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Home , Alice Coote, Amanda Holden, Amanda Holden (writer), Andrew Shore, Barry Banks (tenor), Falstaff (Elgar)

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Giuseppe Verdi (1813–1901) Comic in three acts by Shakespeare’s The Merry Wives of Windsor and Henry IV Lebrecht Collection Lebrecht English translation by Amanda Holden

Sir ...... Mrs Alice Ford...... Yvonne Kenny Ford, Alice’s husband ...... Ashley Holland baritone Nannetta, their daughter...... soprano Fenton, her suitor ...... Dr Caius ...... Stuart Kale tenor ...... Rebecca de Pont Davies mezzo-soprano Mrs Meg Page...... mezzo-soprano Pistol...... Clive Bayley Bardolph ...... Richard Roberts tenor Orchestra and Chorus Tony Legge assistant conductor Paul Daniel

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COMPACT DISC ONE Time Page Time Page 12 ‘Back to the jousting…’ 2:27 [p. 105] Act I Fenton, Nannetta Scene 1 (16:53) 13 ‘You’ll gather from his boasting’ 1:37 [p. 106] 1 ‘Falstaff !’ 5:07 [p. 92] Bardolph, Ford, Pistol, Dr Caius, Fenton Dr Caius, Falstaff, Bardolph, Pistol 14 ‘Enough of this chattering’ 1:32 [p. 107] 2 ‘Your bill, sir’ 3:12 [p. 94] Alice, Nannetta, Quickly, Meg Landlord, Falstaff, Bardolph, Pistol 3 ‘Are you acquainted with a merchant whose name is Ford?’ 2:50 [p. 95] Act II Falstaff, Bardolph, Pistol Scene 1 (25:13) 4 ‘So now, convey these scorching letters’ 1:07 [p. 96] 15 ‘We’re converted, we’ve reverted’ 1:07 [p. 108] Falstaff, Pistol, Bardolph Bardolph, Pistol, Falstaff 5 ‘Your honour? Vermin!’ 4:37 [p. 97] 16 ‘Sir, your servant!’ 2:28 [p. 108] Falstaff 17 ‘I’ve another commission to bring your worship’ 2:28 [p. 109] Quickly, Falstaff Scene 2 (15:50) 18 ‘Alice is mine!’ 1:20 [p. 109] 6 ‘Dear Alice!’ 1:17 [p. 97] Falstaff Meg, Alice, Quickly, Nannetta 19 ‘Sir John, outside there is a certain Master Brook’ 0:40 [p. 110] 7 ‘“Heavenly Alice, let me love you…”’ 2:36 [p. 98] Bardolph, Falstaff Meg, Alice, Quickly, Nannetta 20 ‘Good sir, may God be with you!’ 3:07 [p. 110] 8 ‘Monster!’ 1:34 [p. 99] Ford, Falstaff, Bardolph, Pistol Quickly, Meg, Nannetta, Alice, Dr Caius, Bardolph, Fenton, Pistol, Ford 21 ‘In Windsor there’s a lady’ 3:32 [p. 111] 9 ‘Again please’ 1:32 [p. 102] 22 ‘This cruel beauty has a reputation’ 3:39 [p. 112] Ford, Pistol, Dr Caius, Bardolph, Fenton, Nannetta, Alice, Meg, Quickly Ford, Falstaff 10 ‘Pst, pst, Nannetta’ 1:45 [p. 103] 23 ‘I’m dreaming! Or is this true?’ 5:05 [p. 113] Fenton, Nannetta Ford 11 ‘Falstaff has dared to mock me!’ 1:31 [p. 104] 24 ‘How do I look? I’m ready’ 1:47 [p. 113] Alice, Meg, Nannetta, Quickly Falstaff, Ford TT 58:12

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COMPACT DISC TWO Time Page Time Page Act III Scene 2 (20:03) Scene 1 (17:00) 1 ‘I think we should propose a bill’ 0:40 [p. 114] 13 ‘Hey! Landlord!’ 6:36 [p. 128] Alice, Quickly, Meg Falstaff 2 ‘I hurry down the river to the Garter’ 1:07 [p. 114] 14 ‘Sir, your servant!’ 3:19 [p. 128] Quickly Quickly, Falstaff, Alice, Ford, Nannetta, Meg, Dr Caius 3 ‘It’s really very simple’ 2:14 [p. 115] 15 ‘Just as the chimes of midnight are resounding’ 4:59 [p. 129] Quickly, Alice, Meg, Nannetta Quickly, Ford, Alice, Nannetta, Meg, Fenton 4 ‘Witty young women of Windsor…’ 1:50 [p. 117] 16 ‘Don’t you forget the lanterns’ 2:06 [p. 131] Nannetta, Meg, Alice, Quickly Alice, Ford, Dr Caius, Meg, Quickly, Nannetta 5 ‘At last I’ve caught you’ 3:49 [p. 117] Falstaff, Alice Scene 2 (30:07) 6 ‘When I was page to the noble Duke of York’ 0:59 [p. 118] 17 [Introduction] 1:16 [p. 132] Falstaff, Alice, Quickly 18 ‘From lover’s lips a happy song’ 2:34 [p. 132] 7 ‘Mistress Alice, it’s Mistress Meg’ 1:00 [p. 119] Fenton, Nannetta Quickly, Falstaff, Alice, Meg 19 ‘Master Fenton, put on this friar’s habit’ 0:56 [p. 132] 8 ‘He jumped the hedge, and he trampled the hydrangea’ 1:41 [p. 120] Alice, Fenton, Nannetta, Quickly, Meg Quickly, Ford, Falstaff, Bardolph, Pistol, Alice, Meg 20 ‘One, two, three, four, five, six, seven chimes’ 3:13 [p. 133] 9 ‘Come here!’ 0:50 [p. 121] Falstaff Nannetta, Fenton 21 ‘I hear a nimble footstep’ 1:14 [p. 133] 10 ‘I’ll kill him! I’ll slaughter him!’ 0:50 [p. 122] Falstaff, Alice, Meg Dr Caius, Ford, Pistol, Bardolph, Nannetta, Fenton 22 ‘Wood-nymphs, elfins, naiads, leprechauns and sirens’ 1:56 [p. 134] 11 ‘When I catch you…’ 3:16 [p. 123] Nannetta, Chorus, Falstaff, Alice Ford, Dr Caius, Quickly, Meg, Bardolph, Pistol, Fenton, Nannetta, 23 ‘Upon a fragrant breath of night’ 4:25 [p. 134] Chorus, Alice Nannetta, Chorus 12 ‘It’s not him!’ 1:45 [p. 126] 24 ‘Who goes there?’ 0:57 [p. 135] Dr Caius, Alice, Meg, Quickly, Bardolph, Ford, Pistol, Chorus, Bardolph, Pistol, Falstaff, Quickly, Alice, Nannetta, Meg, Nannetta, Fenton Chorus, Ford

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Time Page Andrew Shore as Falstaff in 25 ‘Pinch him and burn him’ 0:56 [p. 136] English National Opera’s production of Verdi’s Falstaff

Alice, Meg, Quickly, Falstaff, Chorus Rafferty Bill 26 ‘Buffoon!’ 2:08 [p. 136] Dr Caius, Ford, Bardolph, Pistol, Alice, Quickly, Meg, Chorus 27 ‘Nose incandescent! Nozzle rubescent!’ 2:53 [p. 138] Falstaff, Quickly, Ford, Meg, Alice, Pistol 28 ‘So the commonest rabble have collected’ 1:22 [p. 140] Falstaff, Chorus, Ford 29 ‘Now the bride is approaching with her bridegroom’ 1:11 [p. 140] Ford, Falstaff, Chorus, Alice 30 ‘Ha, ha!’ 1:55 [p. 140] Falstaff, Pistol, Chorus, Dr Caius, Ford, Alice, Bardolph, Fenton, Nannetta 31 ‘Life is a burst of laughter’ 3:11 [p. 142] Falstaff, All TT 67:24

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found in many of his scores, especially those that ensues. After Caius’s departure, Falstaff Verdi: Falstaff written for Paris. Yet none of that quite indulges in more banter, mainly concerned prepares us for the transparent textures, the with money or the lack it, culminating in the The crowning achievement of Verdi’s Verdi, after due consultation with the witty conceits, the deftly amusing paean ‘Hail, mighty Falstaff’, before Verdi’s glorious Indian summer, Falstaff is the true venerable composer, with just the text to characterisation to be found in Falstaff, which natural gift for lyricism begins to assert itself as distillation of his amazing achievement rekindle the fires of the old master. Boito had is utterly sui generis. Falstaff describes to his mates his plan of over a career of some sixty years in the opera also been responsible for the very different task From the start Verdi made it clear that seduction. He waxes lyrical as he describes the house. Perhaps only Haydn among major of converting into , a taut drama he was writing something different from respective charms of Alice Ford and Meg Page. composers underwent such an astonishing hammered out from the playwright’s anything that he had before attempted, the But when it comes to it the two rogues refuse and fruitful development in style and content somewhat sprawling text. He does exactly the comedy he had wanted to write all his life to act as Pandarus for Falstaff, which provokes over a long period of composition. In this same as regards Falstaff, at the same time but had not been able to accomplish through an outbreak of fury from the Fat Knight as he culminating triumph of his old age Verdi is providing a libretto that stands on its own as a lack of an appropriate libretto. In a sense, rails against the concept of honour in a hardly recognisable as the composer of what work of literary merit. as , whose volumes on the famous monologue. Here Verdi combines he called his ‘galley years’ when his style From it Verdi fashioned a comedy that are so revealing, writes: ‘Falstaff was recitative and aria into one seamless whole, conformed to the structure and style of the moves effortlessly through three succinct acts, to be a private joke, which the public was obeying the sense of the text, a kind of time. Although even in his works of that era, not a word or note extraneous to its to share if they liked.’ They have certainly distillation, first in this work, of all he had there were signs of the forthcoming change construction, everything made to tell and done so. learnt about setting words. It is also, almost of direction. By the time he reached his justifying its place in the work’s firmament. From the first bars we hear a new Verdi: no needless to say, a fine portrait in music of concluding masterpiece, he had rejected Verdi had written only one comedy, King for a overture or introduction of any kind. We are Falstaff. virtually all the formal constraints and Day (), very early in his plunged at once into the middle of things. In the second scene, as in the first, we again methods of his youth, writing in a through- career, a piece much influenced by Donizettian Indeed it is the first touch of genius in the seem to be eavesdropping in on an already composed manner where recitative and aria example. Between then and Falstaff, he work that we seem to be taken immediately established milieu. Alice, Meg, Mistress merge naturally and unobtrusively into each sometimes included comic episodes into his into an already-existing scene of Falstaff and Quickly and Nannetta, daughter of the Fords, other. serious works, most notably perhaps in his henchmen carousing at the Garter Inn. are in vivacious mood as the two wives In this he was enormously helped by having The Force of Destiny (), and The ensuing parley with the tetchy pedant discover they have received the same amorous Boito, himself a composer of some stature, as lightened the moods of others with cheery Dr Caius, and his furious banter with the missive from Falstaff. Their feelings are his librettist. Adapting passages from characters, such as the page Oscar in A Masked mellow Sir John and the seedy Bardolph and expressed in the most sprightly form, quickfire Shakespeare’s Henry IV and The Merry Wives of Ball (). There is also Pistol, is a brilliant example of repartee set to exchanges tinged with wit. Verdi seems to be Windsor in masterly fashion, Boito presented much of a more airy nature in the ballet music music, a fit hors d’œuvre to the musical feast mocking his previously impassioned style

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when he gives Alice a soaring phrase ‘Your onomatopoeic-like curtsy on the words deaf to his entreaties. He is willing to pay cash The next scene is the opera’s centrepiece, in radiant image will shed its light on me’ as she ‘Sir, your servant!’ (Reverenza!). She butters (the jingle of coins is heard in the orchestra) to which Falstaff eventually receives his initial and Meg mock the old boy’s preening self- up Falstaff in a series of falsely flattering have Falstaff woo the lady on his behalf. There comeuppance. After Quickly has described to confidence. The wives collapse in a series of comments, the most famous of which is a sudden full stop in the orchestra when the other merry wives her encounter with guffaws miraculously set into the musical suggests he is a noted seducer. He replies: Ford is thunderstruck to hear that Falstaff Falstaff, vividly mimicking their talk at the texture. In a close-knit ensemble they begin to ‘I know. Continue’, a touch of hubris he will already has an assignation with Alice Ford. Garter Inn, they all combine in a rousing, plot Falstaff’s comeuppance. come to regret, set so impishly by Verdi. Ford’s hidden anger is hardly contained when quicksilver exchange of ideas on how they are That is expanded when the men come on Equally apt and concise is the phrase from Falstaff, in musically preening terms, says he going to cope with Falstaff’s imminent arrival. the scene deciding on their course of action Quickly remarking that Ford is out ‘From will cuckold Ford for ‘Master Brook’. The Suddenly he is espied approaching the Ford against Falstaff. Unerringly intertwined with eleven till twelve’, yet further evidence of irony and self-deception implicit in Falstaff’s residence: all leave the stage apart from Alice this complex nonet is the love music for Verdi’s comic brevity. After Quickly has told of attitude and Ford’s fury are inferred who is seen playing her lute as Falstaff arrives. Nannetta and her inamorato Fenton. Their Meg’s desire for Falstaff, he exclaims: ‘Alice is throughout their encounter, Falstaff set up for His apparent gallantry and growing ardour, romantic sweet-nothings seem suffused mine!’, and in a short but telling arioso, so his coming fall. finely depicted in the orchestra, as he begins throughout with a touch of melancholy, as if typical of Verdi’s new and exigent style, Falstaff The Verdi of Otello re-appears as soon as his wooing, and Alice’s demure replies, are the elderly composer were recollecting past preens himself while marching around Falstaff has gone off to robe himself for his accompanied recitative raised to great art. passion. The concertato for all the characters is the room, exulting in his continuing power afternoon tryst: in an Iago-like outburst, When she comments on his portly appearance an intricate skein of words and music unlike over women. Ford ponders on his seemingly abject position. he – perhaps inappropriately – launches into anything else in Verdi. The hubbub of voices Bardolph now tells Falstaff that a ‘Signor Can this really be happening to him: in a his delightful arietta – ‘When I was page’ eventually subsides and, to close a wonderful Fontana’ (a direct translation of Shakespeare’s dark, long-breathed phrase beginning at the (Quand’era paggio) – recalling his slender act, Alice repeats her lyrical phrase making fun Master Brook), Ford in disguise, has arrived bottom of the baritone’s register, he discloses appearance when he was page to the Duke of of Falstaff. and desires an audience with Falstaff. A the intensity of his feelings. Just as he is Norfolk. Its airy nature is another example of The first scene of Act II consists almost present of a demi-john of Cyprus wine makes about to explode, Falstaff returns dressed the ultimate refinement of Verdi’s art in his entirely of two duologues, Falstaff and him all the more welcome. He needs Falstaff’s to the nines, and the score resumes its operatic swansong. Quickly, Falstaff and Ford. The drollery of the help, and as an inducement places a bag of normal lightness, an inspired touch on the As Quickly hurries in, falsely agitated, to first encounter is another new departure for money on the table. The ensuing colloquy is a composer’s part extended by the fine conceit tell of Meg’s approach, Falstaff hides. Meg tells the composer. Bardolph and Pistol beat their distillation of the many duets in Verdi’s opera of the pair arguing as to who should first go of the men approaching in fury and after his breasts in mock contrition, graphically in its subtle, seamless and natural conversation through the door as they leave. So this blood. The distinguished scholar and analyst described in the orchestra. Quickly enters to a in music. In apparently deferential tones Ford superbly written scene closes on a note of wrote of the opera being kind of stately minuet, culminating in an relates how a certain woman at Windsor is pure comedy. ‘Chinese in its workmanship’. The rest of this

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scene explains his meaning, the musical himself again, Quickly appears and repeats Falstaff’s entry, in some trepidation, is Synopsis skein closely argued yet in its ultimate effect her ‘Sir, your servant!’ to the hero’s graphically described as he counts the chimes The action takes place in Windsor of gossamer texture. Verdi has an answer to consternation. However, she manages to gull to midnight, before Nannetta sings her the swift movement of incident and character, him by telling him the disaster that befell him delicate, poetic faery-song, the scoring COMPACT DISC ONE culminating in Falstaff being tipped into was not of Alice’s doing, and he falls for the diaphanous, the melody refined. From then on the Thames from the laundry basket where new idea of meeting Alice at Herne’s Oak at Verdi releases a whole heap of novel ideas, Act I he has hidden to escape Ford’s and his midnight. including a mock litany, as Falstaff is taunted At the Garter Inn followers’ wrath – and to the delight of the Thereafter in this scene, nocturnal mystery by all around him, Verdi even parodying his 1 Sir John Falstaff has just sealed two letters merry wives. The few moments of repose, seems to pervade the score as the fantasy and own Mass. when Dr Caius arrives to hurl accusations at themselves seamlessly woven into the scene’s enchantment illuminate the texture. Plans for When Bardolph’s mask slips, the plot begins him. He complains to the corpulent knight that structure, are the exchanges of the lovers, Falstaff’s second fall and for the forest to unravel. Falstaff realises how he has been Bardolph and Pistol, Falstaff’s hangers-on, hidden behind a screen. Over all the masquerade are developed against a duped again. The Fords explain how they have made him drunk and picked his pockets. They traditional concertato (big ensemble) of Verdi’s translucent background. The plotting is subtly unkindly mocked him. He is not too laugh at him until he storms out of the inn. previous works is developed almost out of delineated, including a clear indication that disconcerted, pointing out in a nice conceit 2 Falstaff studies his weekly bill at the inn and, recognition to accommodate his comedic Ford himself is to be prevented from forcing that he has been the cause of wit in other learning that he is seriously short of funds, flies purposes. Nannetta marry old Caius rather than her men. It is now time for Ford to be duped in into a rage and blames his spendthrift pair of Act III, beginning with a brief, brilliant desired lover Fenton. As the scene ends his turn, as Caius finds he has been married to lackeys. 3 He now reveals his masterplan to prelude, finds a rueful Falstaff post-ducking, Nannetta, Alice and Quickly call to one a disguised Bardolph and the other couple, overcome these financial difficulties: he plans to ruminating on his awful fate. There are another off stage, a magical end to a magical Nannetta and Fenton, also masked, have seduce two women, Alice Ford and Meg Page, onomatopoeic touches as he describes what scene. unwittingly been given Ford’s blessing. the wives of two rich local merchants. 4 He happened to him in the water. His spirits The final scene in Windsor Park with Alice persuades her husband to accept the hands his recently completed love letters to his revive only when he sips a draught of wine. Herne’s Oak at its centre is brimful of fairy- inevitable and his new son-in-law. All prepare companions for a speedy delivery. 5 When He describes how a little ‘grillo’ (cricket) like sounds. It begins with Fenton’s sonnet, a to feast with Falstaff, but not until Verdi has they refuse to become involved in such gets into a man’s veins when he is ‘brillo’ sort of recollection in tranquility of all the allowed us a coruscating finale in a complex dishonourable goings-on, an outraged Falstaff (tipsy), causing the body to resound to a tenor love-songs in Verdi’s previous operas. led by Falstaff, a suitably inspired lectures them on their so-called ‘honour’ before ‘trillo’ (trill) and we hear in the orchestra – Here it is crowned by the sound of Nannetta end to this unique work and to Verdi’s throwing them out. wonderful idea – a massive trill describing completing the last line. But Verdi dismisses operatic career. the wine coursing through Falstaff’s body sentiment as Alice breaks in the tryst with the The garden of Ford’s house and reviving him. But just when he seems business of giving everyone their disguises. © 2002 Alan Blyth 6 – 9 Alice and Meg discover they are the

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recipients of identical love letters and resolve to amorous assignation with Alice, Ford rages Act III and instruct Fenton when to disappear with teach their suitor a lesson. Their neighbour, against Falstaff and Alice, whom he supposes Outside the Garter Inn Nannetta in order to upset Ford’s plans. Mistress Quickly, readily agrees to act as go- to be guilty of actual infidelity. 13 Falstaff, recovering from his drenching, Alice intends to substitute Fenton for Caius. between to entice Falstaff into a rendezvous. reviles the world for its injustice. 14 He is in no 20 – 21 At midnight Falstaff, wearing his Meanwhile the cashiered Pistol and Bardolph COMPACT DISC TWO mood for Mistress Quickly, who brings another disguise of antlers, arrives and begins to woo tell Ford of Falstaff’s scheme, in the expectation invitation from Alice. Although he is reluctant Alice (and Meg as well). 22 – 26 But both of some financial reward for themselves. Ford At Ford’s House at first, she persuades him to accept. 15 Falstaff women run away when they hear apparently decides to test his wife’s fidelity by visiting 1 – 2 Mistress Quickly recounts to Alice is to meet Alice at midnight at Herne’s Oak in supernatural noises, leaving their suitor alone Falstaff in disguise and pretending to ask his and Meg the unqualified success of her Windsor Forest, the tree from which, according to be tormented by a band of goblins and assistance in seducing her. 10 – 14 Ford’s mission. 3 – 6 Preparations are made to to popular legend, Herne the Huntsman elves. 27 The deception is successful until daughter Nannetta snatches a furtive meeting receive Falstaff: a laundry basket is brought in hanged himself and whose ghost, adorned with Falstaff recognises Bardolph’s red nose. with her lover Fenton, although Ford has so that when Meg raises a false alarm that Ford horns, haunts the forest at night. To frighten off 28 Ford laughs at Falstaff for the extent of decreed they can not marry, because he intends has unexpectedly returned home, Falstaff can anyone who might happen to see him, Falstaff his self-delusion and makes him admit the that Dr Caius should be Nannetta’s husband. be concealed in it and the servants can tip the should disguise himself as the ghost of the error of his ways, but Falstaff has the final contents into the Thames. Alice notices that huntsman by wearing stag’s antlers on his head. word by claiming to be the source of laughter Act II her daughter is not sharing in the mischief; on Unknown to Sir John, everyone in Windsor is in others. 29 Ford gives his blessing to the At the Garter Inn learning that Nannetta is upset because her involved in yet another deception of the knight, marriage of two couples, one of whom he 15 Pretending to be contrite, Bardolph and father insists that she marry Dr Caius, Alice and also will be in the forest in disguise. assumes to be Caius and Nannetta, the other Pistol apologise to Falstaff for their earlier reassures her that she will not let this happen. 16 Ford eagerly anticipates a second unknown. 30 When the couples unmask, Ford behaviour. 16 Mistress Quickly arrives to 7 – 11 The women’s scheme runs according opportunity to teach Falstaff a lesson, all the discovers that not only has Caius married deliver replies from both Alice and Meg. to plan until Mistress Quickly runs in to warn more so because in the midnight confusion of Bardolph but that he himself has given his Falstaff is invited to visit Alice between eleven Alice that Ford is really coming, accompanied the forest he hopes to marry off Nannetta to blessing to a union between Nannetta and and twelve o’clock; 17 – 18 Meg cannot by a band of sympathisers (Caius, Fenton, Dr Caius. Mistress Quickly overhears this Fenton. Ford admits that he has been duped as provide a rendezvous. 19 – 22 He is even Bardolph and Pistol) resolved to find Falstaff intrigue and vows to thwart Ford’s plan (and effectively as has Falstaff. 31 The merry wives more delighted when a complete stranger – and shame the unfaithful Alice. 12 However, teach him a lesson as well) by disguising have triumphed over the men’s schemes, and Master Brook (Ford in disguise) – offers him the only lovers unmasked are Nannetta and someone else in Nannetta’s costume. Falstaff leads everyone in a last and money if he will soften up Alice for him by Fenton, while Ford, on seeing Falstaff and the reconciliatory fugal burst of laughter. seducing her. 23 – 24 After Sir John leaves the dirty laundry in the river, admits that he was Windsor Forest, at night room to groom himself in readiness for his wrong to suspect Alice’s fidelity. 17 – 19 The women gather at Herne’s Oak © English National Opera

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Robert Workman Baron ( Dulcamara ( House oftheDead Oranges ( Papageno ( ( title roles in Ottawa. Copenhagen, Amsterdam, Vancouver and in Lyon, Nantes, Santa Fe, Montpellier, Gran Teatre delLiceuinBarcelona, aswell as National deParis-Bastille, Opéra Comique, San Diego Opera, New Israeli Opera, Opéra ( premier Andrew Shore Le Coqd’or Così fantutte The Makropulos Affair His manyengagementshave includedthe La Vie parisienne La Vie ), Dikoy ( buffo ), Leandro ( The Elixir ofLove ), Figaro ( baritone andanoutstanding is acknowledged asBritain’s and Kát’a Kabanová ), Frank ( , Falstaff ), Shishkov ( Le nozze diFigaroLe nozze The Love for Three ), Baron Trombonok appeared abroad with Opera, andhas Welsh National Scottish Opera and Festival Opera, North, Royal Opera, Opera National Opera, The worked withEnglish He has singer/actor. ), KingDodon Die Fledermaus , ), Don Alfonso ), Dr Kolenaty , aswell as From the ), , ), 18 Don Pasquale Dr Bartolo ( Faninal ( Das Rheingold Gatsby ( Anna ( Liù ( ( Faninal in ( Garden, where herroles have includedPamina Foundation. La Bohème great Handel roles, notably Semele andAlcina ( Il viaggioaReims Die Zauberflöte Le nozze diFigaroLe nozze The Elixir ofLove Recordings includethetitlerole in She haswoninternationalrenown inthe ), Alberich in concert performances of performances ), Alberichinconcert , all for Chandos/Peter Moores , allforChandos/Peter Der Rosenkavalier The Barber ofSeville , Leporello ( , Varlaam( ), Aspasia( ), Ilia ( ), George Wilson ( ), theSacristan in ), Adina ( ). Boris Godunov Opera House, Covent joined theRoyal Competition she Kathleen Ferrier After winningthe of hergeneration. distinguished one ofthemost born inSydney andis Yvonne Kenny Mitridate Don Giovanni ). L’elisir d’amore (highlights), and ), Susanna ), Dulcamara ) andDonna The Great ) and ), was , ), Le nozze diFigaroLe nozze 1989. Order ofAustralia toMusic forServices in many roles. She wasmadeaMember of the to hernative Australia where shehassung Glyndebourne, andshereturns frequently in Hamburg, Zurich, Washington and Bayerische Staatsoper inMunich, Paris Opéra, La ScalaMilan, theBerlin Staatsoper, the , the , ( Cleopatra ( and theBavarian State Opera, andboth Romilda ( (Covent Garden andLaFenice, Venice), Serail Music, A graduateoftheRoyal Northern Collegeof Parigi L’eremitaggio diLiverpool Opera RaraDonizetti’s Moores Foundation), andfor Chandos/Peter and adiscofGreat Operatic Arias(for Chandos), highlightsfrom Beggar’s Opera one ofthefinesttenorshisgeneration for Rinaldo Yvonne Kenny’s manyrecordings include , Elgar’s , andMeyerbeer’s Barry BanksBarry , Dyson’s ) inSydney. She hasalsosungatthe Xerxes and ) forEnglish National Opera , The Canterbury Pilgrims The Canterbury Gloriana Die Entführung ausdem has establishedhimselfas Emilia diLiverpool Il crociato inEgitto ) andArmida , and , Britten’s Der Rosenkavalier , Handel’s Ugo, Contedi The , . (for

