themse, den er als Rache von Alice und Meg für die Liebesbriefe über sich ergehen lassen muss, lässt ihn nur kurz an der Welt verzweifeln: Ein Glas Glühwein schafft Abhilfe und lässt die Welt gleich in einem neuen Licht erstrahlen. «Alles auf der Welt ist Spass und der Mensch ein Narr», lautet sein letzter Kommentar und ist somit auch das überraschende Fazit des fast 80-jährigen Giuseppe Verdi, der nach seinem überwiegend tragischen Œuvre und seinem dem Falstaff vorangegangenen Eifersuchtsdrama Otello die Opernbühne mit einem Lachen verlässt. Schwungvoll, jugendlich und voller Überraschungen ist seine Partitur und ein Vermächtnis tiefster Humanität.

Mit dem walisischen Weltstar Bryn Terfel steht am Opernhaus Zürich einmal mehr der Falstaff der Gegenwart auf der Bühne. Verdis Oper ist jedoch auch eine Ensembleoper, in der alle Stimmen kunstvoll ineinander verwoben sind: Irina Lungu als Alice führt die Weiber von Windsor an, Ensemblemitglied Konstantin Shushakov als ihr eifersüchtiger Ehemann Ford die männlichen Protagonisten. Generalmusikdirektor Gianandrea Noseda leitet die Philharmonia Zürich.

Deutsch

"Hamster's cheek!", "Imaginary fat man!", "Gourmous whale!" are just a few of the flattering attributions made by the merry wives of Windsor to Sir John Falstaff, the obese title character of Giuseppe Verdi's last opera. The impoverished Cavaliere is dependent on the wallets of rich citizens to satisfy his enormous thirst for life and sometimes writes two identical love letters in order to reach his goal; Falstaff knows no sense of responsibility, constantly undermines moral values ​​and yet is loved by everyone for his primal vitality. Even the brutal basket fall into the Thames, which he has to endure as revenge from Alice and Meg for the love letters, only lets him despair of the world for a moment: A glass of mulled wine helps and lets the world shine in a new light.Falstaff 's previous jealousy drama Otello leaves the opera stage with a laugh. His score is lively, youthful and full of surprises and a legacy of the deepest humanity.

With the Welsh world star Bryn Terfel, contemporary Falstaff is once again on stage at the Zurich Opera House. However, Verdi's opera is also an ensemble opera in which all the voices are artfully interwoven: Irina Lungu as Alice leads the women of Windsor, ensemble member Konstantin Shushakov as her jealous husband Ford the male protagonists. General Music Director Gianandrea Noseda directs the Philharmonia Zürich.

English

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