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Verdi Falstaff Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. One of the first operas to use composers, performers, and audience members. this new style was Cristoph Willibald Gluck’s Orpheus and Euridice (1762). The first works to be called “operas” were created in Italy at the end of the sixteenth century. With the new democratic sentiments came They were inspired by a group of intellectuals known interest in operas about common people in familiar as the Camerata who admired the culture of the settings, rather than stories from ancient mythology. ancient Greeks. They proposed the invention of a A good example is Wolfgang Amadeus Mozart’s new style of music theater that would imitate Greek The Marriage of Figaro (1786), in which a servant drama’s use of music. outsmarts a count. Several of Mozart’s operas remain among the most popular today, including The result was a series of operas based on Figaro, Don Giovanni (1788), Così fan tutte (1790), Greek myths, starting with Dafne by Jacopo Peri in and The Magic Flute (1791). 1598. The most famous work of this early period is Claudio Monteverdi’s Orfeo (1607), based on the In the nineteenth century operas continued to myth of Orpheus. These early operas had all the grow more diverse in their forms and national styles. basic elements that we associate with opera today: The Italian tradition continued in the bel canto songs, instrumental accompaniments, dance, movement. Operas written in this style, which means costumes, and scenery. “beautiful singing,” included arias with intricate ornamentation, or combinations of fast notes, in the These early operas were performed in the melodies. The most famous composers of bel canto courts of Italian noblemen, but soon opera became are Vincenzo Bellini, Gaetano Donizetti and popular with the general public. Europe had a Gioacchino Rossini, whose The Barber of Seville growing middle class with a taste for spectacular (1816) is one of the most beloved comic operas. entertainment. During the Baroque period (1600 - 1750), the Italian style of opera was so popular that Later in the century the Romantic Movement it became the preferred form even in foreign grew throughout Europe as operas celebrated national countries. George Frideric Handel was a German- pride in a country’s people, history and folklore. born composer who lived and worked in England, Among the operas that showed the growth of patriotic but his operas such as Julius Caesar (1724) were in traditions are Carl Maria von Weber’s Der the Italian language and in the Italian style. The only Freischütz (Germany, 1821), Mikhail Glinka’s nation to develop a national tradition to rival Ruslan and Lyudmilla (Russia, 1842) and Georges the Italian was France, where operas often included Bizet’s Carmen (France, 1875). In Italy Giuseppe ballets. Jean-Baptiste Lully and Jean-Philippe Rameau are the most famous French Baroque opera composers. By the middle of the eighteenth century the European middle class was more influential than ever. People spoke of new forms of government and organization in society. Soon the American and French Revolutions (1776 and 1789) fought to establish the first modern democracies. Bass Kevin Glavin gets a close shave from baritone Roberto DeCandia in Rossini’s The Barber of Seville. Verdi composed in a bold, direct style. In Germany Richard Wagner took the Romantic style to the extreme in an ambitious series of four operas based 5 on Norse mythology known collectively as The Ring of the Nibelungs (1876). In the twentieth century opera became more experimental. Some composers such as Giacomo Puccini (La bohème, 1896), Claude Debussy (Pélleas and Mélisande, 1902), Richard Strauss (Salome, 1905), and Benjamin Britten (Peter Renowned baritone Grimes, 1945) continued their nationalistic styles. Victor Maurel as Verdi’s and Others, horrified by the destructive effects of World Philadelphia’s War I (1914-1919) and modern life, created radi- first Falstaff. cally experimental and dissonant works that explored topics that were disturbing (Wozzeck by Alban Berg, 1925) or absurdist (The Rake’s Progress by Igor Stravinsky, 1951). American opera came into its own in this century, beginning with George Gershwin’s jazz-influenced opera Porgy and Bess (1935). In the latter part of the cen- tury a repetitive and hypnotic style known as mini- Verdi’s Falstaff had its first performance in Philadelphia malism was championed in Phillip Glass’s Einstein on the Beach (1976). The late twentieth century at the Academy of Music on Thursday afternoon, February 7, even saw a return to some of the traits of Romantic 1895. This was just three days after the American premiere in opera in works such as John Corigliano’s The New York and was almost exactly two years from the date of its Ghosts of Versailles (1991). world premiere. It was totally sold-out at the Academy. The Today, opera is a living art form in which both performance was given by the Metropolitan Opera in New York. new works and those by composers of the past The role of Falstaff was played by Victor Maurel who had created continue to be performed. It remains to be seen what the role in the first productions in Italy. He was considered a the future of opera will be, but if history is any perfect performer for the role and traveled with the production indication, it will be shaped by the creativity of to the premieres in Paris, London, New York, and Philadelphia. librettists, composers and other artists responding to the changing times in which they live. He was able to bring out each detail of the character’s innate vulgarity without ever rendering him offensive. (See review on page 73.) World Premiere of Falstaff The world premiere of Verdi’s Falstaff was at Teatro alla While Falstaff was considered a great success by those Scala in Milan, Italy on February 9, 1893. The fact that Verdi in attendance, they counted themselves lucky for another reason produced such a masterpiece is considered even more besides the possession of the prized ticket. That evening a second unbelievable because of his advanced age at the time of opera was scheduled at the Academy and it was to have an composition. Verdi was almost eighty years old. The opera’s unexpected ending. While the day had stared as any normal success was so great that the King of Italy sent Verdi a telegram winter day, as it wore on, a cold snap came down from the and invited him to the Palazzo del Quirinale (Royal Quirinale north that sent temperatures falling below zero, and with the Palace), the official royal residence, for the opera’s Rome wind came the snows. In spite of the falling snow, the Academy premiere. This opera was a true labor of love for Verdi. During was again packed. Some audience members realized that the most of his career, he composed serious operas with great storm did not seem normal and they left at the intermissions. arias and large scenes. This time was to be different. In this Those who stayed to the final curtain at 12:30 AM struggled to opera he focused on smaller details to penetrate his characters’ leave the Academy and, as they did, they entered a city in the emotions rather than the massive dramatic effects that he used grips of the great blizzard of 1895. Waist-high snow drifts in his many tragedies. With this comedy, only the second that covered Broad Street and fifteen-foot-high drifts blocked trains he ever wrote, Verdi composed to entertain himself and enjoyed throughout the region. It was truly a day and night of opera for every aspect of it. Without any question, his Falstaff is one of the history books. the great masterpieces of comic opera. Philadelphia’s 6 Academy of Music Few Philadelphians know that the great Academy of Music The Commissioners held a competition to select the design of the Academy. Fifteen architects was dedicated to the memory of Mozart. submitted designs between October 3 and December 15 As the guests enter the Opera House’s main of 1854.
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