19 Catherine Ashmore Orchestra under Walter Weller, Rossini’sperformed . Opera, Edgardo ( ( forChicagoLyric Opera, Arnalta Night’s Dream Frankfurt Opera, Flute ( Tamino, andthetitlerole in Festival, Tom Rakewell( Opera, ScottishOpera, andtheSalzburg ( ( ( ( Glyndebourne Touring Opera, Nemorino L’incoronazione diPoppea Die Zauberflöte L’elisir d’amore A committed concert artist, Barry Banks Barry has artist, A committedconcert with theCityofBirmingham ) fortheSanta Fe Opera, Tamino , Bruckner’s ) attheMetropolitan Opera, ) andArgirio( ) forBasel Opera, Oreste ) atLaMonnaie, Leipzig Lucia diLammermoor Petite Messe solennelle Bologna, Don Ramiro viaggio aReims and Libenskof( Opera, bothBelfiore for English National in include thetitlerole Rolesand concert. inopera performances his outstanding A Midsummer The Rake’s Progress Requiem ) forSan Francisco The Rake’s Progress Le ComteOry Tancredi with the ) for ) for ) in Il , ) for CHAN 3079 BOOK.qxd 22/5/07 1:59 pm Page 20

Scottish Chamber Orchestra under Sir Charles Touring Operas; Governess (The Turn of the Medal, and was a Peter Moores scholar. In with the BBC Symphony Orchestra conducted Mackerras, and a performance of Rossini’s Screw) and Lucia () under 1998 Ashley Holland won the Ranieri i by Sir Andrew Davis, his debut at the Bastille at the Edinburgh Festival Steuart Bedford at Snape Maltings; Marenka Cestelli opera competition in Hamburg. Opéra as Bosun ( ) and his debut Recordings include Don Ottavio (), Euridice (Orfeo), Thalie He is currently a principal baritone at with Semperoper Dresden as Ford. (Don Giovanni), Nemorino (The Elixir of and Clarine (Platée), and Tiny (Paul Bunyan) English National Recordings include Belcore (The Elixir of Love), Ernesto (Don Pasquale) (all for for House, Covent Garden; Opera, where his roles Love) for Chandos/Peter Moores Foundation. Chandos/Peter Moores Foundation), Romilda (Xerxes) and Cleopatra (Giulio Cesare) have included Zurga Mendelssohn’s St Paul (for Chandos), Un ballo at the Bayerische Staatsoper, Munich; Belinda (The Pearl Fishers), Alice Coote studied at in maschera, and , and he has (Dido and Aeneas) at the Deutsche Staatsoper, Sharpless (Madam the Guildhall School appeared on video releases of Billy Budd and Berlin, and Marzelline (Fidelio) with the Rome Butterfly), Guglielmo of Music and Drama, Die Entführung aus dem Serail. Opera. At English National Opera, where she is (Così fan tutte), Cecil the Royal Northern a Company Principal, her roles include Atalanta in Donizetti’s Mary College of Music Winner of the 1994 Kathleen Ferrier (Xerxes), Caroline (The Fairy Queen), Constance Stuart, Belcore (The (where she received Memorial Prize, Susan Gritton read botany at (The Carmelites), Xenia (Boris Godunov), Elixir of Love), Lescaut support from the Peter Oxford and London Pamina (The Magic Flute), Drusilla (The in Massenet’s Manon, Ottakar (Der Freischütz), Moores Foundation) Universities before Coronation of Poppea), Nannetta (Falstaff ), the Marcello (La Bohème) and Escamillo and the National taking up a career in title role in , Fiordiligi (). He also sang the baritone role in Opera Studio. singing. She appears (Così fan tutte) and Sophie (Der Rosenkavalier). English National Opera’s co-production with Operatic roles have included Cherubino, regularly in recital Recordings for Chandos include Vivaldi’s the Mark Morris Dance Group of Handel’s Penelope (The Return of Ulysses), Dorabella, throughout Britain, Ottone in Villa, , The Pilgrim’s L’Allegro. Other engagements include Junius Tamiri (Il Re Pastore) for ; and her extensive Progress, Mendelssohn’s St Paul, Haydn Masses, (The Rape of Lucretia) for Lausanne Opera, Fortuna and Valetto (L’incoronazione di concert experience has and (this last with the Peter Moores Ford (Falstaff ) for English National Opera, Poppea) for Welsh National Opera; Cherubino taken her to the Foundation). Susan Gritton is a member of Sharpless for Cincinnati Opera, Antonio in for Scottish Opera; Proserpina (Orfeo), Meg Amsterdam English National Opera. concert performances of Linda di Chamounix Page (Falstaff ) and the title role in The Concertgebouw, the Vienna Konzerthaus, and with and the Orchestra of the Age Coronation of Poppea for English National the the Philharmonie in Berlin. Ashley Holland studied at Warwick University of Enlightenment, Don Giovanni for Calgary Opera; Page (), Ruggiero () for Susan Gritton’s operatic roles have included and the Royal Northern College Opera, roles in Candide with the London Stuttgart Opera and at the Edinburgh Festival; Susanna (Le nozze di Figaro) and Zerlina of Music, where he won the Webster Symphony Orchestra/Kent Nagano and in Flower Maiden ( ), and performances at (Don Giovanni) for Glyndebourne Festival and Booth/Esso Competition and the Curtis Gold Weill’s Der Protagonist and The Royal Palace the Paris Opéra-Bastille, and in Nancy,

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Nantes, and at the . Her US as Colline in La Bohème. He has had notable range of repertoire, from Monteverdi to Munich State Opera, and in Genova and debut at the as Hansel successes with Opera North in Verdi’s Messiaen. He began his career at Welsh Strasbourg, Captain Vere (Billy Budd ) in (Hansel and Gretel ) met with great success. Jerusalem, as Sparafucile (), the Referee National Opera before joining English Cologne, Gregor (The Makropoulos Case) Her concert appearances include repertoire in Benedict Mason’s Playing Away, Ferrando National Opera, and Herod, both in new productions in from the oratorios of Bach and Handel (), Arkel (Pelléas et Mélisande), where he remained for Strasbourg. through to the works of Mahler, Debussy and Wurm (), the title role in Le nozze eight years, singing Recordings include Goro (Madam Butterfly), Britten, which she has performed under di Figaro, the Doctor (Wozzeck), Biterolf roles such as Don Shuisky (Boris Godunov highlights) and conductors including Nagano, Pesek, (Tannhäuser) and Antinous (Il ritorno d’Ulisse Ottavio (Don Roderigo (Otello), all for Chandos/Peter Menuhin, Salonen, Dohnányi and Christie, in in Patria); with Opera Factory in Don Giovanni), Michael Moores Foundation. London, Paris, Vienna, Amsterdam, Brussels, Giovanni; with English National Opera in (Martinuº’s Julietta), Madrid and Salzburg. She is in increasing Billy Budd, Wozzeck, as Cadmus (Semele), the Alfred (Die Rebecca de Pont Davies was born in demand as a recitalist and has given recitals four Villains in The Tales of Hoffmann, Fledermaus) and London and trained at the and for BBC Radio 3. Collatinus (The Rape of Lucretia), and Pistol in Nanki-Poo in at the Guildhall Her recordings include The Choice of Falstaff. Abroad Clive Bayley has appeared ’s production of . School of Music and Hercules. with Netherlands Opera, Seattle Opera, in Notable engagements include the High Priest Drama where she won Lisbon and Lausanne. Other engagements (Idomeneo) at Covent Garden, Hauptmann many prizes and an Clive Bayley was a Peter Moores Scholar, and have included the Fisherman in ’s (Wozzeck) for and award from the now sings regularly with the major opera The Royal Palace at the BBC Promenade in San Francisco, Geneva, Zürich, Montpellier, Countess of Munster companies in a repertoire ranging from concerts and performances with Glyndebourne Bordeaux and Bologna, Shuisky (Boris Musical Trust. She Monteverdi to Verdi, Festival and Touring Operas. Godunov) in Strasbourg, Bordeaux and made her operatic Puccini, Berg, Britten Recordings for Chandos include Troilus and Montpellier, Quint (The Turn of the Screw) for debut with and Birtwistle. He Cressida, Billy Budd, and, for Chandos/Peter English National Opera’s 1990 Russian Tour, Glyndebourne Touring Opera in Britten’s made his debut with Moores Foundation Madam Butterfly, Don Truffaldino (The Love for Three Oranges) for , and since then she has worked the Royal Opera, Giovanni, Boris Godunov highlights, Don ENO, Zinoviev (Lady ) in Toulouse with major companies in Great Britain, and Covent Garden, in Pasquale and Il trovatore. and Marseille, Idomeneo in Drottningholm, toured to many parts of Europe. Since her the premiere of and the three tenor roles in at the English National Opera debut in 1998 as ’s Stuart Kale is internationally recognised as Châtelet, Aegisth in Karlsruhe, L’occasione fa il Emilia (Otello), she has sung a number of roles Gawain and one of the most outstanding singing actors in ladro at the Schwetzingen Festival and in there, including Mrs Sedley (), subsequently appeared the operatic world, and his roles cover a huge Cologne, Bob Boles at Covent Garden, the Annina (Der Rosenkavalier), Geneviève (Pelleas

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and Melisande), Ottavia (The Coronation of As a Company Principal at English Amanda Holden studied music at Oxford work of the Baylis Programme of the Poppea), Flosshilde (The Rhinegold ), Mistress National Opera, Richard Roberts sang many before winning a scholarship to the Guildhall Company’s education and outreach Quickly (Falstaff ), Princess Marya (War and roles including Rinuccio (Gianni Schicchi), School in London, where she subsequently department and with the English National Peace), Mother Goose (The Rake’s Progress), Edmondo (Manon taught piano. Since 1987 she has written Opera Studio in the development of new and Suzanne in the world premiere of Martin Lescaut), Abbé (War about fifty translations for performance in the operas, in particular Mark-Anthony Turnage’s Butler’s A Better Place. She is currently a and Peace), Teacher theatre, concert hall and opera house, many of The Silver Tassie which had its world premiere Company Principal with English National (Lady Macbeth of them commissioned by English National in February 2000. The Orchestra appears in Opera. Mtsensk), Don Opera, , Opera North many recordings for Chandos/Peter Moores Other roles include Moksada (Param Vir’s Riccardo (), and Raymond Gubbay. She is the founder- Foundation: Otello, Mary Stuart, Julius Snatched by the Gods) for Scottish Opera, Bardolph (Falstaff ), editor of The Viking/Penguin Opera Guides; Caesar, , Rigoletto Gaea (Daphne), Die alleswissende Muschel and Roderigo (Otello). a completely revised new edition, The New (Jonathan Miller’s production), (Die ägyptische Helene) and Leda (Die Liebe Other engagements Penguin Opera Guide, was published in 2001. and Werther. der Danae) for Garsington Opera, the title have included Candide Amanda Holden also wrote the libretto for role in Handel’s Flavio (Opera Theatre for Eugene Opera, Mark-Anthony Turnage’s opera, The Silver The Chorus of English National Opera is one Company, Dublin). Also active as a concert Oregon, Jiri (The Jacobin) for Scottish Opera, Tassie, for which, with the composer, she of the Company’s finest assets. In countless singer, Rebecca de Pont Davies has sung with Pinkerton (Madama Butterfly) in Raymond received the 2001 Olivier award for English National Opera productions they leading British orchestras in repertoire Gubbay’s production at the Royal Albert Hall, Outstanding Achievement in Opera. have thrilled audiences with the power of including the major works by Bach and and Scaramuccio (Ariadne auf Naxos) with the their singing and the intensity of their acting. Handel, Rossini’s Petite Messe solennelle, City of London Sinfonia under Richard Critically and publicly acclaimed, the English There are sixty-eight choristers and the wide Mendelssohn’s Elijah, Verdi’s Requiem, Hickox. National Opera Orchestra (Leader Barry range of skills and experience they bring to Mahler’s Symphony No. 2, Elgar’s Richard Roberts is also an experienced Griffiths) has in recent years received several performances distinguish any production in and , and Tippett’s concert artist, with engagements including prestigious awards, including the Royal which they appear. Particular triumphs for A Child of our Time. Beethoven’s Choral Symphony at the Brighton Philharmonic Society Music Award and an the Chorus have been Prokofiev’s War and Dome, Elijah in Sheffield Cathedral, the Olivier Award for Outstanding Achievement in Peace, Shostakovich’s Lady Macbeth of Mtsensk, Richard Roberts studied at the University of Mozart Requiem at the Royal Festival Hall, Opera. The Orchestra is at the of the Britten’s Billy Budd and Peter Grimes, Kansas, the Chatauqua School of Music, Carmina Burana at the Barbican Hall, Company’s artistic life and as well as opera Mussorgsky’s Boris Godunov, Bizet’s Carmen New York, and with Anthony Laciura of the Rossini’s Stabat Mater at St John’s, Smith performances in the London Coliseum has and Verdi’s Otello. Their recording of the last, , Audrey Langford, Square, and opera galas at the national concert also been seen on the concert platform. In in Jonathan Miller’s production conducted by Felicity Palmer and Robert Dean. halls in Cardiff, Dublin and Glasgow. addition many of the players participate in the Mark Elder, appeared on Chandos under the

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Snowdon the Orchestre National deLyon, Tonhalle- Orchestre Philharmonique deRadio France, Radio Philharmonic, Orchestre deParis, Scottish National Orchestra, Netherlands including thePhilharmonia, Orchestra with majororchestras throughout theworld, opera companiesandorchestras worldwide. generation andisingreat demandwithboth most exciting andtalentedconductorsofhis Paul Daniel La traviata Rigoletto recordings are Moores Foundation Other Chandos/Peter Cycle’ conductedby Sir Reginald Goodall. as didtheirrecording ofthecelebrated‘Ring sponsorship ofthePeter Moores Foundation, He appearsasa guestconductor (Jonathan Miller’s(Jonathan production) and . is widelyregarded asoneofthe Mary StuartMary Orchestra, Royal Philharmonic Orchestra, Royal London Philharmonic Orchestra of Wales, BBC National Symphony Orchestra, Enlightenment, of theAge , Julius Caesar , 26 Carmen, Rigoletto,Carmen, Director of Opera North, where heattracted celebrations. Priam, Wedding Harrison Birtwistle’s productions includedtheworldpremiere of extensively withthecompanywhere his appointment,hehadalready worked Peace Aldeburgh Festival), Turnage, premiere of Peter Grimes, Pelleas andMelisande, La traviata Hoffmann, Manon, Otello From theHouse oftheDead, The Tales of conducted English National Opera where hehas Orchestra. Indianapolis Symphony andtheCleveland Leipzig, theLosAngelesPhilharmonic, philharmonie, theMDRSymphony Orchestra Romande, theDeutsche Kammer- Orchestra, theOrchestre delaSuisse Orchester Zürich,theGothenburg Symphony From 1990to1997Paul Daniel wasMusic In 1997hebecameMusic Director of and concert performances ofPonchielli’s performances and concert as part of as part Tippett’s ninetiethbirthday , ’s Nixon inChina,Peter Grimes , The Flying Dutchman,Falstaff, h amlts Der Rosenkavalier The Carmelites, The Silver Tassie and the Verdi and performances of and performances Il Trovatore, Warand Mask ofOrpheus Akhnaten , Requiem Boris Godunov by Mark-Anthony , Tosca, . Before the world , Figaro’s (at the King , , Luisa Miller, Medea, Falstaff awards for bestproduction anddesign, premiered attheMunich Biennale andwon Benedict Mason’s Michael Berkeley’s Pelleas andMelisande , Wozzeck, Gloriana, Il trovatore, Schreker’s Tippett’s ofDukas’performances critical acclaimforhisexciting andfresh King Priam, Don Giovanni, Der ferne Klang,BorisGodunovDer ferne Playing Away, Baa Baa Black Sheep , theworldpremieres of Ariane etBarbe-Bleue, and which was Tannhäuser. Jenu and , ° fa, 27 CBE inthe2000New Year’s Honours list. achievement inopera,andhewasawarded the received an Foundation). In February 1998Paul Daniel Moores highlights (forChandos/Peter Armstrong (forChandos),and Symphony Orchestra, works by Thomas Symphony No. 3withtheBournemouth 1987 to1990. He wasMusic Director ofOpera Factory from His recordings include theElgar/Payne Olivier Award foroutstanding Boris Goduvov CHAN 3079 BOOK.qxd 22/5/07 1:59 pm Page 28

Susan Gritton as Nannetta in English National Opera’s production of Verdi’s Falstaff Bill Rafferty Bill Rafferty Bill

Andrew Shore as Falstaff in English National Opera’s production of Verdi’s Falstaff CHAN 3079 BOOK.qxd 22/5/07 1:59 pm Page 30

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, and the late amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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munterer Gestalten, wie der des Pagen Oscar Wortwechsel zwischen dem gereizten Pedanten Verdi: Falstaff in Un ballo in maschera, die Stimmung auf. Dr. Cajus und dem umgänglichen Sir John Auch die Ballettmusik in vielen, vor allem den sowie dessen zwielichtigen Dienern Bardolfo Falstaff war nicht nur der krönende Abschluss meisterlichen Verarbeitung von Passagen aus für Paris bestimmten Partituren hat etwas und Pistola dürfen als großartiges Beispiel einer letzten, großartigen Schaffensphase, Heinrich IV. und The Merry Wives of Windsor Leichteres an sich. Aber nichts von alledem vertonter Schlagfertigkeit gelten, ein sondern auch die Quintessenz all dessen, was (Die lustigen Weiber von Windsor) einen Text bereitet uns auf die transparenten Strukturen, angemessenes Appetithäppchen vor dem Verdi in sechs Jahrzehnten illustrer vor, der ideal dazu angetan war, die die geistreichen Einfälle, die raffiniert musikalischen Festessen, das sich nun anbahnt. Operngeschichte zu erreichen vermochte. schöpferischen Kräfte des Komponisten neu zu amüsante Charakterisierung im ganz und gar Nachdem Cajus abgezogen ist, witzelt Falstaff Wohl nur Haydn hat unter den großen beleben. Boito war es auch, der bereits Othello einzigartigen Falstaff vor. weiter, diesmal vor allem über das Geld und Komponisten eine ähnlich verblüffende und in Otello verwandelt und dabei den recht breit Von Anfang an ließ Verdi keinen Zweifel besonders den Mangel daran. Das alles erreicht fruchtbare Langzeitentwicklung seiner angelegten Text des Barden auf ein knappes, daran, dass er hier etwas schrieb, was von allen mit dem Freudengesang “Hail, mighty stilistischen und inhaltlichen Ansätze erlebt. fesselndes Drama komprimiert hatte. Ähnlich seinen anderen Werken vollkommen abwich: Falstaff” einen Höhepunkt, bevor sich In dieser reifen Glanzleistung ist Verdi kaum behandelte er Falstaff, und das Resultat ist ein nämlich die lang ersehnte Komödie, zu der allmählich das lyrische Talent Verdis als der Komponist jener “Galeerenjahre” (der Libretto, das zudem als literarisch ihm immer das geeignete Libretto gefehlt durchsetzt, als Falstaff seinen Zechkumpanen Ausdruck stammt von ihm selbst) anspruchsvolles Werk auf eigenen Füßen hatte. Aufschlussreich wie immer, wenn es um schildert, wie er Alice Ford und Meg Page wiederzuerkennen, als er sich dem Stil der Zeit stehen kann. Oper geht, bemerkt Julian Budden zu Falstaff, verführen will. In schwärmerischen Tönen beugte, obwohl selbst damals bereits der Verdi schuf nun eine Komödie, die sich dass dieses Werk ein privater Scherz sein sollte, beschreibt er die Reize der beiden Damen. künftige Richtungswechsel zu erahnen war. Als ungezwungen über drei knappe Akte an dem die Öffentlichkeit ganz nach Belieben Aber als es zur Sache gehen soll, bekunden die er sein letztes Meisterwerk in Angriff nahm, entwickelt, wobei in punkto Aufbau kein Wort teilhaben durfte. Das hat sie zweifellos getan. beiden Spitzbuben moralische Bedenken hatte sich Verdi praktisch aller frühen und keine Note zuviel sind, alles zählt und Schon in den ersten Takten hören wir einen dagegen, für Falstaff den Zuhälter zu spielen. Formzwänge entledigt, um durchkomponierte seinen Platz im Firmament des Werkes neuen Verdi: keine Ouvertüre, keine Der wohlbeleibte Ritter ist außer sich und hält Werke zu schreiben, in denen Rezitative und verdient. Die einzige komische Oper, die Verdi Einleitung irgendeiner Art. Wir stehen ganz den beiden eine Standpauke über das Konzept Arien auf natürliche und unaufdringliche zuvor komponiert hatte (Un giorno di regno) – plötzlich in medias res. Ja, gleich der erste der Ehre. Ganz im Sinne des Textes lässt Verdi Weise ineinander verfließen. lag ein halbes Jahrhundert zurück und stand Geniestreich in diesem Werk liegt darin, dass hier zum erstenmal in diesem Werk Rezitativ Dabei erwies es sich als große Hilfe, dass unter dem deutlichen Einfluss Donizettis. wir scheinbar spontan Zeugen einer sich und Arie nahtlos miteinander verschmelzen, ihm Boito, seinerseits kein schlechter Danach hatte Verdi hin und wieder komische bereits abspielenden Szene werden, in der quasi als Essenz all dessen, was er über die Komponist, als Librettist zur Verfügung stand. Episoden in seine ernsten Werke einfließen Falstaff und seine Kumpanen im Garter Inn Vertonung eines Textes gelernt hat. Man Nach geflissentlicher Absprache mit dem lassen, vor allem vielleicht in La forza del (Gasthof “Zum Hosenband”) feuchtfröhlich braucht wohl kaum zu erwähnen, dass es sich altehrwürdigen Meister legte Boito mit seiner destino, und zuweilen heiterte er mit Hilfe beisammen sitzen. Der stürmische dabei auch um ein hervorragendes

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musikalische Porträt von Falstaff handelt. diesem komplizierten Nonett verflochten. berühmter Herzensbrecher. Er erwidert: “I Gespräch. In scheinbar ehrerbietigem Ton In der zweiten Szene entsteht, wie schon bei Doch ihre romantischen Turteleien scheinen know. Continue.” Diese Hybris, von Verdi so berichtet Ford, dass eine gewisse Bürgerin von der ersten, der Eindruck, dass wir mitten in durchweg von einem Hauch Melancholie verschmitzt vertont, wird er später noch Windsor ihn nicht erhören wolle. Er erklärt die Handlung eintreten. Bei Alice, Meg, Mrs. durchzogen, so als rufe der greise Komponist bereuen. Ebenso knapp und passend ist der sich bereit, Bargeld auf den Tisch des Hauses Quickly und Nannetta, der Tochter des sich die Leidenschaft vergangener Tage in Satz, mit dem Quickly bemerkt, Ford sei zu legen (im Orchester klingeln die Münzen), Ehepaars Ford, herrscht eine muntere Erinnerung. Das concertato für alle diese “Dalle due alle tre” (von 11 bis 12) unterwegs wenn nur Falstaff die Dame in seinem Namen Stimmung, als die beiden “Weiber” feststellen, Charaktere ist ein komplexer Strang aus Text – ein weiterer Beweis dafür, dass Verdi sich in umwerben wolle. Dann kommt das Orchester dass sie von Falstaff gleichlautende Liebesbriefe und Musik, der im Gesamtwerk Verdis Sachen Komik kurz zu fassen weiß. Als plötzlich ganz zum Schweigen, als Ford wie erhalten haben. Ihre Gefühle kommen in einzigartig ist. Das Durcheinander der Quickly Falstaff von Megs Leidenschaft für vom Donner gerührt erfährt, dass Falstaff lebhaftester Form in einem flotten, Stimmen verklingt schließlich, und zum ihn erzählt, ruft er: “Alice is mine!” In einem bereits ein Rendezvous mit Alice Ford geistreichen Schlagabtausch zum Ausdruck. Abschluss dieses herrlichen Aktes wiederholt kurzen, aber bezeichnenden Arioso, das für den vereinbart hat. Fords heimliche Wut lässt sich Fast scheint es, als wolle Verdi über seinen Alice die lyrische Phrase, mit der sie Falstaff neuen, knappen Stil Verdis sehr typisch ist, kaum verbergen, als Falstaff im Überschwang früheren, leidenschaftlichen Stil spötteln, als er verspottet. stolziert Falstaff prahlerisch im Zimmer umher musikalischer Prahlerei verspricht, er wolle Alice die hochfliegende Phrase “Your radiant Die erste Szene des 2. Aktes ist fast und freut sich, dass die Frauen ihm nach wie Ford im Auftrag “Fontanas” Hörner aufsetzen. image will shed its light on me” in den Mund ausschließlich zwei Zwiegesprächen gewidmet: vor verfallen sind. Die in der Haltung Falstaffs enthaltene Ironie legt, während sie und Meg sich über den zwischen Falstaff und Quickly einerseits und Dann meldet Bardolfo, dass ein gewisser und Selbsttäuschung und die Wut Fords selbstgefälligen Dünkel des alten Knaben Falstaff und Ford andererseits. Auch das “Signor Fontana” (eine wörtliche Übersetzung schwingen während ihrer Unterhaltung lustig machen. Die zwei Frauen verfallen Possenhafte an der ersten Begegnung ist für von Shakespeares “Master Brook”) eingetroffen ständig mit. Falstaff ist in die Falle gegangen hilflos in Gelächter, das auf geradezu den Komponisten etwas Neues. Bardolfo und sei und mit Falstaff sprechen wolle. In und wird sein blaues Wunder erleben. unglaubliche Weise mit der musikalischen Pistola tun zerknirscht und machen sich Wirklichkeit handelt es sich aber um den Kaum ist Falstaff abgegangen, um sich für Struktur verquickt ist. In einem dicht Vorwürfe – ein Vorgang, der vom Orchester maskierten Ford. Er überreicht eine sein Rendezvous am Nachmittag fein zu gewebten Ensemble hecken sie einen Plan aus, veranschaulicht wird. Der Auftritt Quicklys Korbflasche mit zyprischem Wein als machen, tritt der Verdi des Otello wieder in um Falstaff seine wohlverdiente Strafe wird von würdevoller, an ein Menuett Geschenk und sichert sich so eine besonders Erscheinung, und in einem an Jago zukommen zu lassen. erinnernder Musik begleitet, die beim Wort herzliche Aufnahme. Er gibt vor, Falstaffs erinnernden Ausbruch grübelt Ford über seine Dies wird erweitert, als die Männer “Reverenza!” (Sir, your servant) mit einem fast Hilfe zu brauchen und legt als Anreiz einen scheinbar desolate Lage nach: Wie kann das auftreten und ihrerseits beschließen, wie sie lautmalerischen Knicks ihren Höhepunkt Beutel Geld auf den Tisch. Die nun folgende nur sein? In einer tiefen, lang ausgehaltenen gegen Falstaff vorgehen wollen. Auf geradezu erreicht. Quickly schmiert Falstaff Honig um Unterredung darf als Quintessenz der vielen Phrase, die ganz am unteren Ende des meisterhafte Weise wird das Liebesthema für den Bart, indem sie ihm falsche Komplimente Duette in dieser Verdi-Oper gelten – so subtil, Baritonregisters beginnt, bringt er die Nannetta und ihren Geliebten Fenton mit macht und ihm vorgaukelt, er sei ein nahtlos und natürlich ist das musikalische Heftigkeit seiner Gefühle zum Ausdruck. Aber

