Name: Falstaff
Start: 2024-02-28T00:00:00.000Z
End: 2024-03-09T00:00:00.000Z
Location: Théâtre Royal de Liège

Organization

Conductor

Giampaolo Bisanti

Stage director

Jacopo Spirei

Set designer

Nikolaus Webern

Costume designer

Silvia Aymonino

Lighting designer

Fiammetta Baldiserri

Singer

Baritone

Pietro Spagnoli

Sir John Falstaff

Soprano

Carolina López Moreno

Mrs. Alice Ford

Contralto

Marianna Pizzolato

Mrs. Quickly

Mezzo-soprano

Marie-Andrée Bouchard-Lesieur

Mrs. Meg Page

Simone Piazzola

Ford

Francesca Benitez

Nannette

Tenor

Giulio Pelligra

Fenton

Bass

Patrick Bolleire

Pistol

Pierre Derhet

Bardolph

Alexander Marev

Doctor Caius

Orchestra

Royal Opera of Wallonia Orchestra

Others

Choeur de l'Opéra Royal de Wallonie-Liège

Opéra Royal de Wallonie - Liège

Assistant Stage Director

Carmine De Amicis

Iodáilis

Falstaff

Liège

Belgium

Théâtre Royal de Liège

Falstaff Verdi

Public

Fraincis

Béarla

Ollainnis

Gearmáinis

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

COMÉDIE
FARCE
DOUX-AMER
SHAKESPEARE
Livret d’Arrigo Boito
Pour l’aider à payer ses dettes à l’auberge de la Jarretière, le Chevalier Falstaff cherche à séduire deux femmes riches en même temps, Alice Ford et Meg Page. Ces dernières désirant le punir et lui donner une bonne leçon, lui tendent un piège dans lequel le gras séducteur s’empresse de tomber…

Nous sommes en 1893 lorsque les premiers auditeurs découvrent avec plaisir, mais étonnement, ce qui sera le dernier coup de théâtre de leur compositeur fétiche : une comédie ! Si Verdi se décide à reprendre la plume après Otello, c’est grâce à son librettiste de choix Arrigo Boito. Ce dernier, dans une abondante correspondance avec le compositeur, parvient à lui faire passer l’idée d’un dernier coup de maître orienté vers la comédie, inspiré des Joyeuses commères de Windsor de Shakespeare… Et Boito d’ajouter que le « seul moyen de terminer votre carrière encore mieux qu’avec Otello, c’est de faire Falstaff ».

Falstaff aurait pu être un opéra de plus, mais il n’en est rien. Verdi avait mal digéré l’échec de sa seule tentative en matière de comédie, Un Giorno di Regno, en 1840. Il fallait une revanche, d’autant plus que Falstaff se prêtait bien aux scènes amusantes. Puis, Verdi avait toujours été attiré par l’œuvre intemporelle de Shakespeare et si le projet d’un Roi Lear n’avait jamais abouti, il avait déjà bien réussi Macbeth en 1847. Mais, surtout, il avait créé avec Otello l’un des chefs-d’œuvre les plus aboutis de toute l’histoire de l’opéra. Il en était suffisamment conscient pour considérer Shakespeare comme l’inspirateur idéal.

DERNIÈRE REPRÉSENTATION À L’ORW
NOVEMBRE 2009
PRODUCTION
FONDAZIONE TEATRO REGIO DI PARMA

français

BITTERSWEET
COMEDY
STUFFING
SHAKESPEARE
Libretto by Arrigo Boito
To help him pay his debts to the Garter Inn, the Knight Falstaff seeks to seduce two wealthy women at the same time, Alice Ford and Meg Page. The latter, wishing to punish him and teach him a good lesson, set a trap for him into which the fat seducer hastens to fall...

We are in 1893 when the first listeners discover with pleasure, but astonishment, what will be the last coup de theater of their favorite composer: a comedy! If Verdi decides to take up the pen again after Otello , it is thanks to his librettist of choice Arrigo Boito. The latter, in an abundant correspondence with the composer, manages to pass on to him the idea of ​​a final masterstroke oriented towards comedy, inspired by Shakespeare's Merry Wives of Windsor ... And Boito adds that the "only way to finish your career even better than with Otello is to do Falstaff ”.

Falstaff could have been one more opera, but it is not. Verdi had badly digested the failure of his only attempt at comedy, Un Giorno di Regno , in 1840. Revenge was needed, especially since Falstaff lent himself well to amusing scenes. Then, Verdi had always been attracted by the timeless work of Shakespeare and if the project of a King Lear had never succeeded, he had already made a success of Macbeth in 1847. But, above all, he had created with Otello one masterpieces in the entire history of opera. He was sufficiently aware of this to consider Shakespeare the ideal inspiration.

LAST PERFORMANCE AT ORW
NOVEMBER 2009
FONDAZIONE TEATRO REGIO DI PARMA PRODUCTION

English

Falstaff by Verdi, Déa 07 Márt 2024, Ó (2024/2024), Faoi stiúir Jacopo Spirei,, Seoltóir Giampaolo Bisanti, Théâtre Royal de Liège, Liège, Belgium

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Clár, Eolas & Achoimre

Físeáin

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid