The Music of Antonio Salieri

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.,' :tfol -D1; -belt 12.S" "" ) l1tDr-J DTAP£ ' [tplP r1 ~t1 to . le> ({.et I"~ L C' C~6 {'t '8s University of Washington 6-(;, THE SCHOOL OF MUSIC presents the '! U.W. COLLEGIUM MUSICUM JoAnn Taricani, director in A concert of THE MUSIC OF ANTONIO SALIERI June 6, 1985 Music Building Auditorium (' Intennission -j . '. PART ONE: THE "SALIERI CONTEST" ~~~!~ In the spaces provided, please indicate the most probable composer for each composition that you will hear. Two of the selections are by Salieri and the \ntonio Salier! Falstaff: Act One ,,: S-l. remaining works are by Mozart, Haydn, Beethoven, and Schubert. Further 1750-1825) information will be provided before the beginning of the concert. Spelling counts. Mistress Ford: laurie Haney Betty: Barbara Frandeen . Mistress Slender: Sara Hedgpeth Falstaff: Barion Nye Green 7~ IOlg.s=r Duet: Mistresses Ford and Slender Trio: Mistresses Ford and Slender, and Betty 1) c;.'cHl'·KC-l~"". " .-... .- . "Der Abend blUht, der Westen glUht" Duet: Mistresses Ford and Slender H A-''1 '1)"1 Trio: Mistresses Ford and Slender, and Falstaff 2) ---=------------"Ja.Vetter, ja! ich fall'euch bel" g~~."""'lr-AI 3) 12 s;: I T'lU V C ' \I Minuet and trio (oboe and bassoon) S 1'\1 1= r::> \ 4) • l '- r-- 1 Larghetto (wind trio) SA-{.\(=-I<...\ 5) -------------"Benedettoquel bastone, che Salier! Quintet for winds aU'amabile Buzzone" Md77t-P'l 6) -...:---=:..-.;,...:..---------"Zerfllesset huet', gellehte Bruder" Allegro Larghetto ~: 41 I . i Help give Salieri a middle name! I Unlike Wolfgang "Amadeus" Mozart, Antonio Salierl had no middle name, a truly remarkable situation in an era when Italian men were routinely aSSigned Kleine Harlequlnade the names "Giovanni Battista" along with their other Christian names. In the ~ ~ event of a tie in the "Salieri contest," the best choice of a middle name will determine the winner: Kolombine: Laurie Haney Harlequin: Sara Hedgpeth '1,-Z b Brlghella: Barton Nye Green Antonio .. --- " Salier! i iFranz Schubert Cantata on the Occasion of 1(1797-1828) Salieri's 50th Anniversary 2:08' Name Address . I I ... ~--j ----~. ,-,,--"-' ./.," ; ... i Collegium Members: Barbara Frandeen, soprano (- Barton Nye Green, tenor Laurie Haney, soprano Sara Hedgpeth, mezzo-soprano Maria Woeme, soprano Tim Brown, jortepiano Ailene Munger, oboe Tracy Russel, oboe Margaret Berry, hom Grant Brockmeyer, hom Paul Rafanelli, bassoon Rose Mauro, Assistant to the Collegium '-.-..., "',-?' ~""". '! . ,11/# •• 1" ANTOl'\1O SAI.IEld (' .

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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.
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Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip.
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Music Director Riccardo Muti Leads Two Programs to Conclude the Chicago Symphony Orchestra's 125Th Season
For Immediate Release: Press Contacts: June 2, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] MUSIC DIRECTOR RICCARDO MUTI LEADS TWO PROGRAMS TO CONCLUDE THE CHICAGO SYMPHONY ORCHESTRA’S 125TH SEASON June 16–26, 2016 Muti Leads Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as Soloist (June 16–21) Muti Leads an All-Bruckner Program including the Symphony No. 9 and Te Deum featuring the Chicago Symphony Chorus and Soloists (June 23–26) CHICAGO—Music Director Riccardo Muti returns in June to lead the Chicago Symphony Orchestra in two programs to conclude the 125th season (June 16–26). Throughout the 2015/16 season, Muti and the Orchestra have honored the ensemble’s distinguished history with performances of works that received either their world or U.S. premieres from the CSO. The final season program includes two of these works—Bruckner’s Symphony No. 9, which was given its U.S. premiere by the CSO in 1904, and his choral masterwork, Te Deum, which was given its U.S. premiere by the CSO in 1892. Both premieres were led by the CSO’s first music director, Theodore Thomas. Muti opens his June residency with the CSO with a program (June 16–21) that includes Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as soloist. Originally composed as chamber music, Brahms later adapted his Serenade No. 1 for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement work is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements.