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als er gerade loswettern will, tritt Falstaff stimmt er – vielleicht etwas unpassend – die hinter einem Schirm versteckt haben. sich um Mitternacht mit Alice an Hernes piekfein herausgeputzt wieder auf, und in der entzückende Arietta “When I was page” an, in Insgesamt wird das in den früheren Werken Eiche zu treffen. Partitur setzt sich die leichte Stimmung erneut der er sich daran erinnert, wie schlank er Verdis übliche concertato (große Ensemble) im Danach scheint die Instrumentierung in durch. Es ist ein begnadeter Einfall des einmal als Page in Diensten des Herzogs von Sinne seiner auf Komik ausgerichteten dieser Szene von einer geheimnisvoll- Komponisten, der auf geistreichste Weise Norfolk war. Die beschwingte Musik beweist Absichten so weiter entwickelt, dass es kaum nächtlichen Stimmung durchzogen zu sein, als fortgesetzt wird, als die beiden sich darüber wieder einmal, welchen Grad der Verfeinerung wiederzuerkennen ist. das phantastisch-magische Element in die streiten, wer beim Verlassen des Raums den Verdi in seiner letzten Oper erreichte. Im 3. Akt, der mit einem kurzen, brillanten Klangstruktur einfließt. Vor einem Vortritt haben soll. Diese hervorragend Als Quickly auf die Bühne stürzt und in Präludium beginnt, werden wir zeugen, wie hauchzarten Hintergrund werden die Pläne für geschriebene Szene endet also in reinster gespielter Aufregung berichtet, dass Meg sich ein trübseliger Falstaff nach seinem die Maskerade im Wald und für den zweiten Komik. nähert, versteckt sich Falstaff. Meg ihrerseits unfreiwilligen Bad über sein schlimmes Streich ausgeheckt, den man Falstaff spielen In der nächsten Szene, die das Herzstück verkündet, die Männer seien im Anzug, Schicksal nachsinnt. Hier und da klingt etwas will. Das Komplott wird subtil skizziert, wobei der Oper bildet, bekommt Falstaff seiner wutentbrannt und auf Falstaff aus. Der Lautmalerei an, als er beschreibt, was ihm im ein klarer Hinweis mit anklingt, dass Ford Strafe ersten Teil. Nachdem Quickly den angesehene Musikwissenschaftler Donald Wasser zugestoßen ist. Erst als er an einem davon abgehalten werden soll, Nannetta zur anderen lustigen Weibern von ihrer Tovey schrieb einmal, dass die Oper “von der Gläschen Wein nippt, beleben sich seine Heirat mit dem greisen Cajus statt mit ihrem Begegnung mit Falstaff berichtet und dabei Ausführung her etwas Chinesisches” habe. Was Geister wieder. Er beschreibt, wie ein kleiner Geliebten Fenton zu zwingen. Am Ende der ihre Unterhaltung im Gasthaus “Zum er damit meinte, kann man am Rest dieser “grillo” (eine Grille) einem Mann ins Blut Szene rufen Nannetta, Alice und Quickly sich Hosenband” aufs Lebhafteste nachgeahmt hat, Szene erkennen, in dem das musikalische eingeht, wenn er “brillo” (angetrunken) ist, hinter den Kulissen – ein magisches Ende stimmen alle in einen mitreißenden, flotten Gefüge straff aufgebaut ist und doch zart und und wie der Körper dadurch von einem einer magischen Szene. Austausch von Geistesblitzen ein: Was für federleicht wirkt. Verdi hat durchaus eine “trillo” (Triller) widerhallt. Daraufhin hören Die letzte Szene im Park von Windsor, bei einen Empfang sollen sie Falstaff bereiten? Antwort auf die rasche Entwicklung der wir (herrlicher Einfall) im Orchester einen der Hernes Eiche im Mittelpunkt steht, steckt Plötzlich wird er vor dem Haus Fords erspäht, Handlung und der Charaktere parat; sie gewaltigen Triller, der den Wein verkörpert, voller feenhafter Klänge. Sie beginnt mit und alle gehen ab – außer Alice, die auf der gipfelt darin, dass Falstaff aus dem der durch Falstaffs Körper jagt und ihn wieder Fentons Sonett, einer Art stillen Reminiszenz, Laute spielt, als Falstaff auftritt. Seine Wäschekorb (in dem er sich zum Vergnügen belebt. Doch kaum ist er wieder der Alte, als in der alle für den Tenor geschriebenen Galanterie und zunehmende Leidenschaft- der lustigen Weiber vor dem wutentbrannten Quickly auftritt und zur Bestürzung unseres Liebeslieder aus früheren Verdi-Opern lichkeit werden, ebenso wie die sittsamen Ford und seinen Begleitern versteckt hatte) in Helden ihre “Sir, your servant!” wiederholt. Es anklingen. Als Krönung singt hier Nannetta Antworten der Alice, auf schönste Weise im die Themse gekippt wird. Die wenigen gelingt ihr aber, ihn wieder an der Nase die letzte Zeile zu Ende. Aber Verdi wendet Orchester geschildert: Hier wird das Rezitativ ruhigen Augenblicke, die ihrerseits nahtlos in herumzuführen: Sie macht ihm weis, dass sich vom Emotionalen ab, als Alice das mit Begleitung zur hohen Kunst. Als Alice sich den Aufbau der Szene einfließen, sind dem Alice mit seinem Missgeschick nichts zu tun Tête-à-tête stört und die Masken austeilt. über Falstaffs wohlgerundete Gestalt äußert, Gespräch der Liebenden gewidmet, die sich hatte, und er fällt auf ihren Vorschlag herein, Falstaffs recht ängstlicher Auftritt wird

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anschaulich vermittelt, als er die einer komplexen, von Falstaff angeführten Fuge die Ehefrauen von zwei wohlhabenden 2. Akt mitternächtlichen Glockenschläge zählt. Dann – ein zünftiger, inspirierter Abschluss für ein Kaufleuten am Ort. 4 Er überreicht seinen Im Gasthof Zum Hosenband stimmt Nannetta ihr zartes, poetisches einzigartiges Werk und die unvergleichliche beiden Gefolgsleuten soeben verfasste 15 Bardolfo und Pistola spiegeln Reue vor und Feenlied an, das sich durch eine besonders Karriere eines Opernkomponisten. Liebesbriefe mit der Anweisung, sie entschuldigen sich bei Falstaff für ihr grazile Instrumentierung und eine raffinierte schnellstens zu überbringen. 5 Als die beiden Benehmen. 16 Mrs. Quickly tritt auf und Melodie auszeichnet. Von dem Moment an, © 2002 Alan Blyth plötzlich moralische Bedenken entwickeln, übermittelt die Antworten von Alice und als Falstaff von allen Anwesenden verspottet Übersetzung: Andreas Klatt hält Falstaff ihnen einen Vortrag über ihre Meg. Falstaff wird gebeten, Alice zwischen elf wird, wartet Verdi mit einem ganzen Stoß sogenannte “Ehre” und jagt sie davon. und zwolf Uhr zu besuchen; 17 – 18 Meg innovativer Ideen auf, wobei er unter anderem Handlung aber kann kein Rendezvous vereinbaren. mit einer Pseudolitanei sogar sein eigenes Schauplatz des Geschehens ist die Stadt Windsor Garten bei Fords Haus 19 – 22 Umso größer ist Falstaffs Freude, als Requiem parodiert. 6 – 9 Alice und Meg stellen fest, dass sie ein Fremder – Master Brook (Ford in Als Bardolfos Maske verrutscht, beginnt der COMPACT DISC ONE jeweils gleichlautende Liebesbriefe erhalten Verkleidung) – ihm Geld anbietet, damit er Knoten sich zu lösen. Falstaff stellt fest, dass er haben, und beschließen, ihrem Freier eine Alice verführt und so dem vermeintlichen wieder genarrt worden ist. Das Ehepaar Ford 1. Akt Lektion zu erteilen. Ihre Nachbarin Mrs. Fremden den Weg bereitet. 23 – 24 Nachdem gibt zu, ihn auf unfreundliche Weise verspottet Im Gasthof Zum Hosenband Quickly erklärt sich gern bereit, als Sir John den Raum verlässt, um sich für sein zu haben. Falstaff ist nicht allzu betroffen und 1 Sir John Falstaff hat gerade zwei Briefe Vermittlerin zu dienen und Falstaff zu einem amouröses Treffen mit Alice fein zu machen, weist – wenn auch etwas weit hergeholt – versiegelt, als Dr. Cajus auftritt und ihn Rendezvous zu überreden. Pistola und wettert Ford über Falstaff und Alice, die er darauf hin, dass andere durch ihn etwas zu wütend mit Anschuldigungen überhäuft. Er Bardolfo, von Falstaff entlassen, hinterbringen tatsächlich der Untreue für schuldig hält. lachen hatten. Dann kommt der Moment, wo beklagt sich beim beleibten Ritter über dessen Ford indessen Falstaffs Plan und erhoffen sich Ford seinerseits hinters Licht geführt wird, Kumpanen, Bardolfo und Pistola, die ihn, so dafür eine Belohnung. Ford beschließt, die COMPACT DISC TWO denn Cajus muss feststellen, dass er den sagt er, betrunken gemacht und anschließend Treue seiner Ehefrau auf die Probe zu stellen verkleideten Bardolfo geehelicht hat, während bestohlen hätten. Doch alle lachen ihn aus, und stattet Falstaff einen Besuch ab, bei dem Im Haus Fords Ford dem zweiten, ebenfalls maskierten Paar, und er stürmt davon. 2 Falstaff studiert seine er – in Verkleidung – um Hilfe bei der 1 – 2 Mrs. Quickly berichtet Alice und Meg Nannetta und Fenton, seinen Segen gegeben wöchentliche Zeche, und als er feststellt, dass Verführung seiner eigenen Frau bittet. vom uneingeschränkten Erfolg ihrer Mission. hat. Alice überredet ihren Ehemann, sich in das er ernsthaft knapp bei Kasse ist, verfällt er in 10 – 14 Fords Tochter Nannetta trifft sich 3 – 6 Die Damen treffen Vorbereitungen Unvermeidliche zu fügen und sich mit dem Rage und gibt seinen beiden verschwender- heimlich mit ihrem Liebhaber Fenton, obwohl für den Empfang, den sie Falstaff bereiten neuen Schwiegersohn abzufinden. Bevor sich ischen Kumpanen die Schuld. 3 Doch er hat Ford die Heirat der beiden untersagt hat, weil wollen: Ein Wäschekorb wird hereingeholt, in alle zum Festmahl mit Falstaff aufmachen, einen raffinierten Plan, der ihn sanieren soll. er Dr. Cajus als Nanettas künftigen Bräutigam dem Falstaff sich verstecken soll, sobald Meg – schenkt Verdi uns ein glänzendes Finale mit Er will Alice Ford und Meg Page verführen, ausgewählt hat. fälschlicherweise – Alarm schlägt und so tut,

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als ob Ford unerwartet heimgekehrt sei; die eine weitere Einladung von Alice überbringt, er mit Nannetta verschwinden soll, um Fords haben die Männer überlistet, und Falstaff Dienstboten sollen dann den Inhalt des aber nach einigem Zögern lässt er sich Pläne zu durchkreuzen. Alice hat vor, Fenton eröffnet den fugalen Schlussgesang, in dem sich Korbes in die Themse werfen. Alice bemerkt, überreden, die Einladung anzunehmen. an die Stelle von Dr. Cajus treten zu lassen. alle lachend versöhnen. dass ihre Tochter bei dem Streich nicht 15 Falstaff soll sich um Mitternacht im Wald 20 – 21 Um Mitternacht erscheint der mitmacht; als sie erfährt, dass Nannetta von Windsor an “Hernes Eiche” einfinden. An maskierte Falstaff mit Hirschgeweih und © 2002 English National Opera ganz aufgelöst ist, weil der Vater auf einer diesem Baum soll sich der Legende zufolge der beginnt, Alice (und auch Meg) den Hof zu Hochzeit mit Dr. Cajus besteht, versichert schwarze Jäger erhängt haben, und sein machen. 22 – 26 Aber beide Frauen laufen Andrew Shore gilt als führender britischer Alice dem Mädchen, dass sie das nicht gehörnter Geist spukt angeblich nachts im davon, als sie scheinbar übernatürliche Baritonbuffo und als herausragender zulassen werde. Wald. Um mögliche Zeugen in Angst und Geräusche hören. Ihr Freier bleibt allein zurück Sänger/Schauspieler. Er hat mit der English 7 – 11 Das Komplott der Frauen verläuft Schrecken zu versetzen, soll Falstaff sich und wird von einer Bande von Kobolden und National Opera, The Royal Opera, Opera wie geplant, bis Mrs. Quickly herbeigestürzt als Hernes Geist verkleiden und ein Elfen gequält. 27 Der Streich gelingt – aber North, Glyndebourne Festival Opera, Scottish kommt, um Alice eine Warnung zu Hirschgeweih auf dem Kopf tragen. Was dann erkennt Falstaff Bardolfos rote Nase Opera und Welsh National Opera überbringen: Ford ist tatsächlich in Begleitung Sir John nicht weiß, ist dass ganz Windsor bei wieder. zusammengearbeitet und ist im Ausland mit einer Schar von Begleitern (Dr. Cajus, Fenton, diesem neuen Streich mitmacht und sich – 28 Ford verspottet Falstaff wegen seiner der San Diego Opera, New Israeli Opera, Bardolfo und Pistola) im Anzug, um Falstaff ebenfalls in Verkleidung – im Wald einfinden Selbsttäuschung und zwingt ihn, seine Fehler Opéra National de Paris-Bastille, Opéra zu erwischen und die treulose Alice zu wird. einzugestehen. Doch Falstaff hat das letzte Wort, Comique und dem Gran Teatre del in beschämen. 12 Doch nur Nannetta und 16 Ford freut sich schon darauf, Falstaff denn wie er zu Recht bemerkt, haben andere Barcelona sowie in Lyon, Nantes, Santa Fe, Fenton werden als Liebespaar entlarvt, und als erneut eine Lektion zu erteilen – umso mehr, durch ihn etwas zu lachen. 29 Ford gibt seine Montpellier, Kopenhagen, Amsterdam, Ford Falstaff und die schmutzige Wäsche im als er hofft, im Zuge der mitternächtlichen Zustimmung für die Eheschließung von zwei Vancouver und Ottawa aufgetreten. Fluss schwimmen sieht, räumt er ein, dass Verwirrung im Wald die Trauung von Paaren. Bei dem einen, so nimmt er jedenfalls Sein Repertoire umfasst u.a. die Titelrollen er Alice zu Unrecht der Untreue verdächtigt Nannetta und Dr. Cajus abzuwickeln. Doch an, handelt es sich um Dr. Cajus und Nannetta, in Wozzeck, Falstaff, King Priam, Gianni hat. Mrs. Quickly wird Zeugin dieser Intrige und das andere ist ihm unbekannt. 30 Als die Paare Schicchi und Don Pasquale sowie Dulcamara beschließt, Fords Plan zu vereiteln (und auch die Masken abnehmen, muss Ford nicht nur (L’elisir d’amore), Don Alfonso (Così fan tutte), 3. Akt ihm eine Lektion zu erteilen): Ein anderer soll feststellen, dass Dr. Cajus und Bardolfo Figaro (Le nozze di Figaro), Papageno Vor dem Gasthof Zum Hosenband sich als Nannetta verkleiden. miteinander vermählt wurden, sondern dass er (Die Zauberflöte), King Dodon (Le Coq d’or), 13 Falstaff erholt sich von seinem selbst dem Bund zwischen Nannetta und Leandro (Die Liebe zu den drei Orangen), Dikoy unfreiwilligen Bad und schimpft angesichts Wald von Windsor bei Nacht Fenton seinen Segen gegeben hat. Ford gesteht, (Kát’a Kabanová), Dr. Kolenaty (Die Sache dieser Ungerechtigkeit über die ganze Welt. 17 – 19 Die Frauen versammeln sich bei dass er genauso raffiniert hinters Licht geführt Makropulos), Siskov (Aus einem Totenhaus), 14 Er reagiert unwirsch, als Mrs. Quickly ihm Hernes Eiche und lassen Fenton wissen, wann worden ist wie Falstaff. 31 Die lustigen Weiber Frank (Die Fledermaus), Baron (La Vie

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parisienne), Baron Trombonok (Il viaggio a (Rinaldo) in Sydney. Außerdem hat man sie an Libenskof (Il viaggio a Reims) in Bologna, Chandos/Peter Moores Foundation), Reims), George Wilson (The Great Gatsby), der San Francisco Opera, Wiener Staatsoper, Don Ramiro (La Cenerentola) in Basel, Oreste St. Paul von Mendelssohn (für Chandos), Alberich in konzertanten Aufführungen von in Mailand, Berliner Staatsoper, (Ermione) in Santa Fe, Tamino (Die Un ballo in maschera und Trial by Jury. Das Rheingold, Varlaam (Boris Godunow) und Bayerischen Staatsoper und Pariser Opéra Zauberflöte) in , an der Leipziger Außerdem hat er bei Videofilmen von Faninal (Der Rosenkavalier). sowie in Hamburg, Zürich, Washington und Oper, der Scottish Opera und bei den Billy Budd und Die Entführung aus dem Serail Zu seinen Schallplattenaufnahmen gehören Glyndebourne erlebt, und oft kehrt sie in ihre Salzburger Festspielen, Tom Rakewell (The mitgewirkt. die Titelrolle in Don Pasquale, Leporello australische Heimat zurück, wo sie zahlreiche Rake’s Progress), Tamino und in der Titelrolle (Don Giovanni), Dr. Bartolo (The Barber of Rollen gesungen hat. 1989 wurde sie für ihre von Le Comte Ory bei der Glyndebourne Susan Gritton, 1994 mit dem Kathleen Ferrier Seville), Dulcamara (The Elixir of Love), Verdienste um die Musik mit dem Order of Touring Opera, Nemorino (L’elisir d’amore) Memorial Prize ausgezeichnet, studierte Mesner (Tosca), Faninal in Der Rosenkavalier Australia geehrt. und Argirio (Tancredi) an der Frankfurter Botanik in Oxford und London, bevor sie ihre (Auswahl) und La Bohème, alle für Zu den zahlreichen Aufnahmen Yvonne Oper, Flute (A Midsummer Night’s Dream) an Gesangslaufbahn antrat. Sie tritt regelmäßig Chandos/Peter Moores Foundation. Kennys zählen Le nozze di Figaro, der Metropolitan Opera, Candide an der landesweit bei Kammerkonzerten auf, und als Die Entführung aus dem Serail, Elgars Chicago Lyric Opera, Arnalta (L’incoronazione erfahrene Konzertinterpretin hat sie auch im Die aus Sydney stammende Yvonne Kenny The Kingdom, The Beggar’s Opera und di Poppea) an der San Francisco Opera und Amsterdamer Concertgebouw, im Wiener zählt zu den renommiertesten Sopranistinnen Gloriana von Britten, Händels Deborah, Edgardo (Lucia di Lammermoor) an der Welsh Konzerthaus und an der Philharmonie in ihrer Generation. Nachdem sie den Kathleen The Canterbury Pilgrims von Dyson (für National Opera. Berlin gesungen. Ferrier Wettbewerb gewonnen hatte, kam sie Chandos), eine Auswahl aus Der Rosenkavalier Barry Banks ist auch der Konzertbühne Zu ihren Opernrollen zählen Susanna (Le an die Royal Opera Covent Garden, wo sie und eine CD mit großen Opernarien (für verpflichtet; so hat er bei der Petite Messe nozze di Figaro) und Zerlina (Don Giovanni) unter anderem die Pamina (Die Zauberflöte), Chandos/Peter Moores Foundation); für solennelle von Rossini mitgewirkt, in Fidelio an der Glyndebourne Festival Opera und mit Ilia (Idomeneo), Susanna (Le nozze di Figaro), hat sie Donizettis Emilia di mit dem City of Birmingham Symphony der Glyndebourne Touring Opera; Adina (L’elisir d’amore), Liù (Turandot), Liverpool, L’eremitaggio di Liverpool und Ugo, Orchestra unter Leitung von Walter Weller, in Gouvernante (The Turn of the Screw) und Aspasia (Mitridate) und Donna Anna Conte di Parigi sowie Il crociato in Egitto von Brittens War Requiem, in Bruckners Requiem Lucia (The Rape of Lucretia) unter Leitung von (Don Giovanni) gesungen hat. Meyerbeer aufgenommen. mit dem Scottish Chamber Orchestra unter Steuart Bedford in Snape Maltings; Marenka Internationalen Ruhm errang sie in den Leitung von Sir Charles Mackerras sowie bei (Die verkaufte Braut), Euridice (Orfeo), Thalie großen Händel-Rollen, vor allem Semele und Barry Banks, einer der Spitzentenöre seiner einer Aufführung von Rossinis Armida beim und Clarine (Platée) und Tiny (Paul Bunyan) Alcina (Covent Garden und , Generation, studierte am Royal Northern Edinburgh Festival. an der Royal Opera, Covent Garden; Romilda Venedig), Romilda (Xerxes) für die English College of Music. Er ist u.a. in der Titelrolle Aufgenommen hat er u.a. Don Ottavio (Xerxes) und Cleopatra (Giulio Cesare) an der National Opera und die Bayrische Staatsoper, von The Rake’s Progress an der English National (Don Giovanni), Nemorino (The Elixir of Bayerischen Staatsoper, München; Belinda sowie Cleopatra (Giulio Cesare) und Armida Opera aufgetreten, als Belfiore und auch Love), Ernesto (Don Pasquale) (alle für (Dido and Aeneas) an der Deutschen

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Staatsoper Berlin und Marzelline (Fidelio) (Madam Butterfly), Guglielmo (Così fan tutte), Alice Coote absolvierte ihr Studium an der sängerin ist sie zunehmend gefragt und hat bei in Rom. Als Solistin der English National Cecil in Mary Stuart von Donizetti, Belcore Guildhall School of Music and Drama, am Kammerkonzerten in der Wigmore Hall und Opera hat sie Atalanta (Xerxes), Caroline (The Elixir of Love), Lescaut in Massenets Royal Northern College of Music (wo sie von im BBC Rundfunk mitgewirkt. Unter anderem (The Fairy Queen), Schwester Constance Manon, Ottakar (Der Freischütz), Marcello der Peter Moores Foundation gefördert wurde) hat sie The Choice of Hercules aufgenommen. (The Carmelites), Xenia (Boris Godunov), (La Bohème) und Escamillo (Carmen) erlebt und am . Pamina (The Magic Flute), Drusilla (The hat. Er hat außerdem in einer Koproduktion Auf der Opernbühne hat sie Cherubino, Clive Bayley war Stipendiat der Peter Moores Coronation of Poppea), Nannetta (Falstaff ), der English National Opera und der Mark Penelope (Il ritorno d’Ulisse in Patria), Foundation und singt heute regelmäßig mit den die Titelrolle in The Cunning Little Vixen, Morris Dance Group die Baritonrolle in Dorabella und Tamiri (Il Re Pastore) für die großen Opernensembles. Sein Repertoire reicht Fiordiligi (Così fan tutte) und Sophie Händels L’Allegro gesungen. Zu seinen Opera North gesungen; Fortuna und Valetto von Monteverdi bis Verdi, Puccini, Berg, (Der Rosenkavalier) gesungen. weiteren Rollen zählen Junius (The Rape of (L’incoronazione di Poppea) für die Welsh Britten und Birtwistle. Er debütierte an der Ihre Aufnahmen für Chandos umfassen Lucretia) für die Lausanne Opera, Ford National Opera; Cherubino für die Scottish Royal Opera Covent Garden in der Premiere Ottone in Villa von Vivaldi, Sir John in Love, (Falstaff ) für die English National Opera, Opera; Proserpina (Orfeo), Meg Page (Falstaff ) von Harrison Birtwistles Gawain und trat The Pilgrim’s Progress, St. Paul von Sharpless für die Cincinnati Opera, Antonio und die Titelrolle in The Coronation of Poppea anschließend als Colline in La Bohème auf. Mendelssohn, Messen von Haydn sowie Aida in konzertanten Aufführungen von Linda di für die English National Opera; Page (Salome) Beachtliche Erfolge verzeichnete er mit der (letztere in Verbindung mit der Peter Moores Chamounix mit Mark Elder und dem und Ruggiero (Alcina) für die Stuttgarter Oper Opera North in Verdis Jerusalem, Sparafucile Foundation). Susan Gritton ist Mitglied der Orchestra of the Age of Enlightenment, Don und beim Edinburgh Festival; Flower Maiden (Rigoletto), Referee in Playing Away von English National Opera. Giovanni für die Calgary Opera, Rollen in (Parsifal ) sowie Aufführungen an der Opéra de Benedict Mason, Ferrando (Il trovatore), Arkel Candide mit dem London Symphony Paris Bastille, in Nancy, Nantes und bei den (Pelléas et Mélisande) und Wurm (Luisa Miller), Ashley Holland studierte an der Universität Orchestra/Kent Nagano und in Der Salzburger Festspielen. Ihr US-Debüt an der in der Titelrolle von Le nozze di Figaro, als Warwick und am Royal Northern College of Protagonist und Royal Palace von Kurt Weill Lyric Opera of Chicago in der Rolle des Hänsel Doktor (Wozzeck), Biterolf (Tannhäuser) und Music, wo er den Webster Booth/Esso mit dem BBC Symphony Orchestra unter (Hänsel und Gretel ) war ein großer Erfolg. Antinoo (Il ritorno d’Ulisse in Patria); mit der Wettbewerb gewann und mit der Curtis Leitung von Sir Andrew Davis, sein Debüt an Auf der Konzertbühne beherrscht sie ein Opera Factory in Don Giovanni; mit der Goldmedaille ausgezeichnet wurde. Er war der Bastille Opéra als Bosun (Billy Budd) und Repertoire, das von den Oratorien Bachs und English National Opera in Billy Budd und Stipendiat der Peter Moores Stiftung und sein Debüt bei der Semperoper Dresden als Händels bis zu Werken von Mahler, Debussy Wozzeck, als Cadmus (Semele), die vier gewann 1998 den Ranieri i Cestelli Ford. und Britten reicht, und sie ist unter Leitung dämonischen Gegenspieler in Les Contes Opernwettbewerb in Hamburg. Zu seinen Schallplattenaufnahmen gehört von Dirigenten wie Nagano, Pesek, Menuhin, d’Hoffmann, Collatinus (The Rape of Lucretia) Zur Zeit singt er solistische Baritonrollen an u.a. Belcore (The Elixir of Love) für Salonen, Dohnányi und Christie in London, und Pistolo in Falstaff. Im Ausland ist Clive der English National Opera, wo man ihn u.a. Chandos/Peter Moores Foundation Paris, Wien, Amsterdam, Brüssel, Madrid und Bayley an der Nederlandse Opera und der als Zurga (The Pearl Fishers), Sharpless aufgenommen. Salzburg aufgetreten. Auch als Kammer- Seattle Opera sowie in Lissabon und Lausanne

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aufgetreten. Zu seinen weiteren Verpflichtungen Montpellier, Quint (The Turn of the Screw) vielen europäischen Ländern gastiert. Seit Richard Roberts studierte an der Universität zählten Fischer in Kurt Weills Royal Palace bei für die Russlandtournee der English National ihrem Debüt an der English National Opera Kansas, der Chatauqua School of Music in den Promenade Concerts der BBC sowie Opera 1990, Trouffaldino (Die Liebe zu 1998 als Emilia (Otello) hat sie dort Mrs. New York und bei Anthony Laciura von der Auftritte an der Glyndebourne Festival Opera den drei Orangen) für die ENO, Sinowi Sedley (Peter Grimes), Annina (Der Metropolitan Opera sowie bei Audrey und mit der Glyndebourne Touring Opera. (Lady Macbeth von Mzensk) in Toulouse Rosenkavalier), Geneviève (Pelleas and Langford, Felicity Palmer und Robert Dean. Für Chandos hat er Troilus and Cressida und und Marseilles, Idomeneo in Drottningholm, Melisande), Ottavia (The Coronation of Als Solist der English National Opera hat Billy Budd und für Chandos/Peter Moores die drei Tenorrollen in Lulu in Châtelet, Poppea), Flosshilde (The Rhinegold ), Mrs. Richard Roberts zahlreiche Rollen gesungen, Foundation Madam Butterfly, Don Giovanni, Aegisth in Karlsruhe, L’occasione fa il ladro Quickly (Falstaff ), Fürstin Maria Bolkonski darunter Rinuccio (Gianni Schicchi), Boris Godunov (Auswahl) Don Pasquale und bei den Schwetzinger Festspielen und in (War and Peace), Mother Goose (The Rake’s Edmondo (Manon Lescaut), Abbé (War and Il trovatore aufgenommen. Köln, Bob Boles in Covent Garden, an der Progress) und Suzanne in der Weltpremiere von Peace), Lehrer (Lady Macbeth of Mtsensk), Münchner Staatsoper, in (Genova) und A Better Place von Martin Butler gesungen. Don Riccardo (Ernani), Bardolfo (Falstaff ) Stuart Kale gilt international als einer der Straßburg, Captain Vere (Billy Budd ) in Zur Zeit wirkt sie als Solistin an der English und Rodrigo (Otello). Weitere Verpflichtungen besten singenden Schauspieler in der Welt der Köln, Gregor (Die Sache Makropoulos) und National Opera. waren Candide für die Eugene Opera, Oper, mit einem breit gefächerten Repertoire Herodes, beide in Neuinszenierungen in Zu ihren weiteren Rollen zählen Moksada Oregon, Jiri (The Jacobin) für die Scottish von Monteverdi bis Messiaen. Seine Karriere Straßburg. (Snatched by the Gods von Param Vir) für die Opera, Pinkerton (Madama Butterfly) in begann an der Welsh National Opera, bevor er Seine Diskografie umfasst u.a. Goro Scottish Opera, Gaea (Daphne), Die Raymond Gubbays Inszenierung in der zur English National Opera kam, wo er acht (Madam Butterfly), Schuiski (Boris Godunov – alleswissende Muschel (Die ägyptische Helene) Royal Albert Hall und Scaramuccio Jahre lang in Rollen wie Don Ottavio (Don Auswahl) und Rodrigo (Otello), alle für und Leda (Die Liebe der Danae) für die (Ariadne auf Naxos) mit der City of Giovanni), Michael (Julietta von Martinuº), Chandos/Peter Moores Foundation. Garsington Opera sowie die Titelrolle in London Sinfonia unter Leitung von Alfred (Die Fledermaus) und Nanki-Poo Händels Flavio (Opera Theatre Company, . in Jonathan Millers Inszenierung von Rebecca de Pont Davies stammt aus London Dublin). Rebecca de Pont Davies tritt auch Richard Roberts ist auch ein erfolgreicher The Mikado auftrat. und absolvierte ihre Ausbildung an der gern auf der Konzertbühne auf und hat mit Konzertkünstler, so mit der Neunten von Zu seinen Bühnenverpflichtungen gehörten Guildhall School of Music und Drama, wo sie führenden britischen Orchestern u.a. die Beethoven im Brighton Dome, Elijah in der u.a. der Oberpriester (Idomeneo) in Covent zahlreiche Auszeichnungen sowie einen Preis Hauptwerke von Bach und Händel, Rossinis Kathedrale zu Sheffield, Mozarts Requiem in Garden, Hauptmann (Wozzeck) für die des Countess of Munster Musical Trust erhielt. Petite Messe solennelle, Elijah von Mendelssohn, der Royal Festival Hall, Carmina Burana in Canadian Opera Company und in San Ihr Operndebüt gab sie mit der Glyndebourne das Requiem von Verdi, Mahlers 2. Sinfonie, der Barbican Hall, Stabat Mater von Rossini in Francisco, Genf, Zürich, Montpellier, Touring Opera in Death in Venice von Britten. Sea Pictures und The Dream of Gerontius von St, John’s, Smith Square sowie festlichen Bordeaux und Bologna, Schuiski (Boris Seitdem hat sie mit bedeutenden Ensembles in Elgar sowie A Child of our Time von Tippett Opernabenden in den Landeskonzertsälen von Godunow) in Straßburg, Bordeaux und Großbritannien zusammengearbeitet und in gesungen. Cardiff, Dublin und Glasgow.

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Amanda Holden studierte Musik in Oxford, nur bei Opernvorstellungen im Londoner Brittens Billy Budd und Peter Grimes, Orchestre de Paris, Orchestre Philharmonique bevor sie ein Stipendium von der Guildhall Coliseum, sondern auch auf dem Mussorgskis Boris Godunow, Bizets Carmen de Radio France, Orchestre National de Lyon, School in London bekam, wo sie später dann Konzertpodium zu sehen. Zusätzlich sind viele und Verdis Otello. Seine Aufnahme der Tonhalle-Orchester Zürich, Göteborger Klavier unterrichtete. Seit 1987 hat sie etwa der Musiker am Baylis-Programm der für letztgenannten Oper in der von Mark Elder Sinfonieorchester, Orchestre de la Suisse fünfzig Übersetzungen für Bühnen- und Schul- und Gemeindearbeit zuständigen geleiteten Inszenierung von Jonathan Miller Romande, der Deutschen Kammer- Konzertwerke geliefert, viele davon als Abteilung des Orchesters beteiligt und wird unter der Schirmherrschaft der Peter philharmonie, dem MDR-Sinfonieorchester Auftragsarbeiten für English National Opera, arbeiten mit dem English National Opera Moores Foundation demnächst bei Chandos Leipzig, Los Angeles Philharmonic, Indianapolis English Touring Opera, Opera North und Studio an der Entwicklung neuer Opern, erscheinen, ebenso seine Aufzeichnung des Symphony und Cleveland Orchestra. Raymond Gubbay. Sie ist die Begründerin und speziell an Mark-Anthony Turnages The Silver gefeierten Ring-Zyklus unter der Leitung von An der English National Opera, die ihn Chefredakteurin des Viking/Penguin- Tassie, das im Februar 2000 uraufgeführt Sir Reginald Goodall. Andere Aufnahmen des 1997 zum musikalischen Leiter ernannte, hat er Opernführers; eine völlig übrarbeitete wurde. Aufnahmen des Orchesters für Chors für Chandos und die Peter Moores The Flying Dutchman, Falstaff, From the House Neuausgabe erschien 2001 unter dem Titel Chandos und die Peter Moores Foundation Foundation sind Maria Stuarda, Giulio Cesare, of the Dead, The Tales of Hoffmann, Manon, The New Penguin Opera Guide. Amanda sind Otello, Maria Stuarda, Giulio Cesare, Il Rigoletto (Regie: Jonathan Miller) und La Otello, Boris Godunov, La traviata, The Holden verfasste auch das Libretto für Mark- barbiere di Siviglia, Rigoletto (in der traviata. Carmelites, Der Rosenkavalier, Peter Grimes, Anthony Turnages Oper The Silver Tassie, für Inszenierung von Jonathan Miller), La traviata Pelleas and Melisande, die Weltpremiere von The das sie (ebenso wie der Komponist) mit dem und Werther. Paul Daniel gilt in weiten Kreisen als einer der Silver Tassie von Mark Anthony Turnage, Nixon Olivier Award für herausragende Leistungen im interessantesten und begabtesten Dirigenten in China, Peter Grimes (beim Aldeburgh Bereich der Oper 2001 ausgezeichnet wurde. Der Chor der English National Opera ist eine seiner Generation; er ist sowohl bei Festival), Il trovatore, War and Peace sowie Stütze der gesamten Truppe. In zahllosen Opernensembles als auch bei Orchestern in konzertante Aufführungen von Ponchiellis La Das von der Kritik ebenso wie vom Publikum Produktionen der English National Opera hat aller Welt gefragt. gioconda und Verdis Requiem dirigiert. Vor gefeierte Orchester der English National er das Publikum mit der Kraft seines Gesangs Als Gastdirigent tritt er international mit seiner Ernennung hatte er bereits in größerem Opera unter Konzertmeister Barry Griffiths und der Intensität seiner Darstellung entzückt. führenden Orchestern auf, darunter dem Umfang mit dem Ensemble zusammen- hat in den letzten Jahren mehrere angesehene Der Chor besteht aus achtundsechzig Sängern, , Orchestra of the Age gearbeitet und unter anderem bei Preise gewonnen, beispielsweise den und die weit gefächerten Talente und of Enlightenment, Bournemouth Symphony Inszenierungen wie der Weltpremiere von Musikpreis der Royal Philharmonic Society und Erfahrungen, die sie in ihre Darbietungen Orchestra, BBC National Orchestra of Wales, Harrison Birtwistles Mask of Orpheus, Le nozze einen Olivier Award für herausragende einbringen, kennzeichnen jede Inszenierung, London Philharmonic Orchestra, Royal di Figaro, Echnaton von Philip Glass, Tosca, Leistungen im Bereich der Oper. Das an der sie mitwirken. Besondere Triumphe für Philharmonic Orchestra, Royal Scottish Carmen, Rigoletto sowie – im Rahmen der Orchester ist von zentraler Bedeutung für das den Chor waren Prokofjews Krieg und Frieden, National Orchestra, Philharmonischen Feierlichkeiten zum 90. Geburtstag von Tippett künstlerische Leben der Truppe und war nicht Schostakowitschs Lady Macbeth von Mzensk, Orchester des niederländischen Rundfunks, – an Aufführungen von King Priam mitgewirkt.

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Von 1990 bis 1997 wirkte Paul Daniel als Miller, Medea, Falstaff und Tannhäuser. Von Rebecca de Pont Davies as Mistress Quickly (top left), Susan Gritton as Nannetta (top right), musikalischer Leiter der Opera North, wo die 1987 zu 1990 war er musikalischer Leiter der Yvonne Kenny as Mrs Alice Ford (bottom left) and Alice Coote as Mrs Meg Page (bottom right) Kritik seine interessanten und frischen Opera Factory. in English National Opera’s production of Verdi’s Falstaff Aufführungen würdigte. Dazu gehörten: Aufgenommen hat er u.a. die Sinfonie Ariane et Barbe-Bleue von Dukas, King Priam Nr. 3 von Elgar/Payne mit dem Bournemouth von Tippett, Don Giovanni, Schrekers Der Symphony Orchestra, Werke von Thomas ferne Klang, Boris Godunow, Don Carlos, Armstrong (für Chandos) sowie eine Auswahl Wozzeck, Gloriana, Il trovatore, Pelléas et aus Boris Godunov (für Chandos/Peter Moores Mélisande, die Weltpremieren von Michael Foundation). Im Februar 1998 wurde Paul Berkeleys Baa Baa Black Sheep und Benedict Daniel für seine herausragenden Leistungen Masons Playing Away (das bei der Münchner auf dem Gebiet der Oper mit einem Olivier Biennale als beste Inszenierung ausgezeichnet Preis ausgezeichnet, und zu Neujahr 2000 wurde und einen Preis für künsterlische wurde er mit dem Verdienstorden CBE Gestaltung gewann), ferner Jenu°fa, Luisa geehrt.

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dans d’autres avec des personnages joyeux tels transportés au milieu d’une scène déjà Verdi: Falstaff que le page Oscar dans Un ballo in maschera commencée dans laquelle Falstaff et ses acolytes (Un bal masqué). Il y a également beaucoup font la noce à l’auberge de la Jarretière (Garter Couronnement du glorieux été indien de et de The Merry Wives of Windsor (Joyeuses d’éléments d’une nature plus légère dans ses Inn). La conversation qui suit avec le grincheux Verdi, Falstaff est la vraie distillation de son Commères de Windsor) de Shakespeare, Boito musiques de ballet, en particulier celles et pédant Dr Caius, et ses furieuses plaisanteries extraordinaire réussite tout le long d’une présenta à Verdi, après consulation avec le composées pour Paris. Cependant, rien de tout avec détendu Sir John et les minables Bardolph carrière de quelque soixante ans consacrée à vénérable compositeur, le texte idéal pour cela ne nous prépare véritablement aux et Pistol, est un brillant exemple de répartie l’opéra. Parmi les grands compositeurs, seul ranimer le feu du vieux maître. Boito avait textures transparentes, aux métaphores mise en musique, un parfait hors d’œuvre à la peut-être Haydn a connu un développement également reçu la tâche très différente de spirituelles, à la représentation habile et fête musicale qui va se dérouler. Après le départ aussi stupéfiant et fructueux sur le plan du style convertir Othello en Otello, réalisant un drame amusante des personnages rencontrés dans de Caius, Falstaff se laisse aller à de nouvelles et du contenu pendant une longue période de tendu à partir du texte quelque peu informe Falstaff, qui se présente comme une œuvre plaisanteries. Elles concernent principalement composition. Dans ce triomphe final de sa de Shakespeare. Il fit exactement la même totalement sui generis. l’argent ou son manque, et culminent dans vieillesse, Verdi est à peine reconnaissable chose avec Falstaff, et offrit en même temps un Dès le début, Verdi fit clairement l’hymne “Hail, mighty Falstaff”. Puis le don comme étant le compositeur de ce qu’il qualifia livret qui s’impose comme une œuvre littéraire comprendre qu’il était en train de composer lyrique naturel de Verdi s’impose lorsque Falstaff lui-même ses “années de galère”, quand son de qualité et autonome. quelque chose de différent de tout ce qu’il avait décrit son plan de séduction à ses comparses. style se conformait à la structure et au style du Verdi en tira une comédie qui se déroule tenté auparavant, la comédie qu’il avait voulu Il disserte avec lyrisme sur les charmes respectifs temps. Pourtant, même dans les œuvres de sans effort à travers trois actes concis, sans une écrire toute sa vie, mais qu’il n’avait pu réaliser d’Alice Ford et de Meg Page. Mais quand il est cette époque, on peut trouver des signes du note ou un mot de trop, chaque élément étant faute d’un livret approprié. En un sens, comme question d’agir, les deux coquins refusent de lui changement de direction à venir. Au moment organisé pour dire et justifier sa place dans le l’écrit Julian Budden, dont les ouvrages servir d’entremetteurs, ce qui provoque une où il parvint à son chef-d’œuvre final, il avait firmament de l’œuvre. Verdi n’avait écrit consacrés au domaine de l’opéra sont si explosion de colère chez le gras Chevalier qui rejeté presque toutes les contraintes formelles et qu’une seule comédie, Un giorno di regno révélateurs, “Falstaff allait être une plaisanterie s’insurge contre l’idée d’honneur en un célèbre les méthodes de sa jeunesse, écrivant en un seul (Un jour de règne), une pièce datant du tout privée, que le public partagerait s’il le monologue. Ici, Verdi combine récitatif et aria mouvement continu dans lequel récitatif et aria début de sa carrière et fortement influencée souhaitait.” C’est certainement ce qu’il a fait. en un tout continu obéissant au sens des se succèdent l’un à l’autre avec naturel et par le modèle de Donizetti. Entre cette Dès les premières mesures, nous entendons paroles, un genre de distillation, pour la discrétion. comédie et Falstaff, le compositeur avait un nouveau Verdi: pas d’ouverture ni première fois dans cette œuvre, de tout ce qu’il a Il fut en cela considérablement aidé par son parfois inséré des épisodes comiques dans d’introduction d’aucune sorte. Nous sommes appris concernant l’art de mettre un texte en librettiste Arrigo Boito, lui-même un certaines de ses œuvres sérieuses, le plus tout de suite plongés dans le vif du sujet. En musique. Il est presque inutile de dire que c’est compositeur d’une certaine stature. Adaptant notablement peut-être dans La forza del destino effet, c’est le premier trait de génie de l’œuvre de également un remarquable portrait musical de de manière magistrale des passages de Henri IV (La Force du destin), et allégé l’atmosphère nous donner l’impression d’être immédiatement Falstaff.

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Dans la deuxième scène, nous avons de une trame complexe de paroles et de musique “Alice is mine!”, et en un brève mais parlant suffisance qu’il va tromper Ford au profit de nouveau l’impression de tomber du ciel dans sans équivalent dans toute la production de arioso, si typique du style nouveau et exigeant “Master Brook”. L’ironie et la duperie un milieu déjà établi. Alice, Meg, Mrs Quickly Verdi. Le brouhaha des voix finit par de Verdi, Falstaff se pomponne en faisant les implicites dans l’attitude de Falstaff et la fureur et Nannetta, la fille des Ford, sont d’humeur s’atténuer, et concluant un acte merveilleux, cent pas dans la pièce, tout grisé par de son de Ford sont sous-entendues tout au long de joyeuse car les deux épouses découvrent Alice répète la phrase lyrique dans laquelle elle pouvoir continuel sur les femmes. leur conversation. Falstaff est prêt pour sa qu’elles ont reçu la même missive amoureuse se moque de Falstaff. Bardolph entre alors et annonce à Falstaff chute imminente. de Falstaff. Leurs sentiments sont exprimés de La première scène de l’Acte II est presque qu’un “Signor Fontana” (une traduction Le Verdi d’Otello réapparaît aussitôt après le la manière la plus alerte en une série entièrement constituée de deux dialogues en directe de Master Brook dans la pièce de départ de Falstaff pour son rendez-vous galant d’échanges rapides teintés d’humour. Verdi duo: Falstaff et Quickly, Falstaff et Ford. La Shakespeare), Ford déguisé, vient d’arriver et de l’après-midi: dans un éclat digne de Iago, semble se gausser du style passionné qu’il a drôlerie de la première rencontre constitue un qu’il désire une audience avec Falstaff. Le Ford médite sur sa position misérable. Cela utilisé auparavant en confiant à Alice une autre nouveau départ pour le compositeur. présent d’une outre de vin de Chypre le rend peut-il véritablement lui arriver: en une phrase phrase élancée, “Your radiant image will shed Décrits de manière pittoresque par l’orchestre, encore davantage bienvenu. Il a besoin de sombre d’une longue respiration commençant its light on me”, quand elle se moque avec Bardolph et Pistol font mine d’être penauds en l’aide de Falstaff, et comme encouragement, il dans le registre le plus grave du baryton, il Meg de l’assurance pomponnée du vieux se frappant la poitrine. Accompagnée d’un place sur la table une bourse remplie de dévoile l’intensité de ses sentiments. Mais juste garçon. Les deux femmes s’écroulent en une genre de menuet solennel, l’entrée de Quickly ducats. Le colloque qui suit est une distillation au moment où il va exploser, Falstaff revient série d’éclats de rire miraculeusement culmine avec une révérence onomatopéique des nombreux duos dans l’opéra de Verdi en vêtu de son trente et un, et la partition entremêlés à la texture musicale. En un aux mots “Sir, your servant”. Elle passe de la une conversation musicale subtile s’enchaînant retrouve sa légèreté habituelle. Cette touche ensemble serré, elles commencent à réfléchir à pommade à Falstaff en une série de avec naturel. Prenant un ton apparemment inspirée du compositeur est développée par la la punition que mérite Falstaff. commentaires faussement flatteurs, le plus plein de déférence, Ford explique comment fine vanité des deux personnages discutant de L’ensemble s’élargit quand les hommes célèbre laissant entendre qu’il est un séducteur une certaine dame à Windsor demeure sourde savoir qui devrait sortir le premier. Ainsi, cette entrent en scène pour décider de leur action notoire. Falstaff répond: “I know. Continue”, à ses avances. Il est prêt à payer Falstaff argent scène superbement écrite se termine sur une contre Falstaff. A la texture complexe de ces une touche de prétention qu’il regrettera, si comptant (le cliquetis des pièces en entendu à note de pure comédie. neuf voix vient s’entrelacer de manière parfaite espièglement mise en musique par Verdi. La l’orchestre) si ce dernier accepte de faire la La scène suivante, au cours de laquelle la musique d’amour entre Nannetta et Fenton. phrase de Quickly notant que Ford est absent cour à la dame pour lui. L’orchestre s’arrête Falstaff reçoit sa première punition, constitue Leurs doux mots romantiques semblent de la maison “From eleven till twelve” (De soudainement de jouer quand Ford est le centre de l’opéra. Après la description de imprégnés d’une touche de mélancolie, deux heures à trois) est également appropriée foudroyé d’apprendre que Falstaff a déjà un Quickly aux autres joyeuses commères de sa comme si le vieux compositeur était en train et concise, une nouvelle preuve de la brièveté rendez-vous avec Alice Ford. Ford parvient à rencontre avec Falstaff, imitant avec brio leur de se souvenir d’une passion disparue. Le comique de Verdi. Quand Quickly parle du peine à contenir sa colère quand Falstaff conversation à l’auberge de la Jarretière, elles concertato qui réunit tous les personnages est penchant de Meg pour Falstaff, il s’exclame: raconte en termes musicaux pleins de combinent leurs idées sur la manière de faire