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Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 21, 2016, at 8:00 Saturday, April 23, 2016, at 8:00 Tuesday, April 26, 2016, at 7:30 Falstaff, Lyric comedy in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito, after William Shakespeare’s The Merry Wives of Windsor and parts of Henry IV Riccardo Muti Conductor CAST Sir John Falstaff ............................................................................Ambrogio Maestri baritone Ford, husband of Alice ................................................................................. Luca Salsi baritone Fenton ................................................................................................................Saimir Pirgu tenor Doctor Caius ................................................................................................... Saverio Fiore tenor Bardolfo, follower of Falstaff ...............................................Anicio Zorzi Giustiniani tenor Pistola, follower of Falstaff..................................................................... Luca Dall’Amico bass Mrs. Alice Ford .................................................................................Eleonora Buratto soprano Nannetta, daughter of Alice and Ford ..................................................Rosa Feola soprano Mrs. Quickly ................................................................... Daniela Barcellona mezzo-soprano
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Programm-144Farbe.Pdf
Harmonia Classica Abendprogramm 144. Konzert 20. Februar 2014 Faschingskonzert gesponsert von der Fa. Johann Heinisch Harmonia Classica Kontaktadresse: A-1130 Wien, Hirschfeldweg 5, Tel.: 01/804 61 68 E-Mail: [email protected] Internet: www.harmoniaclassica.at Ehrenpräsident: † GMD Otmar Suitner Künstlerischer Leiter: Alexander Blechinger Obmann: Helmut Junker Ehrenmitglieder: † Prof. Joh. Martin Dürr † Prof. Dr. Frank Kubik Mag. Dr. Werner Pelinka Dr. Udo Illievich † Helene Pattenhausen Mag. Roland Horvath Mag. Werner Hackl Dieses Konzert wurde durch die Unterstützung folgender Personen und Institutionen ermöglicht: Firma Johann Heinisch Alexander Blechinger Mag. Eva-Maria Blechinger Michael Blechinger Sebastian Blechinger Gesponsert von Helmut Junker Christine Junker Gertrude Scheer 144. Konzert der Harmonia Classica Donnerstag, 20. Februar 2014, 19:00 Uhr Großer Festsaal, Amtshaus Hietzing, Hietzinger Kai 1-3, Wien 13 Faschingskonzert gesponsert von der Fa. Johann Heinisch Ingrid Heinisch / Alexander Blechinger Heinisch Hymne op. 135 Anna Kornfeind, Sopran Annamaria König, Mezzosopran Alexander Blechinger, Tenor Alfred Hertel, Oboe Rupert Stelzer, Klarinette Michael Babytsch, Violoncello Aya Mesiti, Klavier Michael Blechinger, Schlagzeug Johann Strauß aus „Die Fledermaus“: Prinz Orlovsky: Annamaria König, Mezzosopra Ich lade gern mir Gäste ein Aya Mesiti, Klavier Carl Zeller aus: „Der Vogelhändler“: Alexander Blechinger, Tenor Wie mein Ahn´l 20 Jahr Harmonia Classica Chor Alfred Hertel, Oboe Rupert Stelzer, Klarinette Michael Babytsch, Violoncello Aya Mesiti, Klavier Ingrid Heinisch liest aus ihren Texten Ingrid Heinisch, Sprecherin Ingrid Heinisch / Alexander Blechinger aus dem Musical „Mütter“ op. 152 Anna, Mutter: Anna Kornfeind, Sopran Hausaufgaben, Lied der Mütter Irene, Tochter: Irena Krsteska, Sopran Cornelia, Nachbarin: Annamaria König, Mezzosopran Alfred Hertel, Oboe Rupert Stelzer, Klarinette Michael Babytsch, Violoncello Aya Mesiti, Klavier Michael Blechinger, Schlagzeug Ingrid Heinisch / Alexander Blechinger aus dem Musical„Mütter“ op.
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Antonio Salieri 18
ANTONIO SALIERI 18. 8. 1750 – 7. 5. 1825 „Promluvím za všechny pr ůměrné na sv ětě, já jsem jejich šampión, jejich svatý patron.“ Nezapomenutelná scéna na konci Formanova filmu Amadeus ! V ěta, kterou říká „génius pr ůměrnosti“, Antonio Salieri, protihrá č Wolfganga Amadea Mozarta, shrnuje um ělecké poselství filmu, konfrontaci geniality a pr ůměrnosti. Byl Salieri zamindrákovaný intrikán, který trp ěl božským nadáním svého vrstevníka a který byl k jeho zni čení schopen použít všechny dostupné prost ředky a neštítil se ani vraždy? Jaký byl ve skute čnosti jeho život a p ředevším jeho tvorba? Hudební skladatel, dirigent a pedagog Antonio Salieri se narodil 18. srpna 1750 v italském Legnanu u Verony jako osmé dít ě v rodin ě obchodníka. Základy hudebního vzd ělání získal u svého o t řináct let staršího bratra Francesca, který jej vyu čoval h ře na housle, cembalo i zp ěvu, pozd ěji bral lekce klavíru u dómského varhaníka. V 15 letech osi řel. Do opatrovnictví jej p řijala významná a bohatá rodina v Benátkách a poskytla mu velkou podporu v dalším hudebním vzd ělání. Studoval zp ěv a harmonii u G. Pescettiho. Při návšt ěvě Benátek v roce 1766 rozpoznal jeho slibný talent víde ňský skladatel Florian Leopold Gassmann a odvedl šestnáctiletého Salieriho do Vídn ě. Postaral se o jeho další vzd ělávání a uvedl jej do spole čnosti. Salieri poznal významného operního reformátora Ch. W. Glucka, který se stal jeho mecenášem a p řítelem. První Salieriho opera Le donne letterate (Vzd ělané dámy, 1770) se do čkala nadšeného p řijetí. Po smrti Gassmanna v roce 1774 získal Salieri ve 24 letech titul dvorního skladatele a zárove ň byl jmenován kapelníkem italské opery ve Vídni.
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Salieri & Beethoven
hänssler SALIERI & CLA SSIC BEETHOVEN in Dialogue DIANA TOMSCHE JOSHUA WHITENER KAI PREUßKER HEIDELBERGER SINFONIKER TIMO JOUKO HERRMANN „Der Schüler Beethoven war da!” sonaten op. 12 sowie mit der Komposition eines SALIERI & BEETHOVEN im Dialog „Der Schüler Beethoven war da!“ – diesen in Lapi- Variationszyklus‘ über ein Duettino aus Salieris darschrift geschriebenen Satz las der junge Kla- Oper Falstaff ossia Le tre burle. viervirtuose Ignaz Moscheles auf einem Zettel im Da um 1800 an der Wiener Hofoper noch im- Antonio Salieri (1750-1825) Diana Tomsche, Sopran-Solo (2, 4, 6) Haus seines Lehrers, des Wiener Hofkapellmeisters mer die italienische Sprache dominierte, stand (1) Ouvertüre zu Habsburg (1805)* . 5'33 Joshua Whitener, Tenor-Solo (2, 4, 6) Antonio Salieri. „Ein Beethoven kann noch von in Beethovens Unterricht bei Salieri zunächst Kai Preußker, Bass-Solo (2, 4, 6) einem Salieri lernen? Um wieviel mehr ich“, dachte der Umgang mit der italienischen Prosodie im Ludwig van Beethoven (1770-1827) Thomas Jakobs, Tenor-Solo (2) und Chor-Tenor (6) sich der damals vierzehnjährige Kunstjünger und Fokus. Beethovens Übungen mit Korrekturen (2) Introduktion zu Vestas Feuer (1803) .....10'23 Thomas Dorn, Chor-Tenor (6) glühende Beethoven-Verehrer.1 In der Tat lässt es Salieris haben sich ebenso erhalten wie von ihm Antonio Salieri Matthias Eschli, Chor-Bass (6) aufhorchen, dass sich der 1808 bereits weithin angefertigte Singstimmenauszüge von Nummern (3) Ouvertüre zu Cesare in Farmacusa Stefan Müller-Ruppert, Chor-Bass (6) anerkannte Genius Beethoven immer noch von aus Salieris französischem Sensationsstück Les Da- Salieri beraten ließ. Die beiden Musiker traten naïdes. In den Lehrstunden dürften neben den (1800) ...................................4'06 Heidelberger Sinfoniker vermutlich Mitte der 1790er-Jahre in persön- eher trockenen Deklamationsübungen jedoch Timo Jouko Herrmann, Leitung Ludwig van Beethoven lichen Kontakt, im März 1795 präsentierte sich auch ganz praktische musikdramaturgische und (4) Terzett op.