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face à l’arrivée imminente de Falstaff en un culminant avec la chute de Falstaff dans la Cependant, elle parvient à le duper en lui déguisement. L’entrée de Falstaff, en proie à échange stimulant et vif. Soudain, il est aperçu Tamise du panier à linge où il s’était caché affirmant que le désastre qui lui est arrivé n’est une certaine appréhension, est vivement marchant en direction de la maison des Ford: pour échapper à la colère de Ford et de ses pas la faute d’Alice, et il se laisse séduire par la dépeinte tandis qu’il compte les douze coups elles sortent toutes de scène à l’exception d’Alice suivants – et pour le plus grand plaisir des nouvelle idée de rencontrer Alice sous le de minuit. Ensuite, Nannetta chante un air qui se met à jouer du luth tandis que Falstaff joyeuses commères. Les quelques moments de Chêne de Herne à minuit. d’une poésie féérique et délicate, arrive. Son apparente galanterie et son ardeur repos, également parfaitement fondus dans la Dans la suite de cette scène, le mystère l’orchestration diaphane, la mélodie raffinée. croissante, habilement dépeintes par l’orchestre structure de la scène, sont les échanges entre nocturne semble imprégner la partition, tandis A partir de là, Verdi lâche la bride à tout un tandis qu’il commence sa cour, et les réponses les amants cachés derrière un paravent. Le que la fantaisie et l’enchantement illuminent la ensemble d’idées originales, incluant une pleines de réserve d’Alice, sont du récitatif traditionnel concertato (grand ensemble) des texture. Les plans pour la seconde chute de fausse litanie quand Falstaff est raillé par tous accompagné transformé en grand art. Quand œuvres précédentes de Verdi est ici développé Falstaff et pour la masquarade dans la forêt se ceux qui l’entourent. Il va même jusqu’à Alice évoque le gros ventre de Falstaff, il se de manière presque méconnaissable afin de développent sur un arrière-fond translucide. parodier son propre Requiem. lance – peut-être de manière inappropriée – servir les buts de sa comédie. Le complot est subtilement décrit, incluant la Quand le masque de Bardolph glisse, dans sa charmante arietta “When I was page”, L’Acte III s’ouvre par un prélude bref et claire indication que Ford sera empêché de l’intrigue commence à se dénouer. Falstaff rappelant sa minceur du temps où il était le brillant. Tout désabusé après sa baignade contraindre Nannetta à épouser le vieux comprend alors qu’il vient d’être à nouveau page du duc de Norfolk. Son caractère léger est forcée, Falstaff rumine sur son sort terrible. Caius au lieu de l’élu de son cœur, Fenton. dupé. Alice et Ford expliquent comment ils se un autre exemple du raffinement suprême de Des touches onomatopéiques accompagnent sa Tandis que la scène se termine, Nannetta, sont méchamment moqués de lui. Falstaff n’est l’art de Verdi dans son chant du cigne. description de ce qui lui est arrivé dans l’eau. Alice et Quickly quittent de nouveau la pas trop décontenancé, et souligne avec une Quand Quickly, faussement agitée, entre Sa mauvaise humeur ne se dissipe que quand il scène, un moment magique dans une scène charmante vanité qu’il a été la cause du rire précipitamment pour annoncer l’arrivée de avale une coupe de vin. Il explique comment magique. chez les autres. C’est maintenant au tour Meg, Falstaff se cache. Meg les prévient que les une petit “grillo” (grillon) entre par les veines La scène finale dans le parc de Windsor avec de Ford d’être dupé: Caius découvre qu’il hommes en colère s’approchent et qu’ils d’un homme quand il est “brillo” (pompette), en son centre le Chêne de Herne est déborante vient d’être marié à Bardolph déguisé, tandis veulent tuer Falstaff. L’éminent musicologue et faisant résonner son corps à un “trillo” (trille), de bruits féériques. Elle commence par le que l’autre couple, Nannetta et Fenton, analyste anglais Donald Tovey a écrit que et nous entendons dans l’orchestre – une idée sonnet de Fenton, une sorte de souvenir également déguisés, ont reçu la bénédiction l’opéra est “chinois par son exécution”. Le reste merveilleuse – un grand trille dépeignant le tranquille de toutes les chansons d’amour pour involontaire de Ford. Alice persuade son époux de cette scène explique ce qu’il veut dire: la vin parcourant le corps de Falstaff et lui ténor figurant dans les opéras précédents de d’accepter l’inévitable et son nouveau beau-fils. trame musicale est étroitement argumentée redonnant vie. Mais juste au moment où il Verdi. Ici, elle est couronnée par Nannetta qui Tout le monde se prépare à faire la fête avec malgré l’effet de légèreté suprême de sa semble complètement revenu à lui, Quickly complète le dernier vers. Mais Verdi écarte les Falstaff, mais pas avant que Verdi nous offre texture. Verdi a une réponse au mouvement apparaît, et à la consternation de notre héros, sentiments quand Alice interrompt leur un étincelant finale en forme de fugue rapide des incidents et des personnages, elle renouvelle sa “Sir, your servant”. échange galant pour distribuer à chacun son complexe conduite par Falstaff, une fin d’une

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inspiration appropriée pour cette œuvre les épouses de deux riches marchands Acte II panier pour le vider dans la Tamise. Alice unique et pour la carrière de compositeur de la ville. 4 Il tend ses lettres d’amour Une salle de l’Auberge de la Jarretière remarque que sa fille ne partage pas la lyrique de Verdi. récemment achevées à ses compagnons 15 Prenant un air contrit, Bardolph et Pistol plaisanterie; apprenant que Nannetta est pour qu’ils les portent immédiatement, s’excusent de leur conduite auprès de Falstaff. chagrinée de l’insitance de son père à vouloir © 2002 Alan Blyth 5 mais ces derniers refusent de prendre 16 Mrs Quickly entre et apporte la réponse la marier au Docteur Caius, Alice la rassure Traduction: Francis Marchal part à une entreprise aussi déshonorante. d’Alice et de Meg. Falstaff est invité à rendre en lui déclarant qu’elle ne le laissera pas Outragé, Falstaff leur fait la leçon à visite à Alice entre onze heures et midi; faire. Argument propos de leur soi-disant “honneur”, puis 17 – 18 Meg ne peut lui accorder un rendez- 7 – 11 Le plan des femmes fonctionne L’action se passe à Windsor les chasse. vous. 19 – 22 Falstaff est encore plus comme prévu jusqu’au moment où Mrs enthousiaste quand un personnage totalement Quickly fait irruption et prévient que Ford COMPACT DISC ONE Le jardin de la maison de Ford étranger – Maître Brook (Ford déguisé) – lui arrive réellement, accompagné d’une bande de 6 – 9 Alice et Meg découvrent qu’elles propose de l’argent s’il accepte de lui rendre sympathisants (Caius, Fenton, Bardolph et Acte I sont les destinataires de lettres d’amour Alice favorable en la séduisant. 23 – 24 Falstaff Pistol), et qu’il est déterminé à trouver Falstaff Une salle de l’Auberge de la Jarretière identiques, et décident de donner une leçon à quitte la pièce, tout empressé d’aller se faire et à humilier Alice pour son infidélité. 1 Sir John Falstaff finit juste de cacheter leur prétendant. Leur voisine, Mrs Quickly, beau pour sa mission amoureuse auprès 12 Cependant, les seuls amants démasqués deux lettres quand le Dr Caius arrive et se met accepte immédiatement de leur servir d’Alice. Ford est furieux contre Falstaff et sont Nannetta et Fenton, tandis que Ford, à lui lancer des accusations. Il se plaint au d’intermédiaire pour convaincre Falstaff de Alice, car ils les croit réellement coupables voyant Falstaff et le panier de linge sale dans le corpulent chevalier de la conduite de Bardolph venir à un rendez-vous. Pendant ce temps, d’infidélité. fleuve, reconnaît qu’il a eu tort de douter de la et Pistol, les parasites de Falstaff, qui l’ont Pistol et Bardolph, maintenant congédiés, vont fidélité d’Alice. enivré et lui ont vidé les poches. Ils se raconter à Ford le plan de Falstaff, dans COMPACT DISC TWO moquent de lui jusqu’à ce qu’il sorte furieux l’espoir d’obtenir une récompense en échange. Acte III de l’auberge. 2 Falstaff lit attentivement son Ford décide de mettre à l’épreuve la fidélité de La maison de Ford A l’extérieur de l’Auberge de la Jarretière addition hebdomadaire de l’auberge, et sa femme. Déguisé, il vient rendre visite à 1 – 2 Mrs Quickly raconte à Alice et à Meg 13 Encore tout trempé, Falstaff injurie le constatant qu’il est sérieusement à cours Falstaff et fait semblant de lui demander son le succès total de sa mission. 3 – 6 Elles se monde pour son injustice. 14 Il n’est pas d’argent, il entre en colère et blâme ses aide. 10 – 14 Nannetta, la fille de Ford, préparent à recevoir Falstaff: on apporte un d’humeur à parler à Mrs Quickly, qui lui deux laquais dépensiers. 3 Il révèle alors le rencontre furtivement son amant Fenton, bien panier à linge afin qu’au moment où Meg apporte une nouvelle invitation de la part plan qu’il a imaginé pour se sortir de ses que Ford ait décrété qu’ils ne peuvent pas se lancera la fausse alarme du retour imprévu de d’Alice. D’abord réticent, il finit par lui céder. difficultés financières: il a l’intention de marier, car il a l’intention de l’unir au docteur Ford à la maison, Falstaff puisse se cacher 15 Falstaff doit rencontrer Alice à minuit sous séduire deux dames, Alice Ford et Meg Page, Caius. dedans; les serviteurs emporteront ensuite le le chêne de Herne dans la forêt de Windsor.

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Selon la légende populaire, Herne le Chasseur déguisé, et commence à faire la cour à Alice Andrew Shore est considéré comme étant le plus Au disque, Andrew Shore a enregistré pour s’est pendu à cet arbre, et, son fantôme, paré (ainsi qu’à Meg). 22 – 26 Mais les deux remarquable baryton bouffe de Grande- Chandos et la Peter Moores Foundation le rôle de cornes, hante la forêt pendant la nuit. femmes se sauvent quand elles entendent Bretagne, et comme un acteur/chanteur titre dans Don Pasquale, Leporello (Don Afin d’effrayer quiconque pourrait le voir, des bruits apparemment surnaturels, et laissent exceptionnel. Il a travaillé à l’English National Giovanni), le Docteur Bartolo (The Barber of Falstaff devra se déguiser lui-même comme le seul leur soupirant qui est tourmenté par Opera, au Royal Opera de Covent Garden, à Seville), Dulcamara (The Elixir of Love), le fantôme du chasseur en portant des cornes une bande de lutins et d’elfes. 27 La tromperie l’Opera North, au Glyndebourne Festival Sacristain dans Tosca, Faninal dans Der de cerf sur la tête. Falstaff ignore que les fonctionne parfaitement jusqu’au moment Opera, au Scottish Opera et au Welsh National Rosenkavalier (extraits), et La Bohème. habitants de Windsor vont prendre part à où Falstaff reconnaît le nez rouge de Opera. A l’étranger, il s’est produit à l’Opéra de ette nouvelle tromperie dont il va être la Bardolph. San Diego, au Nouvel Opéra d’Israël, à l’Opéra Née à Sydney, Yvonne Kenny est l’une des victime, et qu’ils seront également déguisés 28 Ford se moque de Falstaff pour l’étendue National de Paris-Bastille, à l’Opéra Comique, plus remarquables sopranos de sa génération. dans la forêt. de son propre aveuglement, et lui fait au Gran Teatre del Liceu de Barcelone, ainsi qu’à Après avoir remporté la Kathleen Ferrier 16 Ford se réjouit d’avance de cette reconnaître l’erreur de sa conduite. Mais Lyon, Nantes, Santa Fe, Montpellier, Competition, elle est entrée au Royal Opera seconde possibilité de donner une leçon à Falstaff a le dernier mot en proclamant être Copenhague, Amsterdam, Vancouver et Ottawa. de Covent Garden où elle a chanté les rôles de Falstaff, d’autant plus que pendant la celui qui fait rire les autres. 29 Ford donne sa Parmi les nombreux engagements d’Andrew Pamina (Die Zauberflöte), Ilia (Idomeneo), confusion qui régnera à minuit dans la forêt, il bénédiction à l’union des deux couples, Shore figurent les rôles titres dans Wozzeck, Susanna (Le nozze di Figaro), Adina (L’elisir espère bien marier Nannetta au Docteur convaincu que l’un est Caius et Nannetta Falstaff, King Priam, Gianni Schicchi et Don d’amore), Liù (Turandot), Aspasia (Mitridate) Caius. Mais Mrs Quickly surprend ses propos, tandis que l’autre lui est inconnu. 30 Quand Pasquale, ainsi que Dulcamara (L’elisir et Donna Anna (Don Giovanni). et jure de contrarier le dessein de Ford (et de les couples enlèvent leur masque, Ford d’amore), Don Alfonso (Così fan tutte), Figaro Yvonne Kenny a conquis une réputation lui donner également une leçon) en déguisant découvre que non seulement Caius vient (Le nozze di Figaro), Papageno (Die internationale dans les grands rôles de quelqu’un d’autre avec le costume de d’épouser Bardolph, mais que lui-même a béni Zauberflöte), le Roi Dodon (Le Coq d’Or), Haendel, notamment Semele et Alcina (à Nannetta. l’union entre Nannetta et Fenton. Ford Leandro (L’Amour des trois oranges), Dikoy Covent Garden et à La Fenice de Venise), reconnaît qu’il a été aussi dupe que Falstaff. (Kát’a Kabanová), le Docteur Kolenat Romilda (Xerxes) à l’English National Opera et La forêt de Windsor, la nuit 31 Les joyeuses commères ont triomphé des (L’Affaire Makropoulos), Chichkov (La Maison à l’Opéra d’Etat de Bavière, Cleopatra (Giulio 17 – 19 Les femmes se réunissent autour du combines des hommes, et Falstaff réconcilie des morts), Franck (Die Fledermaus), le Baron Cesare) et Armida (Rinaldo) à Sydney. Elle a chêne de Herne, et précisent à Fenton le tout le monde en menant un dernier éclat de (La Vie parisienne), le Baron Trombonok également chanté à l’Opéra de San Francisco, à moment où il devra disparaître avec Nannetta rire en forme de fugue. (Il viaggio a Reims), Georges Wilson (The l’Opéra d’Etat de Vienne, à La Scala de Milan, afin de contrecarrer les plans de Ford. Alice à Great Gatsby), Alberich en versions de concert à l’Opéra d’Etat de Berlin, au Bayerische l’intention de substituer Fenton à la place de © English National Opera de Das Rheingold, Varlaam (Boris Goudonov) et Staatsoper de Munich, à l’Opéra de Paris, à Caius. 20 – 21 A minuit, Falstaff arrive Traduction: Francis Marchal Faninal (Der Rosenkavalier). Hambourg, Zurich, Washington et

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Glyndebourne. Elle elle se rend fréquemment de La Monnaie de Bruxelles, à l’Opéra de dans les vidéos de Billy Budd et de Die Carmelites), Xenia (Boris Godunov), Pamina dans son pays natal, l’Australie, où elle a Leipzig, au Scottish Opera et au Festival de Entführung aus dem Serail. (The Magic Flute), Drusilla (The Coronation of chanté de nombreux rôles. En 1989, elle a Salzbourg, Tom Rakewell (The Rake’s Progress), Poppea), Nannetta (Falstaff ), le rôle titre dans reçu le titre de Member of the Order of Tamino et le rôle titre dans Le Comte Ory avec le Lauréate du Kathleen Ferrier Memorial Prize The Cunning Little Vixen, Fiordiligi (Così fan Australia for Services to Music. Glyndebourne Touring Opera, Nemorino 1994, Susan Gritton a d’abord étudié la tutte) et Sophie (Der Rosenkavalier). Les nombreux enregistrements d’Yvonne (L’elisir d’amore) et Argirio (Tancredi) à l’Opéra botanique à l’Université d’Oxford et à celle de Pour Chandos, Susan Gritton a enregistré Kenny incluent Le nozze di Figaro, Die de Franckfort, Flute (A Midsummer Night’s Londres avant d’entreprendre une carrière de Ottone in Villa de Vivaldi, Sir John in Love et Entführung aus dem Serail, The Kingdon Dream) au Metropolitan Opera de New York, chanteuse lyrique. Elle se produit The Pilgrim’s Progress de Vaughan Williams, d’Elgar, The Beggar’s Opera et Gloriana de Candide au Lyric Opera de Chicago, Arnalta régulièrement en Grande-Bretagne, et sa vaste Paulus de Mendelssohn, les Messes de Haydn, Britten, Deborah de Haendel, The Canterbury (L’incoronazione di Poppea) à l’Opéra de San expérience de concertiste l’a conduite au et Aida (ce dernier titre pour Chandos et la Pilgrims de Dyson (pour Chandos), des Francisco, Edgardo (Lucia di Lammermoor) au Concertgebouw d’Amsterdam, au Konzerthaus Peter Moores Foundation). Susan Gritton est extraits de Der Rosenkavalier, et un album de Welsh National Opera. de Vienne, et à la Philharmonie de Berlin. membre de l’English National Opera. la série Great Operatic Arias (pour Chandos Poursuivant également une importante Parmi les rôles chantés par Susan Gritton et la Peter Moores Foundation), et pour la carrière au concert, Barry Banks s’est produit figurent Susanna (Le nozze di Figaro) et Zerlina Ashley Holland a fait ses études à l’Université série Opera Rara, Emilia di Liverpool, dans la Petite Messe solennelle de Rossini, (Don Giovanni) au Festival de Glyndebourne et de Warwick et au Royal Northern College of L’eremitaggio di Liverpool et Ugo, Conte di dans Fidelio avec le City of Birmingham avec le Glyndebourne Touring Opera; la Music de Manchester où il a remporté la Parigi de Donizetti, et Il crociato in Egitto Symphony Orchestra sous la direction de Walter Governess (The Turn of the Screw) et Lucia (The Webster Booth/Esso Competition et la Curtis de Meyerbeer. Weller, dans le War Requiem de Britten et le Rape of Lucretia) sous la direction de Steuart Gold Medal, et où il a été boursier de la Peter Requiem de Bruckner avec le Scottish Chamber Bedford à Snape Maltings; Marenka (La Fiancée Moores Foundation. Ashley Holland a Diplômé du Royal Northern College of Music Orchestra sous la direction de Sir Charles vendue), Euridice (Orfeo), Thalie et Clarine remporté en 1998 le concours d’opéra Ranieri de Manchester, Barry Banks s’est imposé Mackerras, et dans une exécution de Armida de (Platée), et Tiny (Paul Bunyan) au Royal Opera i Cestelli à Hambourg. comme l’un des plus remarquables ténors de sa Rossini donnée au Festival d’Edimbourg. de Covent Garden; Romilda (Xerxes) et Ashley Holland est actuellement baryton génération grâce à ses prestations exceptionnelles Pour le disque, Barry Banks a notamment Cleopatra (Giulio Cesare) au Bayerische principal à l’English National Opera où il a à l’opéra et en concert. Il a chanté le rôle titre enregistré le rôle de Don Ottavio (Don Staatsoper de Munich; Belinda (Dido and interprété les rôles de Zurga (The Pearl dans The Rake’s Progress à l’English National Giovanni), Nemorino (The Elixir of Love), Aeneas) au Deutsche Staatsoper de Berlin, et Fishers), Sharpless (Madam Butterfly), Opera, Belfiore et Libenskof (Il viaggio a Reims) Ernesto (Don Pasquale) (tous pour Chandos et Marzelline (Fidelio) à l’Opéra de Rome. A Guglielmo (Così fan tutte), Cecil dans Mary à Bologne, Don Ramiro (La Cenerentola) à la Peter Moores Foundation), Paulus de l’English National Opera, où elle est “Company Stuart de Donizetti, Belcore (The Elixir of l’Opéra de Bâle, Oreste (Ermione) à l’Opéra de Mendelssohn (pour Chandos), Un ballo in Principal”, ses rôles incluent Atalanta (Xerxes), Love), Lescaut dans Manon de Massenet, Santa Fe, Tamino (Die Zauberflöte) au Théâtre maschera, Trial by Jury. Il figure également Caroline (The Fairy Queen), Constance (The Ottakar (Der Freischütz), Marcello

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(La Bohème) et Escamillo (Carmen). Il a Manchester (où elle a reçu le soutien de la Wigmore Hall de Londres et pour la BBC l’Opéra des Pays-Bas, à l’Opéra de Seattle, à également chanté le rôle de baryton dans la Peter Moores Foundation) et au National Radio 3. Parmi ses enregistrements figurent Lisbonne et Lausanne. Parmi ses autres co-production de l’English National Opera et Opera Studio de Londres. The Choice of Hercules. engagements, on citera le rôle du Fisherman du Mark Morris Dance Group de L’Allegro de Elle a chanté les rôles de Cherubino, dans The Royal Palace de Kurt Weill dans le Haendel. Parmi ses autres engagements Penelope (Il ritorno d’Ulisse in patria), Clive Bayley a été boursier de la Peter Moores cadre des BBC Promenade Concerts de figurent Junius (The Rape of Lucretia) à Dorabella, Tamiri (Il Re Pastore) à l’Opera Foundation. Il chante maintenant Londres, et des représentations au Festival de l’Opéra de Lausanne, Ford (Falstaff) à North; Fortuna et Valetto (L’incoronazione di régulièrement avec les grandes compagnies Glyndebourne et avec le Glyndebourne l’English National Opera, Sharpless à l’Opéra Poppea) au Welsh National Opera; Cherubino lyriques un répertoire allant de Monteverdi à Touring Opera. de Cincinnati, Antonio dans des versions de au Scottish Opera; Proserpina (Orfeo), Meg Verdi en passant par Puccini, Berg, Britten et Les enregistrements de Clive Bayley pour concert de Linda di Chamounix avec Mark Page (Falstaff ) et le rôle titre dans The Birtwistle. Il a fait ses débuts au Royal Opera Chandos incluent Troilus and Cressida, Billy Elder et l’Orchestra of the Age of Coronation of Poppea à l’English National de Covent Garden dans la création mondiale Budd, et pour Chandos et la Peter Moores Enlightenment, Don Giovanni à l’Opéra de Opera; Page (Salome), Ruggiero (Alcina) à de Gawain de Harrison Birtwistle, et par la Foundation Madam Butterfly, Don Giovanni, Calgary, des rôles dans Candide avec le l’Opéra de Stuttgart et au Festival suite y a chanté le rôle de Colline dans La Boris Godunov (extraits), Don Pasquale et London Symphony Orchestra sous la direction d’Edimbourg; l’une des Filles-Fleurs (Parsifal ). Bohème. Il a remporté de très vifs succès à Il trovatore. de Kent Nagano, dans Der Protagonist et The Elle s’est produite à l’Opéra Bastille à Paris, à l’Opera North dans Jerusalem de Verdi, dans Royal Palace de Kurt Weill avec le BBC Nancy, Nantes et au Festival de Salzbourg. Ses les rôles de Sparafucile (Rigoletto), le Referee Salué dans le monde entier comme étant l’un Symphony Orchestra sous la direction de débuts aux Etats-Unis dans le rôle de Hänsel dans Playing Away de Benedict Mason, des acteurs chanteurs les plus exceptionnels du Sir Andrew Davis, ses débuts à l’Opéra Bastille (Hänsel und Gretel ) au Lyric Opera de Ferrando (Il trovatore), Arkel (Pelléas et monde de l’opéra, Stuart Kale maîtrise un dans le rôle de Bosun (Billy Budd) et ses Chicago furent accueillis avec un très vif Mélisande), Wurm (Luisa Miller), le rôle titre immense répertoire allant de Monteverdi à débuts au Semperoper de Dresde dans celui de succès. dans Le nozze di Figaro, le Docteur (Wozzeck), Messiaen. Après avoir commencé sa carrière au Ford. Le répertoire de concert d’Alice Coote Biterolf (Tannhäuser) et Antinous (Il ritorno Welsh National Opera, il devint membre de Les enregistrements d’Ashley Holland comporte des oratorios de Bach et de Haendel, d’Ulisse in Patria). Il s’est également produit l’English National Opera où il travailla incluent le rôle de Belcore (The Elixir of ainsi que des œuvres de Mahler, Debussy et dans Don Giovanni à l’Opera Factory; à pendant huit ans, y chantant des rôles tels que Love) pour Chandos et la Peter Moores Britten. Elle a ainsi chanté sous la direction de l’English National Opera dans Billy Budd, Don Ottavio (Don Giovanni), Michael Foundation. chefs tels que Nagano, Pesek, Menuhin, Wozzeck, dans le rôle de Cadmus (Semele), les (Julietta de Martinuº), Alfred (Die Fledermaus) Salonen, Dohnányi et Christie, à Londres, quatre incarnations du mauvais génie et Nanki-Poo dans la production de Jonathan Alice Coote a fait ses études à la Guildhall Paris, Vienne, Amsterdam, Bruxelles, Madrid d’Hoffmann dans Les Contes d’Hoffmann, Miller du Mikado. School of Music and Drama de Londres, au et Salzbourg. De plus en plus recherchée Collatinus (The Rape of Lucretia), et Pistol Parmi ses engagements, on notera en Royal Northern College of Music de comme récitaliste, elle a donné des récitals au (Falstaff ). A l’étranger, Clive Bayley a chanté à particulier le rôle du Grand Prêtre (Idomeneo)

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au Royal Opera de Covent Garden, Countess of Munster Musical Trust. Elle a fait comportant les œuvres majeures de Bach et engagements incluant la Neuvième Symphonie Hauptmann (Wozzeck) à la Canadian Opera ses débuts sur scène dans Death in Venice de Haendel, la Petite Messe solennelle de Rossini, de Beethoven au Dôme de Brighton, Elijah de Company, à San Francisco, Genève, Zurich, Britten avec le Glyndebourne Touring Opera, Elijah de Mendelssohn, le Requiem de Verdi, la Mendelssohn à la cathédrale de Sheffield, le Montpellier, Bordeaux et Bologne, Chouiski et depuis s’est produite avec les grandes Deuxième Symphonie de Mahler, les Sea Requiem de Mozart au Royal Festival Hall de (Boris Godounov) à Strasbourg, Bordeaux et compagnies lyriques de Grande-Bretagne, et a Pictures et The Dream of Gerontius d’Elgar, et Londres, Carmina Burana au Barbican Hall Montpellier, Quint (The Turn of the Screw) effectué des tournées dans de nombreux pays A Child of our Time de Tippett. de Londres, le Stabat Mater de Rossini à avec l’English National Opera lors de la d’Europe. Depuis ses débuts à l’English St. John’s, Smith Square (Londres), ainsi que tournée de la compagnie en Russie en 1990, National Opera dans le rôle d’Emilia (Otello) Richard Roberts a fait ses études à l’Université des galas d’opéra dans les salles de concert de Truffaldino (L’Amour des trois oranges) à en 1998, elle y a chanté de nombreux rôles, du Kansas, à New York à la Chatauqua School Cardiff, Dublin et Glasgow. l’English National Opera, Zinoviev (La Lady notamment Mrs Sedley (Peter Grimes), Annina of Music, et avec Anthony Laciura du Macbeth de Mtsensk) à Toulouse et à Marseille, (Der Rosenkavalier), Geneviève (Pelléas and Metropolitan Opera de New York, Audrey Amanda Holden a étudié la musique à Idomeneo à Drottningholm, les trois rôles de Mélisande), Ottavia (The Coronation of Langford, Felicity Palmer et Robert Dean. Oxford, puis a obtenu une bourse pour ténor dans Lulu au Châtelet, Aegisth à Poppea), Flosshilde (The Rhinegold ), Mistress En sa qualité de “Company Principal” à poursuivre sa formation à la Guildhall School Karlsruhe, L’occasione fa il ladro au Festival de Quickly (Falstaff ), la Princesse Marya (War l’English National Opera, Richard Roberts a of Music and Drama de Londres où elle a par Schwetzingen et à Cologne, Bob Boles à and Peace), Mother Goose (The Rake’s chanté de nombreux rôles, notamment la suite enseigné le piano. Depuis 1987, elle a Covent Garden, à l’Opéra d’Etat de Munich, à Progress), et Suzanne dans la création mondiale Rinuccio (Gianni Schicchi), Edmondo (Manon réalisé une cinquantaine de traductions pour le Genova et Strasbourg, le Capitaine Vere (Billy de A Better Place de Martin Butler. Elle est Lescaut), l’Abbé (War and Peace), l’Instituteur théâtre, les salles de concert et l’opéra. Budd ) à Cologne, Gregor (L’Affaire actuellement “Company Principal” à l’English (Lady Macbeth of Mtsensk), Don Riccardo Beaucoup d’entre elles lui ont été commandées Makropoulos) et Herod, ces deux rôles dans de National Opera. (Ernani), Bardolph (Falstaff ) et Roderigo par l’English National Opera, l’English nouvelles productions données à Strasbourg. Parmi les autres rôles de Rebecca de Pont (Otello). Il a également chanté dans Candide à Touring Opera, l’Opera North et Raymond La discographie de Stuart Kale inclut le rôle Davies figurent Moksada (Snatched by the Gods l’Eugene Opera (USA), le rôle de Jiri (The Gubbay. Elle est fondatrice et rédactrice de la de Goro (Madam Butterfly), Chouiskl (extraits de Param Vir) au Scottish Opera, Gaea Jacobin) au Scottish Opera, Pinkerton collection The Viking/Penguin Opera Guides. de Boris Godunov) et Roderigo (Otello), tous (Daphne), Die alleswissende Muschel (Die (Madama Butterfly) dans la production de Une nouvelle édition totalement revue, The pour Chandos et la Peter Moores Foundation. ägyptische Helene) et Leda (Die Liebe der Raymond Gubbay donnée au Royal Albert New Penguin Opera Guide, a été publiée en Danae) au Garsington Opera, le rôle titre dans Hall de Londres, et Scaramuccio (Ariadne auf 2001. Amanda Holden a également écrit le Née à Londres, Rebecca de Pont Davies a fait Flavio de Haendel (Opera Theatre Company Naxos) avec le City of London Sinfonia sous la livret de l’opéra de Mark-Anthony Turnage, ses études à la Guildhall School of Music and de Dublin). Rebecca de Pont Davies se produit direction de Richard Hickox. The Silver Tassie, pour lequel elle a reçu avec le Drama de Londres où elle a remporté de également en concert, et a chanté avec de Richard Roberts possède également une compositeur un Olivier Award for Outstanding nombreuses distinctions et un prix du grands orchestres britanniques un répertoire grande expérience en concert, avec des Achievement in Opera en 2001.

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Salué autant par la critique que par le public, ensemble a enthousiasmé le public dans Il est invité à diriger de grands orchestres à Requiem de Verdi. Avant sa nomination, L’Orchestre de l’English National Opera, avec d’innombrables productions de l’English travers le monde, notamment le Philharmonia, il avait déjà beaucoup travaillé à l’English Barry Griffiths comme premier violon, s’est vu National Opera. Ces soixante-huit choristes, l’Orchestra of the Age of Enlightenment, le National Opera, dirigeant la création décerner ces dernières années plusieurs prix riches d’une vaste expérience et d’une Bournemouth Symphony Orchestra, le BBC mondiale du Mask of Orpheus de Harrison prestigieux comme le Prix de la Royal multitude de talents, marquent de leur sceau National Orchestra of Wales, le London Birtwistle, Le nozze di Figaro, Akhnaten de Philharmonic Society et un Olivier Award pour toutes les représentations auxquelles ils Philharmonic Orchestra, le Royal Philip Glass, Tosca, Carmen, Rigoletto, sa contribution exceptionnelle au monde participent. Le Chœur a triomphé entre autres Philharmonic Orchestra, le Royal Scottish ainsi que des exécutions de King Priam lyrique. L’Orchestre est au cœur de la vie dans Guerre et paix de Prokofiev, Lady Macbeth National Orchestra, l’Orchestre dans le cadre des festivités marquant le artistique de la Compagnie et outre les de Mtsensk de Chostakovitch, Billy Budd et Philharmonique de la Radio des Pays-Bas, quatre-vingt-dixième anniversaire de Michael représentations lyriques au Coliseum à Londres, Peter Grimes de Britten, Boris Godounov de l’Orchestre National de Lyon, l’Orchestre de la Tippett. il se produit également en concert. De plus, de Moussorgsky, Carmen de Bizet et Otello de Tonhalle de Zurich, l’Orchestre Symphonique De 1990 à 1997, Paul Daniel a été le nombreux membres de l’Orchestre participent Verdi. Leur enregistrement de ce dernier opéra, de Göteborg, l’Orchestre de la Suisse directeur musical de l’Opera North où il s’est au Projet Baylis mis sur pied par la branche de dans une mise en scène de Jonathan Miller et Romande, le Deutsche Kammerphilharmonie, attiré la louange des critiques pour ses la Compagnie chargée de l’éducation ainsi sous la direction de Mark Elder, est sorti chez l’Orchestre Symphonique MDR de Leipzig, le interprétations originales et passionnantes de qu’au développement de nouveaux opéra avec Chandos grâce au financement de la Peter Los Angeles Philharmonic, l’Indianapolis Ariane et Barbe-Bleue de Paul Dukas, King l’English National Opera Studio, comme The Moores Foundation, tout comme leur Symphony Orchestra et l’Orchestre de Priam de Tippett, Don Giovanni, Der ferne Silver Tassie de Mark-Anthony Turnage dont la enregistrement combien célèbre du cycle Cleveland. Klang de Schreker, Boris Godunov, Don Carlos, création mondiale eut lieu en février 2000. du Ring dirigé par Sir Reginald Goodall. Ils En 1997, Paul Daniel a été nommé Wozzeck, Gloriana, Il Trovatore, Pelléas et L’Orchestre a participé à de nombreux ont aussi enregistré pour Chandos, en directeur musical de l’English National Mélisande, les créations mondiales de Baa Baa enregistrements pour Chandos, en collaboration collaboration avec la Peter Moores Foundation, Opera où il a dirigé The Flying Dutchman, Black Sheep de Michael Berkeley et de Playing avec la Peter Moores Foundation, notons Otello, Maria Stuarda, Giulio Cesare, Rigoletto (dans Falstaff, From the House of the Dead, Away de Benedict Mason, qui a été créé à la Maria Stuarda, Giulio Cesare, Il barbiere di la mise en scène de Jonathan Miller) et The Tales of Hoffmann, Manon, Otello, Biennale de Munich et a remporté le prix de la Siviglia, Rigoletto (dans la mise en scène de La traviata. Boris Godunov, La traviata, The Carmelites, meilleure production et celui du meilleur Jonathan Miller), La traviata et Werther. Der Rosenkavalier, Peter Grimes, Pelleas and décor, Jenu°fa, Luisa Miller, Medea, Falstaff et Très recherché par les théâtres lyriques et les Melisande, la création mondiale de The Silver Tannhäuser. Paul Daniel a également été Le Chœur de l’English National Opera est orchestres du monde entier, Paul Daniel est Tassie de Mark Anthony Turnage, Nixon in directeur musical de l’Opera Factory de 1987 l’un des plus beaux atouts de cette compagnie considéré comme étant l’un des chefs China, Peter Grimes (au Festival d’Aldeburgh), à 1990. lyrique. Remarquable autant pour la puissance d’orchestre les plus talentueux et les plus Il trovatore, War and Peace, des versions de Parmi ses enregistrements figurent de son chant que l’intensité de son jeu, cet passionnants de sa génération. concert de La gioconda de Ponchielli, et le la Troisième Symphonie d’Elgar/Payne avec

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le Bournemouth Symphony Orchestra, des un Olivier Award pour ses réalisations œuvres de Thomas Armstrong (pour exceptionnelles dans le domaine de Chandos), et des extraits de Boris Godunov l’opéra, et en 2000, il a reçu le titre de (pour Chandos et la Peter Moores commandeur de l’ordre de l’empire Foundation). En 1998, Paul Daniel a obtenu britannique (CBE).

Scene in Windsor Forest from English National Opera’s production of Verdi’s Falstaff Rafferty Bill

Ashley Holland as Ford and Clive Bayley as Pistol in English National Opera’s production of Verdi’s Falstaff

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niente di tutto ciò ci prepara per le tessiture incentrate prevalentemente sul denaro o sulla Verdi: Falstaff trasparenti, gli arguti concettismi, la sua mancanza, che culminano nel peana caratterizzazione abilmente divertente che si “immenso/enorme Falstaff” (Hail, mighty Falstaff, coronamento del glorioso crepuscolo riaccendere l’ispirazione dell’anziano maestro. trova in Falstaff, un’opera tutta sui generis. Falstaff !) prima che il dono naturale di Verdi di Verdi, è un vero concentrato del suo Alla penna di Boito si deve inoltre un testo Fin dall’inizio Verdi dichiarò che componeva per il lirismo cominci ad imporsi. Falstaff straordinario genio creativo nell’arco di ben sei molto diverso, quello dell’Otello, un rigoroso qualcosa di diverso da tutto quello che aveva rivela ai suoi compagni il suo progetto di decenni di carriera teatrale. Tra tutti gli altri dramma ricavato dalla vasta tragedia del tentato prima, la commedia che aveva voluto seduzione con entusiasmo crescente, quando grandi, forse solo Haydn ebbe uno sviluppo drammaturgo inglese. Ma il procedimento fu scrivere per tutta la vita ma non era stato in descrive il fascino di Alice Ford e Meg Page. altrettanto straordinario e fertile per stile e esattamente identico per quanto riguarda il grado di fare per mancanza di un libretto Ma quando formula la sua richiesta, i due contenuto nella sua lunga attività di libretto di Falstaff, che assume anch’esso un adeguato. In un certo senso, come scrive Julian furfanti rifiutano di assumersi la parte di compositore. In questa vetta trionfale della valore a se stante come opera di valore Budden, autore di illuminanti testi sulla lirica, Pandaro, suscitando le ire del grasso cavaliere, vecchiaia, si riconosce appena il compositore letterario. “Falstaff doveva essere una spiritosaggine che inveisce contro il loro concetto di onore in dei cosiddetti anni di galera, che aveva adottato Verdi ricavò una commedia che progredisce personale, che il pubblico poteva capire se lo un famoso monologo. Qui Verdi combina uno stile rispettoso della struttura e delle regole agevolmente attraverso tre atti succinti; non si desiderava.” E certamente così è stato. recitativo ed aria in un tutto perfettamente del tempo, per quanto anche dalle opere di trova una parola o una nota estranea alla Fin dalle prime battute si delinea un Verdi integrato che rispetta il senso del testo, una quel periodo emergessero indizi del futuro costruzione, tutto è mirato al fine della nuovo: niente ouverture né introduzione. Ci sorta di distillazione, la prima nella sua opera, cambiamento di direzione. All’epoca della narrazione e occupa un posto di diritto nel troviamo subito immersi al centro della di tutta la sua esperienza in fatto di tecniche composizione del suo ultimo capolavoro, Verdi firmamento dell’opera. Verdi aveva composto vicenda. Anzi, questo è il primo tocco di per musicare le parole, creando naturalmente aveva respinto praticamente tutti i legami solo una commedia all’inizio della sua carriera, genio: ci sembra di essere trasportati anche un bel ritratto in musica di Falstaff. formali e i metodi della giovinezza e aveva Un giorno di regno, molto influenzata immediatamente nella scena, mentre Falstaff e Nella seconda scena, come nella prima, adottato uno stile di composizione totale, in dall’esempio di Donizetti. Da allora, prima di i suoi servi fanno baldoria all’Osteria della ancora una volta si ha l’impressione di assistere cui recitativo e aria si fondono spontaneamente Falstaff, aveva talvolta incluso episodi comici Giarrettiera (Garter Inn). Il successivo a una scena in svolgimento. Alice, Meg, e naturalmente l’uno nell’altra. nelle opere serie, soprattutto forse ne La forza colloquio con il pedante, stizzoso Dottor Mistress Quickly e Nannetta, figlia dei Ford, L’impresa fu realizzata anche grazie del destino, e aveva alleggerito lo stato d’animo Cajus che deride irosamente il socievole Sir sono impegnate in un’animata conversazione, all’enorme contributo del librettista e di altre con personaggi allegri, come il paggio John e i furfanti Bardolfo e Pistola, è un mentre le due comari scoprono di aver compositore Arrigo Boito. Adattando Oscar in Un ballo in maschera. Di natura esempio brillante di spirito in musica, un ricevuto la stessa missiva amorosa da Falstaff. I magistralmente alcuni brani di Henry IV e The molto più leggera inoltre è la musica da antipasto adeguato al banchetto musicale che loro sentimenti sono espressi nella maniera più Merry Wives of Windsor, Boito presentò a Verdi, balletto presente in numerose partiture, ci attende. Dopo la partenza di Cajus, Falstaff vivace, con battute rapide e argute. Verdi dopo debita consultazione, il testo ideale per soprattutto quelle composte per Parigi. Eppure si lascia andare ad altre bonarie riflessioni, sembra prendersi gioco dello stile appassionato

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che aveva adottato in precedenza quando comica contrizione, descritta graficamente rende questo visitatore ancora più benvenuto. lungo respiro che inizia nel punto più basso assegna ad Alice la frase “Il viso tuo su me nell’orchestra. Entra Quickly al suono di una L’uomo ha bisogno dell’aiuto di Falstaff e per del registro del baritono, svela l’intensità dei splenderà” (Your radiant image will shed its sorta di regale minuetto, culminante in un convincerlo colloca una borsa di denaro sul propri sentimenti. Quando è sul punto di light on me), mentre lei e Meg si fanno beffe inchino quasi onomatopeico sulla parola tavolo. Il colloquio che segue è un distillato esplodere, Falstaff ritorna vestito di tutto della sicumera compiaciuta dell’anziano “Reverenza!” (Sir, your servant!). La donna dei tanti duetti verdiani nella sua sottile, punto e la partitura riprende la sua normale cavaliere. Le comari si accasciano dopo una adula Falstaff con una serie di commenti spontaneamente naturale conversazione in leggerezza, un tocco ispirato da parte del serie di risate sgangherate miracolosamente falsamente elogiativi, il più famoso dei quali fa musica. In toni apparentemente deferenti Ford compositore, ampliato con le divertenti inserite nella tessitura musicale. In un insieme pensare che il cavaliere sia un famoso gli racconta che una certa donna di Windsor è cerimonie dei due al momento di uscire dalla compatto, iniziano a progettare la punizione di seduttore. La risposta è: “Lo so. Continuate” sorda alle sue lusinghe. È disposto a pagare in porta. Così questa scena magistrale si chiude Falstaff. (I know. Continue), un pizzico di arroganza contanti (l’orchestra riproduce il tintinnio su una nota di pura comicità. La scena si approfondisce quando entrano che Falstaff rimpiangerà alla fine, musicata con delle monete) perché Falstaff corteggi la La scena successiva è il momento centrale in scena gli uomini per decidere sul da farsi una sfumatura molto maliziosa. Altrettanto signora per conto suo. L’orchestra si ferma dell’opera, in cui Falstaff finalmente riceve la contro Falstaff. Infallibilmente intrecciato in appropriata e concisa è la frase di Quickly, la improvvisamente quando Ford ha un moto di suo iniziale punizione. Dopo la descrizione alle questo complesso nonetto è il motivo d’amore quale comunica che Ford sarà fuori “dalle due meraviglia nel sentire che Falstaff ha già un altre allegre comari dell’incontro con Falstaff di Nannetta e dell’innamorato Fenton. I loro alle tre” (From eleven till twelve), altra prova appuntamento con Alice. La malcelata rabbia da parte di Quickly, con una vivace imitazione romantici scambi sembrano soffusi di un della brevità comica di Verdi. Quando Quickly di Ford è repressa a stento quando Falstaff, in del dialogo all’Osteria della Giarrettiera, tutti pizzico di melanconia, come se l’anziano ha descritto il desiderio che Meg nutre per termini musicalmente compiaciuti, dichiara si combinano in uno scambio animato, compositore ricordasse i suo amori passati. Il Falstaff, il cavaliere esclama: “Alice è mia!” che è disposto a cornificare Ford per conto di mercuriale di idee su come affrontare concertato per tutti i personaggi è un’intricata (Alice is mine!) e in un arioso breve, ma “Master Brook”. L’ironia e l’illusa vanteria l’imminente arrivo di Falstaff. matassa di parole e musica che non ha rivelatore, così tipico del nuovo ed esigente implicite nell’atteggiamento di Falstaff e nella Improvvisamente qualcuno lo vede avvicinarsi corrispondenti in nessun altro brano di Verdi. stile verdiano, si compiace mentre marcia per furia di Ford sono suggerite durante tutto il alla dimora dei Ford: tutti escono di scena, Il clamore delle voci alla fine si smorza e, per la strada, esultando del suo continuo potere loro incontro; Falstaff è pronto per la prossima fatta eccezione per Alice che rimane a suonare concludere un meraviglioso atto, Alice ripete la sulle donne. sconfitta. il liuto. Entra Falstaff: la sua apparente sua frase lirica beffandosi di Falstaff. Adesso Bardolfo comunica a Falstaff che è Il Verdi dell’Otello ricompare non appena galanteria e il suo crescente ardore, finemente La prima scena dell’Atto II consiste quasi arrivato un certo “Signor Fontana” (traduzione Falstaff è uscito per abbigliarsi per il convegno descritti dall’orchestra, mentre inizia il suo interamente in due episodi a due – Falstaff e letterale del nome di Master Brook nella del pomeriggio: in uno sfogo simile a quello di corteggiamento e le risposte lemure di Alice Quickly, Falstaff e Ford. La comicità del primo commedia di Shakespeare) – in realtà si tratta Iago, Ford medita sulla sua situazione di sono recitativi accompagnati elevati a grande incontro è un’altra novità per il compositore. di Ford travestito – e desidera parlare con lui. apparente sconfitta. Non è possibile che questo arte. Quando la donna fa un commento sul Bardolfo e Pistola si battono il petto con L’omaggio di una damigiana di vino di Cipro stia accadendo a lui: in una frase cupa, di suo aspetto corpulento, il cavaliere, forse in

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maniera inappropriata, si lancia nella deliziosa L’atto III inizia con un breve, brillante innamorato Fenton. Mentre la scena si prendersi poco cortesemente gioco di lui. Il e lievissima arietta “Quand’era paggio” (When preludio; troviamo un Falstaf afflitto dopo il conclude Nannetta, Alice e Quickly chiamano cavaliere non è troppo sconcertato, e sottolinea I was page), che ricorda il suo aspetto flessuoso bagno, in cupa meditazione sul suo triste qualcuno fuori scena: magica conclusione di di essere lui la causa dell’arguzia negli altri. ai tempi in cui era a servizio presso duca di destino. La sua descrizione dei momenti una scena magica. Adesso è il turno di Ford di essere tratto in Norfolk. È un altro esempio dell’estrema trascorsi in acqua ha dei tocchi onomatopeici. L’ultima scena nella foresta di Windsor con inganno: Cajus scopre di aver sposato Bardolfo raffinatezza dell’arte verdiana in questo suo Il suo spirito si risolleva solo quando beve un al centro la Quercia di Herne è piena di suoni travestito, mentre l’altra coppia mascherata, canto del cigno. boccale di vino. Descrive un grillo che vibra fatati. Inizia con il sonetto di Fenton, una Nannetta e Fenton, ha ricevuto l’involontaria Quando Quickly entra frettolosamente, in nelle vene di un uomo quando è brillo e fa sorta di tranquilla reminiscenza di tutti i brani benedizione di Ford. Alice convince il marito a falsa agitazione, per riferire dell’arrivo di Meg, risuonare il corpo con un trillo. Ecco un’idea d’amore per tenore delle precedenti opere rassegnarsi all’inevitabile e ad accettare il nuovo Falstaff si nasconde. Meg riferisce che gli meravigliosa: l’orchestra esegue un enorme verdiane. Il coronamento qui proviene dalla genero. Tutti si preparano ai festeggiamenti con uomini si avvicinano in preda all’ira e lo trillo, descrizione del vino che attraversa il voce di Nannetta che completa l’ultimo verso. Falstaff, ma non prima che Verdi ci regali un vogliono morto. L’illustre studioso e analista corpo di Falstaff e lo rianima. Ma quando il Ma Verdi respinge il sentimentalismo e Alice brillante finale con una complessa fuga Donald Tovey ha descritto “l’arigianato cinese” cavaliere sembra tornare se stesso, arriva interrompe il convegno con il compito di intonata da Falstaff, conclusione di quest’opera. Il resto di questa scena spiega il Quickly e ripete la sua “Reverenza!” (Sir, your assegnare a ciascuno il suo travestimento. adeguatamente ispirata di quest’opera unica e significato di quest’espressione: l’intrico servant!), con grande costernazione dell’eroe. L’ingresso di Falstaff, piuttosto trepidante, della carriera operistica di Verdi. musicale è fittamente intessuto, ma Comunque riesce a trarlo in inganno viene descritto vividamente mentre conta i delicatissimo nell’effetto finale. Verdi ci dicendogli che il disastro precedente non era rintocchi della mezzanotte, prima che © 2002 Alan Blyth presenta un incalzare di incidenti che culmina opera di Alice e lo convince a incontrarla alla Nannetta canti la sua delicata, poetica canzone nel momento in cui Falstaff viene gettato nel Quercia di Herne a mezzanotte. di fata, con un accompagnamento diafano e Trama Tamigi con la cesta della biancheria in cui si In seguito in questa scena il mistero una melodia raffinata. Da ora in poi Verdi La vicenda si svolge a Windsor era nascosto per sfuggire alle ire di Ford e dei notturno sembra pervadere la partitura mentre produce una serie di idee nuove, compresa una suoi compagni, con grande spasso delle allegre fantasia e incanto illuminano la tessitura. Si buffa litania; mentre Falstaff viene schernito da COMPACT DISC ONE comari. I pochi momenti di riposo, inseriti fanno dei piani per ingannare Falstaff una tutti coloro che lo circondano, Verdi propone perfettamente nella struttura della scena, sono seconda volta e per la mascherata nella foresta persino una parodia della propria Messa da Atto I lo scambio degli innamorati, nascosti da un su uno sfondo traslucido. La trama viene requiem. All’Osteria della Giarrettiera paravento. In tutto il tradizionale concertato delicatamente illustrata, compresa una chiara Quando a Bardolfo scivola la maschera, il 1 Sir John Falstaff ha appena richiuso due delle opere precedenti di Verdi viene indicazione del fatto che si intende impedire complotto è svelato. Falstaff si rende conto di lettere quando sopraggiunge il dottor Cajus, sviluppato in maniera quasi irriconoscibile per allo stesso Ford di obbligare Nannetta a essere stato tratto ancora una volta in inganno. che lo investe di accuse, lamentandosi del fatto soddisfare l’obiettivo della commedia. sposare il vecchio Cajus piuttosto che il suo I coniugi Ford spiegano come hanno fatto a che Bardolfo e Pistola, seguaci del corpulento

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cavaliare, lo abbiano ubriacato per derubarlo. chiedere il suo aiuto per sedurla. 10 – 14 La Falstaff: viene portato un cesto di biancheria di Alice, ma la donna riesce a vincere la sua Tutti si prendono gioco di lui, che esce figlia di Ford, Nannetta, si incontra di per potervi nascondere Falstaff quando Meg iniziale riluttanza. 15 Falstaff dovrà incontrare impetuosamente dall’osteria. 2 Falstaff studia il nascosto con Fenton, suo innamorato; Ford è darà il falso allarme dell’arrivo imprevisto del Alice a mezzanotte nel bosco di Windsor suo conto settimanale all’osteria e, vedendo di contrario alle loro nozze, perché desidera che marito; i servi quindi potranno gettare il presso la quercia di Herne; secondo una essere seriamente a corto di quattrini, si infuria sia il dottor Cajus a sposare Nannetta. contenuto nel Tamigi. Alice si accorge che la leggenda popolare Herne, il Cacciatore nero, e se la prende con i due servi spendaccioni. figlia non prende parte allo scherzo; quando si era impiccato qui e il suo spettro si aggira 3 Adesso rivela il suo piano per superare le Atto II viene a sapere che Nannetta è triste perché il nottetempo nella foresta. Per spaventare proprie difficoltà finanziarie: vuole sedurre due All’Osteria della Giarrettiera padre insiste a farle sposare il dottor Caius, chiunque possa vederlo, Falstaff dovrà donne, Alice Ford e Meg Page, mogli di due 15 Fingendo di essere pentiti, Bardolfo e Alice la rassicura. Non permetterà che questo travestirsi da spettro portando corna di cervo ricchi mercanti del posto. 4 Consegna ai suoi Pistola chiedono scusa a Falstaff per il loro accada. in testa. Il cavaliere non sa che tutti a Windsor compagni le lettere d’amore che ha preparato e comportamento precedente. 16 Arriva Mistress 7 – 11 Il piano delle donne si svolge come sono coinvolti in un altro scherzo e lo ordina di consegnarle subito. 5 Quando i due Quickly per consegnare la risposta di Alice e previsto finché Mistress Quickly entra attenderanno travestiti nel bosco. si rifiutano di lasciarsi coinvolgere in uno Meg. Falstaff viene invitato a far visita ad Alice precipitosamente per avvertire Alice che Ford 16 Ford pregusta avidamente una seconda stratagemma disonorevole, Falstaff offeso si tra le undici e le dodici; 17 – 18 Meg non può sta arrivando veramente, accompagnato da un possibilità di dare una lezione a Falstaff, lancia in un sermone sul loro “onore” e poi li dargli appuntamento. 19 – 22 Falstaff è ancora gruppo di simpatizzanti (Cajus, Fenton, soprattutto perché nella confusione notturna caccia via. più contento quando uno sconosciuto, Bardolfo e Pistola), deciso a trovare Falstaff della foresta spera di sposare Nannetta e il Fontana (Master Brook – Ford travestito), gli e svergognare l’infedele Alice. 12 Ma gli dottor Cajus. Mistress Quickly casualmente Il giardino della casa di Ford offre del denaro per convincere Alice per conto unici amanti smascherati sono Nannetta ascolta questo piano e giura di ribaltare il 6 – 9 Alice e Meg scoprono di aver ricevuto suo seducendola. 23 – 24 Quando il cavaliere e Fenton, mentre Ford, vedendo Falstaff progetto di Ford (per dare una lezione anche a due lettere d’amore identiche e decidono di esce per prepararsi all’appuntamento amoroso e la biancheria sporca nel fiume, ammette lui) facendo indossare il costume di Nannetta dare una lezione al loro spasimante. Una con Alice, Ford inveisce contro Falstaff e Alice, che i suoi sospetti sulla fedeltà di Alice erano a qualcun altro. vicina, Mistress Quickly, si dichiara disposta a che immagina colpevole di infedeltà. infondati. fungere da intermediaria per attirare Falstaff a Parco di Windsor, di notte un appuntamento. Nel frattempo Pistola e COMPACT DISC TWO Atto III 17 – 19 Le donne si riuniscono accanto alla Bardolfo, ormai licenziati, rivelano a Ford il Davanti all’Osteria della Giarrettiera quercia di Herne per dare istruzioni a Fenton piano di Falstaff, nella speranza di ricevere una A casa di Ford 13 Falstaff, che si è ripreso dal bagno nel sul momento giusto per scomparire con ricompensa in denaro. Ford decide di mettere 1 – 2 Mistress Quickly riferisce ad Alice e fiume, se la prende con il mondo intero per la Nannetta e sventare i piani di Ford. Alice alla prova la fedeltà di sua moglie facendo Meg che la sua missione ha avuto successo. sua ingiustizia. 14 È di cattivo umore anche vuole mettere Fenton al posto di Cajus. visita a Falstaff travestito e fingendo di 3 – 6 Si fanno preparativi per ricevere con Mistress Quickly, che porta un altro invito 20 – 21 A mezzanotte Falstaff, nel suo