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CHAN 9613 Book Cover.Qxd 17/10/07 1:19 Pm Page 1
CHAN 9613 Book Cover.qxd 17/10/07 1:19 pm Page 1 CHANDOS Chan 9613(2) S ALIERI Falstaff Alberto Veronesi The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 2 Antonio Salieri (1750–1825) Falstaff or The Three Tricks Comic opera in three acts Libretto by Carlo Prospers Defranceschi Sir John Falstaff ..............................................................................................Romano Franceschetto baritone AKG Mistress Alice Ford ....................................................................................................Lee Myeounghee soprano Mr Ford ....................................................................................................................Giuliano de Filippo tenor Mistress Slender, a friend of Mistress Ford ....................................................................Chiara Chialli soprano Mr Slender ..............................................................................................................Fernando Luis Ciuffo bass Bardolf, servant to Falstaff ..............................................................................................Filippo Bettoschi bass Betty, lady-in-waiting to Mistress Ford..............................................................................Natalia Valli soprano Chorus: Guests, Friends and Spirits The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi Antonio Salieri 3 CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 4 COMPACT DISC ONE 13 Mistress Slender
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Music Director Riccardo Muti Returns to Lead Chicago Symphony Orchestra in Shakespeare-Inspired Programs in April
FOR IMMEDIATE RELEASE Contact: March 17, 2016 Eileen Chambers, 312.294.3092 Photos Available By Request: [email protected] MUSIC DIRECTOR RICCARDO MUTI RETURNS TO LEAD CHICAGO SYMPHONY ORCHESTRA IN SHAKESPEARE-INSPIRED PROGRAMS IN APRIL April 7–26, 2016 Berlioz’s Romeo and Juliet (April 7-9) Tchaikovsky’s The Tempest and Romeo and Juliet on program with Mahler’s Symphony No. 4 (April 14-24) Muti Leads Chicago Symphony Orchestra and Chorus and Internationally Celebrated Soloists including—Ambrogio Maestri and Luca Salsi—in Concert Performances of Verdi’s Falstaff (April 21, 23 and 26) CHICAGO—Music Director Riccardo Muti returns to Chicago in April for three weeks of concerts and activities April 7-26 during the Chicago Symphony Orchestra’s 125th anniversary season. Muti and the Chicago Symphony Orchestra (CSO) explore music by Berlioz, Tchaikovsky and Verdi inspired by the works of William Shakespeare in three programs featuring internationally acclaimed soloists as part of the CSO’s celebration of Shakespeare in music during a year that marks the 400th anniversary of the Bard’s death. These programs are part of the citywide SHAKESPEARE 400 CHICAGO celebration which is organized by Chicago Shakespeare Theatre and commemorates the legacy of William Shakespeare in more than 400 performances by cultural institutions across Chicago. On April 7-9, Muti leads the CSO and Chicago Symphony Chorus in three performances of Berlioz’s unconventional third symphony Romeo and Juliet featuring tenor Paul Groves in his CSO debut and return appearances by mezzo-soprano Ekaterina Gubanova and bass Dmitry Belosselskiy. The landmark work utilizes the emotional power of the orchestra to portray the lead roles of the young lovers while the chorus represents the feuding families of the Montagues and Capulets and the soloists become characters including a prince, a fairy queen and Friar Laurence who guide the listeners through Shakespeare’s tragedy.