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travestimento, arriva e inizia a corteggiare Scottish Opera e la Welsh National Opera e si La Bohème, tutti per Chandos/Peter Moores aus dem Serail, The Kingdom di Elgar, The Alice (e anche Meg). 22 – 26 Ma le due donne è esibito all’estero con l’Opera di San Diego, la Foundation. Beggar’s Opera e Gloriana di Britten, Deborah fuggono via sentendo dei rumori New Israeli Opera, l’Opéra National de Paris- di Handel, The Canterbury Pilgrims di Dyson apparentemente soprannaturali, lasciando da Bastille, l’Opéra Comique, il Gran Teatre del Yvonne Kenny è nata a Sydney ed è uno dei (per Chandos), momenti salienti dal solo lo spasimante, nelle mani di folletti ed Liceu di Barcellona, a Lione, Nantes, Santa Fe, più illustri soprani della sua generazione. Rosenkavalier e un disco di Great Operatic elfi. 27 Il trucco funziona finché Falstaff non Montpellier, Copenhagen, Amsterdam, Dopo la vittoria al concorso intitolato al nome Arias (Chandos/Peter Moores Foundation), e riconosce il naso rosso di Bardolfo. Vancouver e Ottawa. di Kathleen Ferrier è entrata a far parte della per Opera Rara Emilia di Liverpool, 28 Ford si fa beffe di Falstaff che si è illuso e I suoi numerosi impegni lo hanno visto , Covent Garden, dove è L’eremitaggio di Liverpool e Ugo, Conte di Parigi gli fa ammettere il proprio errore, ma Falstaff interpretare il ruolo di protagonista in stata Pamina (Die Zauberflöte), Ilia (Idomeneo), di Donizetti, e Il crociato in Egitto di ha l’ultima parola sostenendo di essere l’artefice Wozzeck, Falstaff, King Priam, Gianni Schicchi Susanna (Le nozze di Figaro), Adina (L’elisir Meyerbeer. del riso negli altri. 29 Ford benedice l’unione e Don Pasquale, oltre a Dulcamara (L’elisir d’amore), Liù (Turandot), Aspasia (Mitridate) e di due coppie, una delle quali presume sia d’amore), Don Alfonso (Così fan tutte), Figaro Donna Anna (Don Giovanni). Barry Banks ha conseguito il diploma presso il formata da Cajus e Nannetta. 30 Quando le (Le nozze di Figaro), Papageno (Il flauto Si è conquistata una reputazione Royal Northern College of Music e si è coppie si tolgono la maschera, Ford scopre che magico), re Dodon (Le Coq d’or), Leandro internazionale per i grandi ruoli del repertorio affermato tra i migliori tenori della propria Cajus ha sposato Bardolfo e che lui stesso ha (L’amore delle tre melarance), Dikoy (Kát’a handeliano, soprattutto Semele e Alcina (Covent generazione per le sue straordinarie benedetto l’unione di Nannetta e Fenton. Kabanová), Dr Kolenaty (L’affare Makropulos), Garden e La Fenice) Romilda (Xerxes) per interpretazioni in teatro e in concerto. I ruoli Anche Ford è stato giocato abilmente, come Shishkov (Da una casa di morti), Frank English National Opera l’Opera nazionale della comprendono il protagonista in The Rake’s Falstaff. 31 Le allegre comari hanno trionfato (Die Fledermaus), il barone (La Vie parisienne), Baviera, Cleopatra (Giulio Cesare) e Armida Progress per English National Opera, Belfiore e sugli intrighi degli uomini e Falstaff guida tutti il barone Trombonok (Il viaggio a Reims), (Rinaldo) a Sydney. Ha cantato anche all’Opera Libenskof (Il viaggio a Reims) a Bologna, Don in un ultimo scoppio di risa. George Wilson (The Great Gatsby), Alberich in di San Francisco, all’Opera di Vienna, alla Scala Ramiro (La Cenerentola) per l’Opera di alcune interpretazioni di Das Rheingold in di Milano, alla Berlin Staatsoper, l’Opera di Basilea, Oreste (Ermione) per l’Opera di Santa © English National Opera concerto, Varlaam (Boris Godunov) e Faninal Monaco, l’Opéra di Parigi e poi ad Amburgo, Fe, Tamino (Die Zauberflöte) al teatro La Traduzione: Emanuela Guastella (Der Rosenkavalier). Zurigo, Washington e Glyndebourne. Spesso fa Monnaie, all’Opera di Lipsia, alla Scottish La discografia include il ruolo di ritorno nel suo paese d’origine, l’Australia, dove Opera, e al festival di Salisburgo, Tom Andrew Shore è ritenuto il miglior buffo in protagonista nel Don Pasquale, Leporello ha interpretato numerosi ruoli. Nel 1989 è stata Rakewell (The Rake’s Progress), Tamino e il Gran Bretagna ed è uno straordinario (Don Giovanni), don Bartolo (The Barber nominata Member of the Order of Australia for protagonista in Le Comte Ory per la cantante/attore. Ha lavorato con la English of Seville), Dulcamara (The Elixir of Love), Services to Music. Glyndebourne Touring Opera, Nemorino National Opera, la Royal Opera House, Opera il sagrestano in Tosca, Faninal in La ricca discografia di Yvonne Kenny (L’elisir d’amore) e Argirio (Tancredi) per North, la Glyndebourne Festival Opera, la Der Rosenkavalier (momenti salienti), e comprende Le nozze di Figaro, Die Entführung l’Opera di Francoforte, Flute (A Midsummer

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Night’s Dream) alla Metropolitan Opera, all’estero; si è esibita al Concertgebouw di con la Peter Moores Foundation). Susan l’Opera di Calgary, alcuni ruoli nel Candide Candide per la Lyric Opera di Chicago, Amsterdam, alla Konzerthaus di Vienna e alla Gritton è membro della English National con la London Symphony Orchestra/Kent Arnalta (L’incoronazione di Poppea) per l’Opera Philharmonie di Berlino. Opera. Nagano e in Der Protagonist di Weill e The di San Francisco, Edgardo (Lucia di I ruoli operistici di Susan Gritton Royal Palace con la BBC Symphony Orchestra Lammermoor) per la Welsh National Opera. comprendono Susanna (Le nozze di Figaro) e Ashley Holland ha studiato presso l’università diretta da sir Andrew Davis, l’esordio all’Opéra Barry Banks è impegnato anche nei concerti Zerlina (Don Giovanni) per la Festival Opera e di Warwick e il Royal Northern College of Bastille nelle vesti di Bosun (Billy Budd ) e e ha eseguito la Petite Messe solennelle di la Touring Opera di Glyndebourne; la Music, dove ha vinto il concorso Webster quello con la Semperoper Dresden in quelle Rossini, Fidelio con la City of Birmingham Governante (The Turn of the Screw) e Lucia Booth/Esso e una Curtis Gold Medal, e ha di Ford. Symphony Orchestra diretta da Walter Weller, (The Rape of Lucretia) per la direzione di ottenuto una borsa di studio di Peter Moores. La discografia comprende Belcore (The il War Requiem di Britten, il Requiem di Steuart Bedford a Snape Maltings; Marenka Nel 1998 ha vinto il concorso lirico Ranieri i Elixir of Love) per Chandos/Peter Moores Bruckner con la Scottish Chamber Orchestra (The Bartered Bride), Euridice (Orfeo), Thalie e Cestelli di Amburgo. Foundation. diretta da sir Charles Mackerras, e Armida di Clarine (Platée), e Tiny (Paul Bunyan) per la Il baritono è attualmente solista presso Rossini, eseguita al Festival di Edimburgo Royal Opera; Romilda (Xerxes) e Cleopatra l’English National Opera, dove ha interpretato Alice Coote ha studiato presso la Guildhall La discografia comprende Don Ottavio (Giulio Cesare) per l’Opera di Monaco; i ruoli di Zurga (The Pearl Fishers), Sharpless School of Music and Drama, il Royal (Don Giovanni), Nemorino (The Elixir of Belinda (Dido and Aeneas) alla Deutsche (Madam Butterfly), Guglielmo (Così fan tutte), Northern College of Music (con il contributo Love), Ernesto (Don Pasquale) (per Staatsoper di Berlino; Marzelline (Fidelio) con Cecil nella Mary Stuart di Donizetti, Belcore della Peter Moores Foundation) e il National Chandos/Peter Moores Foundation), St Paul l’Opera di Roma. Presso English National (The Elixir of Love), Lescaut nella Manon di Opera Studio. di Mendelssohn (per Chandos), Un ballo in Opera, dove è solista, i suoi ruoli Massenet, Ottakar (Der Freischutz), Marcello I suoi ruoli operistici comprendono maschera e Trial by Jury, oltre a registrazioni su comprendono Atalanta (Xerxes), Caroline (The (La Bohème) ed Escamillo (Carmen). Ha Cherubino, Penelope (Il ritorno d’Ulisse in videocassetta di Billy Budd e Die Entführung Fairy Queen), Constance (The Carmelites), inoltre interpretato il ruolo del baritono in una patria), Dorabella, Tamiri (Il Re Pastore) per aus dem Serail. Xenia (Boris Godunov), Pamina (The Magic coproduzione dell’Allegro di Handel (English Opera North; Fortuna e Valetto Flute), Drusilla (The Coronation of Poppea), National Opera e Mark Morris Dance Group). (L’incoronazione di Poppea) per la Welsh Susan Gritton ha studiato botanica presso le Nannetta (Falstaff ), il ruolo di protagonista in Altri impegni comprendono Junius (The Rape National Opera; Cherubino per la Scottish università di Oxford e Londra prima di The Cunning Little Vixen, Fiordiligi (Così fan of Lucretia) per l’opera di Losanna, Ford Opera; Proserpina (Orfeo), Meg Page (Falstaff ) intraprendere la carriera di cantante. Nel 1994 tutte) e Sophie (Der Rosenkavalier). (Falstaff ) per English National Opera, e il ruolo di protagonista in The Coronation of ha vinto il Kathleen Ferrier Memorial Prize e La discografia per Chandos comprende Sharpless per l’Opera di Cincinnati, Antonio Poppea per la English National Opera; Page ha esordito come solista in un recital presso la Ottone in Villa di Vivaldi, Sir John in Love, in alcune esecuzioni in concerto della Linda di (Salome), Ruggiero (Alcina) per l’Opera di Wigmore Hall. Svolge una regolare attività The Pilgrim’s Progress, St Paul di Mendelssohn, Chamounix con Mark Elder e l’Orchestra of Stoccarda e il festival di Edimburgo; Flower concertistica in tutta la Gran Bretagna e alcune Messe di Haydn e Aida (quest’ultima the Age of Enlightenment, Don Giovanni per Maiden (Parsifal ) e interpretazioni all’Opéra

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Bastille di Parigi e a Nancy, Nantes, e al Mélisande), Wurm (Luisa Miller), il ruolo di l’altro il ruolo di Don Ottavio (Don Rebecca de Pont Davies è nata a Londra e ha Festival di Salisburgo. Il suo esordio protagonista ne Le nozze di Figaro, il Dottore Giovanni), Michael (Julietta di Martinuº), studiato presso la Guildhall School of Music and statunitense alla Lyric Opera di Chicago nelle (Wozzeck), Biterolf (Tannhäuser) e Antinoo (Il Alfred (Die Fledermaus) e Nanki-Poo Drama, dove si è aggiudicata numerosi premi e vesti di Hansel (Hansel e Gretel ) ha riscosso ritorno d’Ulisse in patria); con Opera Factory è nell’allestimento del Mikado con la regia di un riconoscimento del Countess of Munster grande successo. comparso in Don Giovanni; per English Jonathan Miller. Musical Trust. Ha esordito in teatro con la Le sue apparizioni in concerto vanno da National Opera è stato Billy Budd, Wozzeck, Gli impegni di maggior rilievo Glyndebourne Touring Opera in Death in Venice brani di repertorio tratti dagli oratori di Bach e Cadmus (Semele), le quattro personificazioni comprendono l’Alto sacerdote (Idomeneo) al di Britten e da allora lavora con importanti Handel alle opere di Mahler, Debussy e del cattivo genio (Les Contes d’Hoffmann), Covent Garden, Hauptmann (Wozzeck) per la compagnie britanniche e svolge numerose Britten, interpretateo sotto la direzione di Collatinus (The Rape of Lucretia) e Pistola Canadian Opera Company e a San Francisco, tournée in Europa. Dal 1998, anno in cui ha Nagano, Pesek, Menuhin, Salonen, Dohnányi e (Falstaff ). All’estero Clive Bayley è comparso Ginevra, Zurigo, Montpellier, Bordeaux e interpretato il ruolo di Emilia (Otello) per Christie a Londra, Parigi, Vienna, Amsterdam, nei teatri lirici dei Paesi Bassi, Seattle, Lisbona Bologna, Shuisky (Boris Godunov) a English National Opera, ha affrontato molti altri Bruxelles, Madrid e Salisburgo. È sempre più e Losanna. Altri impegni comprendono il Strasburgo, Bordeaux e Montpellier, Quint ruoli per la stessa compagnia, tra cui Mrs Sedley richiesta come interprete di recital e ha svolto Pescatore in The Royal Palace di Kurt Weill, in (The Turn of the Screw) per la tournée russa del (Peter Grimes), Annina (Der Rosenkavalier), serate presso la Wigmore Hall e per il terzo occasione dei concerti serie Promenade della 1990 della English National Opera, Geneviève (Pelléas and Mélisande), Ottavia canale radiofonico della BBC. Le registrazioni BBC e interpretazioni con la Festival Opera e Truffaldino (L’Amour des trois oranges) per (The Coronation of Poppea), Flosshilde comprendono The Choice of Hercules. la Touring Opera di Glyndebourne. ENO, Zinoviev (Lady Macbeth) a Tolosa e (The Rhinegold ), Mistress Quickly (Falstaff ), la La discografia per Chandos comprende Marsiglia, Idomeneo a Drottningholm, e i tre principessa Marya (War and Peace), Mother Clive Bayley ha vinto una borsa di studio Peter Troilus and Cressida, Billy Budd e, per ruoli tenorili della Lulu allo Châtelet, Egisto a Goose (The Rake’s Progress), e Suzanne in Moores e canta regolarmente con le principali Chandos/Peter Moores Foundation Madam Karlsruhe, L’occasione fa il ladro al festival di occasione della prima rappresentazione mondiale compagnie liriche in un repertorio che va da Butterfly, Don Giovanni, Boris Godunov Schwetzingen e a Colonia, Bob Boles al di A Better Place di Martin Butler. Attualmente è Monteverdi a Verdi, Puccini, Berg, Britten e (momenti salienti), Don Pasquale e Il trovatore. Covent Garden, all’Opera di Monaco e a solista della English National Opera. Birtwistle. Ha esordito con la Royal Opera, Genova e Strasburgo, Captain Vere (Billy Altri ruoli comprendono Moksada (Snatched Covent Garden, nella prima del Gawain di Stuart Kale è considerato uno dei migliori Budd ) a Colonia, Gregor (L’affare by the Gods di Param Vir) per Scottish Opera, Harrison Birtwistle e in seguito ha vestito i cantanti-attori della lirica a livello Makropoulos) ed Erode, in alcuni nuovi Gaea (Daphne), Die alleswissende Muschel panni di Colline nella Bohème. Ha riscosso internazionale e il suo ricchissimo repertorio allestimenti a Strasburgo. (Die ägyptische Helene) e Leda (Die Liebe der significativi successi con Opera North in va da Monteverdi a Messiaen. Ha iniziato con La discografia comprende Goro (Madam Danae) per l’opera di Garsington, il ruolo di Jerusalem di Verdi, nei ruoli di Sparafucile la Welsh National Opera e la sua carriera è Butterfly), Shuisky (momenti salienti del Boris protagonista in Flavio di Handel, (Opera (Rigoletto), Referee in Playing Away di Benedict proseguita presso la English National Opera, Godunov) e Roderigo (Otello), per Theatre Company, Dublino). Rebecca de Pont Mason, Ferrando (Il trovatore), Arkel (Pelléas e dove è rimasto per otto anni, interpretando tra Chandos/Peter Moores Foundation. Davies è anche molto impegnata nei concerti e

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ha cantato con importanti orchestre britanniche Nona sinfonia di Beethoven al Brighton Dome, violino Barry Griffiths, ha ricevuto negli ultimi produzione in cui appaiono. Particolari trionfi in un repertorio che comprende le opere Elijah di Mendelssohn nella cattedrale di anni diversi premi prestigiosi, tra cui il Royal per il Coro sono stati Guerra e pace di principali di Bach e Handel, la Petite Messe Sheffield, il Requiem di Mozart alla Royal Philharmonic Society Music Award e un Olivier Prokofiev, Lady Macbeth dei macelli di solennelle di Rossini, Elijah di Mendessohn, il Festival Hall, Carmina Burana al Barbican, lo Award for Outstanding Achievement in Opera. Shostakovich, Billy Budd e Peter Grimes di Requiem di Verdi, la Sinfonia N. 2 di Mahler, Stabat Mater di Rossini presso St John’s, Smith L’Orchestra è al centro della vita artistica Britten, Boris Godunov di Mussorgsky, la Sea Pictures e The Dream of Gerontius di Elgar e Square, e serate di gala nelle sale concertistiche dell’Opera e, oltre a esibizioni liriche al Carmen di Bizet e l’Otello di Verdi. La loro A Child of our Time di Tippett. nazionali di Cardiff, Dublino e Glasgow. Coliseum di Londra è stata anche vista sul palco ultima registrazione, nella produzione di in concerto. Inoltre molti dei musicisti Jonathan Miller diretta da Mark Elder, è Richard Roberts ha studitao presso Amanda Holden ha studiato musica ad partecipano al lavoro del Baylis Programme del uscito per Chandos con il patrocinio della l’Università del Kansas, la Chatauqua School Oxford e poi ha vinto una borsa di studio per dipartimento di educazione e “outreach” Peter Moores Foundation, come la loro of Music di New York e con Anthony Laciura la Guildhall School di Londra, dove ha dell’Opera e con l’English National Opera registrazione del amoso “Ciclo del Ring” della Metropolitan Opera, Audrey successivamente insegnato pianoforte. Dal Studio allo sviluppo di nuove opere, in diretti da Sir Reginald Goodall. Altre Langford, Felicity Palmer e Robert Dean. 1987 in poi ha scritto circa cinquanta particolare The Silver Tassie di Mark-Anthony registrazioni Chandos/Peter Moores In qualità di solista per English National traduzioni per allestimenti in teatro, sale da Turnage che è stata uscita in prima mondiale nel Foundation sono Maria Stuarda, Giulio Opera, Richard Roberts ha interpretato concerto e teatro lirico, molte delle quali febbraio 2000. L’Orchestra appare in numerose Cesare, Rigoletto (produzione di Jonathan numerosi ruoli tra cui Rinuccio (Gianni commissionate da English National Opera, registrazioni per Chandos/Peter Moores Miller) e La traviata. Schicchi), Edmondo (Manon Lescaut), l’abate English Touring Opera, Opera North e Foundation: Otello, Maria Stuarda, Giulio (War and Peace), l’insegnante (Lady Macbeth of Raymond Gubbay. È fondatrice-redattrice Cesare, Il barbiere di Siviglia, Rigoletto Paul Daniel è considerato uno dei direttori Mtsensk), Don Riccardo (Ernani), Bardolfo delle guide alle opere Viking/Penguin; una (produzione di Jonathan Miller), La traviata e d’orchestra di maggior talento della sua (Falstaff ) e Roderigo (Otello). Altri impegni nuova edizione completamente riveduta, The Werther. generazione ed è molto richiesto dalle hanno compreso Candide per la Eugene Opera New Penguin Opera Guide, è stata pubblicata compagnie liriche e dalle orchestre di tutto il dell’Oregon, Jiri (Il Giacobino) per la Scottish nel 2001. Amanda Holden è inoltre autrice del Il Coro di English National Opera è una delle mondo. Opera, Pinkerton (Madama Butterfly) libretto di un’opera di Mark-Anthony Turnage, migliori risorse dell’Opera. In innumerevoli Come direttore ospite è comparso con nell’allestimento di Raymond Gubbay presso la The Silver Tassie per cui, con il compositore, produzioni della English National Opera ha importanti orchestre, tra cui la Philharmonia, Royal Albert Hall e Scaramuccio (Ariadne auf ha ricevuto il premio Olivier per il 2001 entusiasmato le platee con il potere del canto e l’Orchestra of the Age of Enlightenment, la Naxos) con la City of London Sinfonia diretta (Outstanding Achievement in Opera). l’intensità della recitazione. Si tratta di Bournemouth Symphony Orchestra, la BBC da Richard Hickox. sessantotto coristi e l’ampia gamma di capacità National Orchestra of Wales, la London Richard Roberts ha al suo attivo una quantità Acclamata dalla critica e dal pubblico, ed esperienza che portano nelle esibizioni Philharmonic Orchestra, la Royal di concerti e i suoi impegni comprendono la l’Orchestra di English National Opera, primo costituiscono il tratto distintivo di ogni Philharmonic Orchestra, la Royal Scottish

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National Orchestra, la Filarmonica della radio Priam nell’ambito dei festeggiamenti per il dei Paesi Bassi, l’Orchestre de Paris, novantesimo compleanno di Tippett. Susan Gritton as Nannetta in English National l’Orchestre Philharmonique de Radio France, Dal 1990 al 1997 Paul Daniel è stato Rafferty Bill l’Orchestre National de Lyon, la Tonhalle di direttore musicale di Opera North, suscitando Opera’s production of Verdi’s Falstaff Zurigo, l’Orchestra sinfonica di Göteborg, l’apprezzamento della critica per le l’Orchestre de la Suisse Romande, la Deutsche entusiasmanti e moderne esecuzioni di Ariane Kammerphilharmonie, l’orchestra sinfonica et Barbe-Bleue di Dukas, King Priam di MDR di Lipsia, la Los Angeles Philharmonic, Tippett, Don Giovanni, Der ferne Klang di l’orchestra sinfonica di Indianapolis e Schreker, Boris Godunov, Don Carlos, Wozzeck, l’Orchestra di Cleveland. Gloriana, Il trovatore, Pelleas and Melisande, le Nel 1997 è diventato Direttore musicale prime mondiali di Baa Baa Black Sheep di della English National Opera, dove ha diretto Michael Berkeley e Playing Away di Benedict The Flying Dutchman, Falstaff, From the House Mason; quest’ultima, presentata alla Biennale of the Dead, The Tales of Hoffmann, Manon, di Monaco, si è aggiudicata il premio per Otello, Boris Godunov, La traviata, The migliore allestimento e design, Jenu°fa, Luisa Carmelites, Der Rosenkavalier, Peter Grimes, Miller, Medea, Falstaff e Tannhäuser. Paul Pelleas and Melisande, la prima mondiale di Daniel è stato direttore musicale di Opera The Silver Tassie di Mark Anthony Turnage, Factory dal 1987 al 1990. Nixon in China, Peter Grimes (al festival di La discografia comprende la Sinfonia N. 3 Aldeburgh), Il trovatore, War and Peace ed di Elgar/Payne con la Bournemouth alcune esecuzioni in concerto della Gioconda Symphony Orchestra, opere di Thomas di Ponchielli e del Requiem di Verdi. Prima Armstrong (per Chandos), e momenti della nomina aveva già lavorato molto con la salienti del Boris Godunov (Chandos/Peter compagnia ad allestimenti tra cui vanno Moores Foundation). Nel febbraio 1998 ricordati la prima mondiale di The Mask of Paul Daniel ha ricevuto un Olivier Award per i Orpheus di Harrison Birtwistle, Figaro’s notevoli risultati raggiunti nell’opera e Wedding, Akhnaten di Philip Glass, Tosca, l’onorificenza di Commander of the British Carmen, Rigoletto ed alcune esecuzioni di King Empire nel 2000.