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Opera Colorado Closes Season with Verdi's Falstaff
FOR IMMEDIATE RELEASE: April 12, 2018 Media Contact: Tamara Vallejos, Director of Marketing & Audience Development 303.778.0214 | [email protected] Opera Colorado Closes 2017-18 Season with Verdi’s Shakespearean Comedy Falstaff Verdi’s masterful final opera returns to Opera Colorado for the first time in 30 years Performances run May 5-13, 2018, at the Ellie Caulkins Opera House at the Denver Performing Arts Complex DENVER—Opera Colorado winds down its 35th season in May with a new, traditional production of Verdi’s final opera, and one of only two comedies the revered composer ever wrote: the delightful, Shakespeare-inspired Falstaff. The production opens Saturday, May 5, at the Ellie Caulkins Opera House with additional performances on May 8, 11, and 13. It’s the first time in nearly 30 years the company has presented this masterful work, based on one of the Bard’s most memorable characters: the famously rotund and lovably oafish knight Falstaff, from Henry IV and The Merry Wives of Windsor. In this operatic take, Falstaff—in his typically bumbling fashion—attempts to seduce two wealthy (and married) women, but is hilariously exposed for a fool. “What do I not love about Falstaff?” asks Icelandic baritone Olafur Sigurdarson, who makes his Opera Colorado debut in the role. “He is a character larger than life, and has this endless lust for living and for joy. At the top of the opera, he’s fallen on hard times, he has no money, his companions are drunk, and he himself is drunk most of the time. He can’t even pay the bills at the inn where he’s drinking.
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1 Falstaff: Opera in Three Acts by Italian Composer Giuseppe Verdi (1813
Falstaff: opera in three acts by Italian composer Giuseppe Verdi (1813–1901). The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. Premiered in February 1893 at La Scala, Milan. Verdi wrote Falstaff -- the last of his 28 operas – when he was near 80 years old. It was only his second comedy, and the third work based on a Shakespeare play, after Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight, Sir John Falstaff, to seduce two married women to gain access to their husbands' wealth. Falstaff did not prove as popular as Verdi's earlier works, and languished until conductor Arturo Toscanini insisted on its revival at La Scala (1898) and the Metropolitan Opera in New York (1908). Verdi had to trim Shakespeare's plot to make it an acceptable length for opera. To do justice to Shakespeare he had: "To sketch the characters in a few strokes, to weave the plot, to extract all the juice from that enormous Shakespearian orange." At the premiere, a critic remarked: The leading note of [Falstaff]'s character is sublime self-conceit. If his belief in himself were shattered, he would be merely a vulgar sensualist and debauchee. As it is, he is a hero. For one terrible moment in the last act his self-satisfaction wavers. He looks round and sees every one laughing at him. Can it be that he has been made a fool of? But no, he puts the horrible suggestion from him, and in a flash is himself again.
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|What to Expect from Falstaff
| What to Exp Ect from falstaff aftEr a series of intImatE tragedies like RIgoletto THE WORK and La Traviata, historical epics like Aida and Don Carlo, and dense re-imagin- falstaff ings of Shakespeare in Macbeth and Otello, the last thing 19th-century opera- music by Giuseppe Verdi goers might have expected from Giuseppe Verdi was a rollicking, character- an opera in three acts, sung in Italian driven comedy. Yet that’s what the composer, in his 79th year, chose for Libretto by arrigo Boito, based on what would be his final opera. Inspired by the character of Sir John Falstaff, Shakespeare’s the Merry Wives of who appears in three of Shakespeare’s plays, Verdi and his librettist, Arrigo Windsor and Henry IV, Part 1 and 2 Boito, created a work of sophisticated musical and dramatic invention, first performed on february 9, 1893 slapstick humor, and philosophical truth. at La Scala, milan, Italy Part character study, part pure comedy, Falstaff pits the vain, aging aristocrat of the title against the good folk of middle-class Windsor. In pROducTiOn Robert Carsen’s new Met production, the comic clash of old nobility and James Levine, conductor “new money” is transferred from the Elizabethan era to the more familiar robert carsen, production terrain of suburban England in the years after World War II. paul Steinberg, Set Designer This guide is intended to help students appreciate the dramatic wit and Brigitte reiffenstuel, subtle musical detail of Falstaff. By paying close attention to Verdi’s compo- costume Designer sitional choices, comparing the operatic Falstaff with Shakespeare’s, and robert carsen & peter Van praet, considering the different approaches of playwright and opera composer, Lighting Designers the guide will give your students a better understanding of what makes Falstaff so remarkable.
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