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Andrew Shore as Falstaff and Rebecca de Pont Davies as Mistress Quickly in English National Opera’s production of

Verdi’s Falstaff Rafferty Bill Rafferty Bill

Stuart Kale as Dr Caius in English National Opera’s production of Verdi’s Falstaff

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COMPACT DISC ONE Falstaff A curse on landlords who lace their sack with his ugly face betrays him. Well, you may have my answer. brimstone! I know that I had two silver shillings in my pocket, Act I The plea of this defendant... See this bright shining comet? and six golden half-sovereigns. Now they’ve completely vanished. Scene One Dr Caius Dr Caius The Garter Inn Is what? I see it. Pistol (to Falstaff ) Sir John, if I am guilty, have me beaten up and Dr Caius Falstaff Bardolph 1 banished. Falstaff! Is that he’s guilty. You’ll find it glows a rosier red in the evening. (to Dr Caius) Falstaff (taking no notice of Dr Caius, calling to Dr Caius the Landlord ) Dr Caius You’re a liar! Then, monsieur, I shall see you in court. Well, I prescribe they hang you. Hey there! You made me drink, you rascal, while he… Dr Caius Dr Caius Falstaff (pointing at Pistol ) You peasant, beware how you address me. Very unwise, sir, Sir John Falstaff! …made foolish speeches. Pistol for you’ll be made a fool of. Falstaff (to Dr Caius) Soon I was drunk, beyond recall, Idiot! Leave well alone, I advise, sir. Oh! What’s this shouting? then you burgled my breeches. Dr Caius Dr Caius Dr Caius Bardolph You beggar! That will not do, sir. You have thrashed all my servants. Not I. Pistol Falstaff Dr Caius Falstaff Varlet! To hell with you! Then who? Landlord! Another bottle of sherry. Dr Caius Dr Caius Falstaff Dr Caius Dog! And Bardolph! Pistol! Then you rode my grey mare until she staggered. Pistol You broke into my house, sir! Bardolph Pistol Pig! Yes, good doctor. Master? Falstaff Dr Caius But not into your housemaid. Dr Caius Falstaff Could it be you who has picked the Doctor’s You scarecrow! Dr Caius Last night you took me drinking. pockets? Oh, I’m grateful! Poor old thing must be ninety. Bardolph Pistol Master Colossus, if you had twenty titles, Indeed sir! How I regret it! Dr Caius Midget! John Falstaff, high and mighty, I’m sick. Prescribe some pills to make me better. Yes, it was you! Observe him! Dr Caius I’d still insist you answer me. I have an aching stomach. That look will get him nowhere, Your odour is so poisonous!

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Pistol Dr Caius Falstaff with a chorus of voices, Who? Right, then! If in future you wish to drink with Rummage! who praise my name in singing! Dr Caius, Bardolph Dr Caius I swear you must be honest, sober, Pistol I have rummaged. You! well-mannered and pious. Hail, mighty Falstaff! Pistol (Exit.) Falstaff Bardolph You mean it? Rummage! All hail, great Falstaff! Bardolph and Pistol Dr Caius Amen. Bardolph Falstaff Look if you don’t believe me. Yes! Falstaff This is my empire, it grows and grows. Spare me the counterpoint, that awful Falstaff Pistol Bardolph and Pistol intertwining. Thanks to you, I am ruined! By thunder! Almighty Falstaff! Artists respect this axiom: I spend at least ten pounds a week to keep you, Falstaff ‘One steals with grace and good timing.’ you tosspot! Falstaff Hey stop! Pistol, don’t fire your guns in here. You are such clumsy craftsmen. Ambling along each evening, from tavern to But now, we must have our wits about us. tavern, Bardolph, who was it rifled this gentleman’s Bardolph and Pistol with your glowing nose so luminous, I need no Bardolph and Pistol breeches? A… other beacon. We have them here. Dr Caius Falstaff But what that saves in candles, you squander Falstaff It must be one of them! Sshh! without blinking. 3 Are you acquainted with a merchant whose It is thirty long years since first I subsidised your Bardolph Landlord name is Ford? He was drinking, more than he ought to. 2 Your bill, sir. drinking. You don’t earn it. Then when he’d lost his senses, Falstaff (looking at ) Bardolph (to Pistol ) he invents something plausible, Six pullets: six shillings. Yes! You’re no better! which he had dreamt while lying asleep, Thirty bottles of sherry: two pounds. Three (shouting) Pistol under the table. turkeys… Landlord, another bottle! Yes! (to Bardolph) Falstaff (to Dr Caius) (to Bardolph and Pistol ) Count the funds in my purse there. Falstaff Hear that? You must control yourself. You’re devouring my substance. A brace of pheasants, and an anchovy. A man who’s made of money. The truth is now established. If Falstaff were more slender, he’d not be me, Your claims are quite unfounded, Bardolph and who would love him? Pistol so go and sin no more. A groat, a groat, a penny. My belly’s ringing, He’s wealthier than Croesus.

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Bardolph Pistol Bardolph and ghastly sneering laughter, can boast of honour. Quite so. Another? Sir John, you won’t persuade me to play the part Honour indeed! What honour? Falstaff Falstaff of go-between. What nonsense! What humbug! His wife’s perfection. And this one’s name is Marguerita. I have my… Can this honour put a meal in your belly? No. Can it mend an arm or a leg that is broken? Not so. Pistol Pistol Falstaff An ankle? No. A finger? No. Or a whisker? No. And spends his money. They call her Meg. What? Then honour’s not a surgeon. What is it? It’s an expression. Falstaff Falstaff Bardolph And what is in this expression? Just a passing Exactly! Oh, love! Sparkling her eyes, She’s another who’s insisting I meet her, My honour. impression. Most ingenious. swan-like her neck, her lips like… and she’s another wife who spends the money. Falstaff (calling his page) Does honour help him who died last a flower that blooms in laughter. Bardolph and Pistol Hey, page boy! Wednesday? No. Her name is Alice. Spends the money. (to Bardolph and Pistol ) Lives it with the living? That neither, One morning as I was passing by, You two, go hang yourselves, but not on me. because it’s falsely puffed up by human flattery. she was at her window, smiling. Falstaff (to Robin) It is pride that corrupts it, and calumny pollutes it. Desire sprang up from the depths of my heart. These beauties shall soon become my bankers Two letters, take them to these two ladies. As for me, I don’t want it. No! The goddess shot so blinding a glance of passion and my Eldorado. Run off like lightning. But getting back to you, you villains, at me, Together we shall enjoy a spell of smiling Hurry, run quickly, go, quickly, go, go, go! I’ve had enough now, I’ll do without you. at me, this manly figure of fine proportion, weather, (to Bardolph and Pistol ) Get out! Quickly, quickly, at the double, at the this well-turned leg, this noble bearing, stately, my Indian summer. 4 5 Your honour? Vermin! double! imposing. So now, convey these scorching letters. You are forbidden by your honour, you? It’s the rope that will suit you the best. And I could see from deep within her eyes how (to Bardolph) You stink of pure hypocrisy, Quickly, quickly, at the double, at the double! much she loved me, You take this one to Meg; her virtue is untried. when you both know full well, Villains! Villains! Villains! Villains! that they seemed to say ‘I’m waiting for you, I see your eager nose burns with excitement. we all have human failings. Out you go! Out you go! Falstaff’. (to Pistol ) And you carry this one to Alice. We all do, yes, I do, I do. Bardolph Sometimes I choose to wander, Scene Two Full stop! Pistol risking the wrath of heaven, The garden of Ford’s house I am an honest soldier, I won’t be cast as and find myself astray without my honour. Falstaff Meg Pandarus. My stratagem is being equivocal, enigmatic and New chapter. Another. 6 Dear Alice! No, never. elusive. Bardolph Falstaff But you, you tattered scroungers, Alice Another? Hoity-toity! with your offensive, twisted and catlike glances, Meg!

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Meg Meg Alice Alice Nannetta! Well, would I? ‘Heavenly Meg, let me love you… Ah! Alice Quickly Meg Nannetta I had to find you, My dear, how could I? …and adore you.’ Him, her, you! to share a little joke. Alice Alice Quickly (to Mistress Quickly) Well then, if I were tempted to entertain Here ‘Meg’, there ‘Alice’. Ménage à trois! Good day, dear neighbour. proposals from the devil, Meg Alice I might achieve a title, Identical phrases. Quickly (to Nannetta) ‘Let us be coupled in an affair of laughter: as a knight’s fair lady. ‘Don’t ask the reason why, but say you… May good fortune be with you, a lovely lady, a man… my pretty rosebud. Meg Alice Me too. …love me.’ All Alice …of such virility.’ You won’t believe this. Alice I’ve never given him cause. The strangest thing has happened to me today. You’re joking! Meg Alice This is a strange situation. ‘Your radiant image will shed its light on me, Meg Meg just as the starlight, just as the starlight on infinity.’ And to me. Don’t waste the morning. Quickly Come over here and I’ll tell you about it. Let’s read them calmly. All Quickly Ha, ha, ha! What? Alice (bringing out a letter) Meg I’ve a letter here… The same exactly. Alice Nannetta ‘From your inamorata, John Falstaff, Knight of Meg (also producing a letter) What is it? Alice the Garter.’ …and me too. Ink in the same colour. Alice All Nannetta and Quickly Quickly Tell us your story. 8 Monster! Oh! Writing no different. Meg Alice Alice and Meg (handing each other their letters) Nannetta Tell us yours. He needs a lesson. Read it. Nor is the paper. Nannetta and Quickly Meg Alice and Meg Nannetta Tell us, tell us. 7 ‘Heavenly Alice, let me love you…’ ‘You are merry and charming, We’ll teach it to him. Alice Good gracious! What does he mean? I’ll be your merry companion, Alice You swear not to breathe a word? But for the names there is no difference. and we will make a lovely couple.’ And find a way to catch him.

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Nannetta We’re half-way to getting him Quickly are not saints, I think you’ll find, Oh, yes! Undo him! completely befuddled. His cannon is loaded, though they say they’re flowers of Quickly In your clever coaxing, the battle’s beginning. virtue, How exciting! I have every confidence, In Windsor a gale they are people of his kind. and he’ll get his recompense, has mysteriously blown up. Bardolph Meg when we’ve done our hoaxing. A great, greedy whale It is you that Falstaff’s mocking, Then dispatch him! And if we talk cleverly, has been suddenly thrown up. I must try to make it clear to you. he’ll be taken in. But we will reward him, Alice He has planned a thing I’d fear to do, We’ll see him sweat heavily, his grossness we’ll shatter, That barrel, that vandal, something bad and rather shocking. from that greasy skin. we’ll find we have floored him, that mountain of batter, I’m a man of ammunition, with chirping and chatter. by trying to flatter, and can’t bear to see him drag you down. Meg Four tongues going faster, he’s causing a scandal. I would never, even for a crown, In Windsor a gale with trilling and nattering, The sweat must be dripping out, leave my honourable position. has mysteriously blown up. will cause him a shattering in rivulets running, Master Ford, respect my warning, A great, greedy whale and final disaster. while he goes on tripping out, try to trap that man depraved. has been suddenly thrown up. Our laughing and jollity his verses and punning. You must make your plans this His cannon is loaded, will make quite a din, It’s best that we let him morning, the battle’s beginning, with cheerful frivolity, continue his prattling, as you’re only now half-saved. but we shall be winning, I’m sure we can win. and then when we rattle him, when it has exploded. we’ll easily net him. Fenton He’ll find he’s a laughing-stock, (They move off. Enter Dr Caius, Bardolph, Fenton, You’ll see how I wind him in, If you like I will not hesitate, with senses diminished. Pistol and Ford.) that monster of sin, to insist he mends his fences, He’ll fall on our stumbling block, as fast as a bobbin-pin, Dr Caius or I’ll bring him to his senses, and he will be finished. and faster, yes, I’ll make him spin. He’s a scoundrel, thief and vandal! with a blow he will not tolerate. And as we beguile him, He’s a Turk, a cheat, a hooligan. It will be extremely comical, Nannetta with singing and dances, Yesterday he caused a scandal, he’ll be shaking like a jelly, If you plan to tease him, we’ll subtly smile at him, when he made me look a fool again. when we rupture that huge belly, let’s do it together. with flirtatious glances. If I file a law-suit on this day, of proportions astronomical. I’m sure we can seize him, With bird-lime we’ll smother him, it will be as I’ve predicted. With advice or with my dagger, by cunning endeavour. right up to his chin, He will find himself convicted, when I meet him face to face, The trap that we’re setting him, and when we uncover him, and the devil he will have to pay. he’ll retreat without that swagger, will soon have him muddled. you’ll see it, the fun will begin. And those rascals who stand beside you, or I’ll put him in his place.

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Pistol He’ll penetrate your palace, Pistol and Bardolph Dr Caius Sir John Falstaff has decided, and ravish Mistress Alice, Women. It’s her! to attempt to bring you to your knees, and… smash your bed into pieces! Bardolph and above your honest forehead, Meg Dr Caius Even now I can see the crown that Actaeon wore, It’s him! hangs the dreadful sword of Damocles. Scandalous! sprouting from your forehead. Master Ford, I was his bodyguard, Alice so I lost my reputation. Ford Ford If he discovered… Now I’m penitent and on my guard, Help me, God! What do you mean by that? Nannetta hoping for my soul’s salvation. Bardolph Bardolph Trouble! Now you know the awful story, And he’s written a letter. The horns. mark my words, for heaven’s sake. Alice Pistol Ford Be alert, alert, alert! He really mustn’t see us. For your honour is at stake. Which I was to deliver. I refused. Terrible thought! Bardolph Dr Caius Meg Ford Ford’s very jealous? All around me I hear guzzling, I refused. He’ll gobble the lot, if he can. swarms of wasps and hornets grumbling, Pistol Ford Alice and above this whirling, buzzing, You must beware. I’ll keep a watch on Alice. Extremely! great black thunder clouds are rumbling. I’ll look out for that Falstaff. Bardolph Quickly In my head a drunken stuttering I’ll keep my household free Be careful! Quiet! feels like fearful loud percussion, from lechery and sin. Pistol I’m surrounded by the muttering (The four women re-enter.) Alice of conspirators’ discussion. His appetite’s voracious, We must away. Four men talk and this one listens. for anything curvaceous, Fenton Which of them shall I believe? young girls or married ladies. It’s her! (Exeunt all except Fenton and Nannetta.) If you wouldn’t talk together, Bardolph Nannetta Fenton then perhaps I’d understand. 10 Housemaids. It’s him! Pst, pst, Nannetta. Come here. 9 Again, please. Pistol Ford Nannetta Pistol Widows. It’s her! Sshh! Quiet! What is it? To put it briefly, the glutton’s lust is chiefly Bardolph Alice Fenton for dark and devious doings. Virgins. It’s him! Two kisses.

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Nannetta Nannetta Nannetta Alice Then hurry. Stop it! Yes, very funny. We’ll enjoy it! Fenton Fenton Alice All I’ll hurry. Ah, how I love you! First you can flatter him, Enjoy it, enjoy it! and sweetly captivate him. Nannetta Nannetta Meg (to Quickly) Lips that are burning… They’re coming! Nannetta Make sure the woodcock falls into the gin-trap. And then? Quickly Fenton Fenton Kisses may fade, but the memory lingers. Alice Who’s coming? Lips that are flowers… And then we will deflate him nicely. Nannetta Meg Nannetta Quickly Ever returning as the moon to heaven. I think there’s someone watching. Lips that are learning We’ll merrily frustrate him. Love’s magic powers. (They separate as the women re-enter.) (Exeunt Alice, Meg, and Quickly. Fenton joins Alice Nannetta.) Fenton Alice That schemer! Fenton Lips that delight me, 11 Falstaff has dared to mock me! Meg 12 Back to the jousting… laughing and smiling, Meg Unscrupulous blasphemer! Nannetta sweetly beguiling, And he deserves to suffer. how they excite me! Alice Back to the tilting. Attack me! In one move check-mate him! Kisses so tender… Alice Fenton Maybe I’ll write an answer. Meg Parry! Nannetta We’ll have him at our mercy. Mischievous fingers! Nannetta Nannetta A messenger would be better. Alice The target’s higher. Fenton He’s a glutton who’s blown up by his inflated Ah love, the agile one in battle, Ah, let me linger, Alice, Nannetta and Quickly boasting. he has decided the fragile one and then surrender. Yes! Nannetta conquers the stronger. I love you! Alice (to Quickly) We’ll chuck him in the water. Fenton Nannetta You go and see him, alone. Alice Love is an archer, No, you mustn’t, no! I think we’ll offer him a secret encounter with me. We’ll give him quite a roasting! who never misses. Fenton Quickly Nannetta Nannetta Yes, two kisses. That is the answer. How funny! Lips are his bow strings.

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Fenton Fenton Pistol he’ll reveal his secrets readily. His shafts are kisses. Kisses may fade, but the memory lingers… I won’t say nothing. As a willow bends to water, Careful, I’m aiming my fatal caresses, Nannetta (offstage) Ford so Sir John inclines to wine. swift as an arrow, at your fair tresses. Ever returning as the moon to heaven. You know what to do? When his paunch is full of sherry, you’ll discover his design. Nannetta (Enter Ford, Dr Caius, Bardolph and Pistol.) Bardolph and Pistol Now I have caught you. Yes. Fenton Bardolph Here a group of men is muttering, Fenton 13 Ford You’ll gather from his boasting, there’s an ill wind darkly blowing. Now let me kiss you. Here’s my hand. he’s certain no one’s smarter. There’s a flock of women chattering, Nannetta Ford Dr Caius and there’s mystery in the air. I can’t resist you, You know where I can find him? It may be that your predicament But Nannetta, my heart is fluttering, but you’re my captive. Tell me. is a problem that’s unthinkable. how my love is overflowing. My advice you’ll have to follow, We shall be like stars that shine in the heavens, Fenton Pistol Forgive, forgive, if you want to know the truth. with our true love to share. You’ll find him at the Garter. As it is with a medicament, I beg you for mercy, Ford and then… Ford that’s so bitter it’s undrinkable. If you take a swig and swallow, You will watch me as I wilfully You two must introduce me, trap that object of derision. Nannetta but with a different surname. it provides you with the proof. …and then? I’ll find out his plan so skilfully, You’ll see him falling headlong, Bardolph that I will avoid suspicion. Fenton into the trap that’s waiting. Master Ford, you are in danger, If I swindle him successfully, Perhaps, back to the fighting! But you must keep it secret. and you face a great calamity. it will not have been in vain. Nannetta Bardolph Fat Sir John pursues your lady, I’ll maintain my good position, Sweet are the battles, Rely on my discretion, in a manner far from right. and I’ll make him cry in pain. that soon are over. or my name isn’t Bardolph… That revolting, drunken stranger, that huge barrel of depravity, Alice (to Quickly) Stop now! 14 Pistol has been plotting something shady, Enough of this chattering. Fenton …or my name isn’t Pistol. and he’s spoiling for a fight. Nannetta (to Quickly) But I love you. Ford Pistol Run off and prepare your part. Nannetta We’re agreed, then. Be prepared to take a demi-john, Alice They’re coming! No more now. Bardolph and to fill his tankard steadily. I want him yowling like an amorous tom-cat. (She runs off.) Your secret is safe with us. When you’ve got him drunk and merry, Remember!

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Quickly Bardolph and Pistol Falstaff and she too sends me here with such tender, Yes! And we’re returning to your service. I know. Continue. loving greeting. But since her husband’s seldom out, she can’t Nannetta Bardolph Quickly arrange a meeting. We’re ready. Sir John, here at the door a certain lady is waiting, Alice is suffering from a desperate passion for you. Lord, how she suffers, that pure white lily of hoping you will receive her. She told me she had received the note you sent. Alice sweetness and truth! Till later… Good day, Meg. I’m here to thank you, and to tell you her Falstaff husband How you bewitch all women! Quickly Admit her. is always out from eleven till twelve. Falstaff Nannetta, good day! Quickly (entering) Falstaff I weave no magic spell, 16 Nannetta and Meg Sir, your servant! From eleven till twelve. but find I charm them easily, as I am. Good day! Tell me, do they know about each other? Falstaff Quickly Alice Good morning, my good woman. And at that time of the morning, Quickly You’ll see how that belly, that billowing belly… Quickly your grace may freely enter, Oh no! We women can conceal things, All Sir, your servant! and Alice will receive you into her chamber. don’t you worry. …is blown up until it bursts! If it should please your worship, Lord, how she suffers! Falstaff You won’t believe she’s so unhappy! Alice I’d like, perhaps in private, Let me now repay my debt. to give you a little message. Master Ford is so jealous! ‘My radiant image will shine for all to see, Quickly just as the starlight on infinity.’ Falstaff Falstaff The sower of bounty shall reap true love. From eleven till twelve. All And I will hear you. Tell the lady I await that hour with impatience. Falstaff (giving her money) Just as the starlight on infinity. (to Bardolph and Pistol ) Where duty calls, I never fail. Take this, mercurial messenger. Ha, ha, ha! Skedaddle! Please greet my two admirers. Quickly Quickly Act II Sir, your servant! That’s perfect. Quickly Scene One I’m sent by Mistress Ford. 17 I’ve another commission to bring your worship. With pleasure. The Garter Inn Falstaff Falstaff (Exit Quickly. Enter Bardolph, Pistol and then Bardolph and Pistol Oh, yes? Tell me. Ford.) 15 We’re converted, we’ve reverted. Quickly Quickly Falstaff Falstaff Alas! Lord, how she suffers! The lovely Meg, an angel all men adore when 18 Alice is mine! Rascals return to vice like cats to the larder… You’re a mighty seducer! they see her, Go, old Sir Jack, go, follow your calling.

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This ancient battered body can still arise, I venture to approach you without further Pistol Falstaff to answer the voice of love. formality. Quiet! I’m listening. Beautiful women everywhere desire me, Falstaff Falstaff (to Bardolph and Pistol ) Ford and risk their lives for me. You are extremely welcome. You two, shog off! I love her, she does not love me. Good body of Sir John, how well I’ve fed you, (to Ford ) I write to her, she won’t answer. go, I am grateful. Ford In me, you see a man who has a great abundance I’m listening. I watch her, she ignores me, Bardolph of every worldly treasure. pursue her, and she avoids me. 19 Sir John, outside there is a certain Master Brook, Ford I’ve squandered half my fortune, A man who is prepared to spend and squander Sir John, if I may be so bold, who is anxious to speak with you. his money, on her I’ve lavished treasure. He’s brought you a handsome demi-john of let me quote you a proverb old as Time; I have devised with trepidation, just… just as his fancy takes him. ‘To the man that has money every door opens.’ sherry, Master Brook at your service. whatever might give pleasure. in the hope that you will agree to see him. For money’s like a lucky charm, Alas, all came to nothing. Falstaff and he who has it conquers all. I loiter on her doorstep, Falstaff Dear Master Brook, I greet you. neglected and empty-handed, Falstaff Did you say Master Brook? I desire to make your excellent acquaintance. and sing a madrigal. Money’s an excellent captain, Bardolph Ford who’s first into battle. Falstaff Yes. Dearest Sir John, ‘Ah love, ah love, that will give no respite, I’d like to have a word with you in private. Ford until this life is over.’ Falstaff Well said, sir. This bag is full of money, Bring him in, such brooks are always welcome, Bardolph (to Pistol ) which frankly weighs me down. Ford that overflow with sparkling liquor. Get him! Look, Pistol! Sir John, would you agree, …over. Go, old Sir Jack, follow your calling. Pistol (to Bardolph) to help me bear this heavy burden? Quiet! Falstaff Ford (entering) Falstaff Love’s like a shadow… 20 Good sir, may God be with you! Bardolph With pleasure, but I’m not sure, Ford Falstaff Watch him! We’ll get him, why I deserve to be your porter? He who flees it… I hope He is with you too, sir. into the ambush that we have set him! Ford Falstaff Ford Pistol I’ll tell you why. He won’t get out of it. Pursues it… I hope you’ll forgive this indiscretion, 21 In Windsor there’s a lady, lovely and so and I ask for your pardon if, somewhat Bardolph enchanting. Ford unexpectedly, Quiet! Her name is Alice, her husband, a certain Ford. And who pursues it…

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Falstaff Falstaff Falstaff The hour is decided; she means to betray you. Flees it. Curious request. Your Alice. Only just now she sent a message, You are mocked and derided! discreetly, My friends will tell me, Ford and Falstaff Ford to tell me that her stupid blockhead of a husband that a husband who’s jealous is a madman. Ah love… I mean it. is absent from eleven till twelve. Behind my back, slander and scandal follow, 22 This cruel beauty has a reputation, Ford dogging my footsteps, murmuring and sneering. of true innocence and chastity. Ford This madrigal I sing her I’ve learnt at bitter cost. Who would be married? What madness! And as I watch her flaunt her impregnable From eleven till twelve! Woman, I curse you! morality, And do you know him? Falstaff Trust in your wife and you’ll soon be proved an And that’s the price of living for him who’s loved this paragon of virtue seems to say, Falstaff idiot. and lost. ‘No, do not touch me!’ I hope the devil will take him to hell, Would I entrust my beer to a German? But if you would seduce her, then maybe I could to join Menelaus, his ancestor! Open my larder to a Belgian glutton? Ford hope. That idiot, you’ll see, you’ll see! Unlock my cellar to an Irish drunkard? No! ‘Oh love, oh love, that will give no respite…’ For one fall brings another, and then… Yes, I will cuckold him neatly, neatly! My wife can’t be trusted. A filthy scandal! What do you say? Falstaff If he disturbs me, a hurricane of blows And it’s here in my heart that word re-echoes: She sent you no promise of satisfaction? Falstaff between the horns will send him reeling. a cuckold! Donkey, old goat, how could she do it! Ford Well, first of all, without a hesitation, That Master Ford is a donkey, Ah, a cuckold! But you will not escape, no! No. I will accept your money. you’ll see how I shall trick him. Lecher, glutton, be damned, you hulk of mutton! Then, gentleman’s word of honour, Yes, I shall cuckold him neatly, that idiot! First let them couple. Falstaff Here’s my hand, sir. But it’s late. You wait for me here. I’ll catch them at it, they’ll couple. Then why do you confide in me? I shall succeed where you have failed! I must prepare my person. I’ll catch them! I’m choking! Ford You, I’m sure, will enjoy the wife of Master Ford. I will avenge this outrage! I’ll tell you why. (Exit.) I swear with all my heart, You are a man of breeding, charming, quick- Ford Ford I’m thankful evermore that I am jealous. Thank you! 23 witted and gallant. I’m dreaming! Or is this true? Two ghastly horns Falstaff (entering) You are a fearsome fighter, you are a man of talent. Falstaff are bursting out of my forehead. 24 How do I look? I’m ready. Yes, I mean it, and offer you this sack of money. I know I’ll be successful. I’m dreaming! Master Ford! Sleeping? So, shall we go together? Spend all of it, go and spend it and squander it, Rouse yourself, quick, get going! I see no need to keep this from you, Ford I offer you my fortune! in half-an-hour these arms will be around her. Your wife’s unfaithful, destruction stalks your You’ll be rich, you’ll be happy. But you must household, I’ll show you where to find her. earn it. Ford and your name and your honour, even your Falstaff Do all you can to conquer Alice. Who? bedroom. After you.

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Ford Quickly (entering) Sir John himself graciously deigns to see me. Alice After you. Hello there! He welcomes me in a pompous condescending Come here! Ned! Will! fashion: (to Quickly) Falstaff Alice ‘Good morning, my good woman.’ I’ve planned it out already. No, no, you’re a guest in my house. I’ll follow. You’re back! ‘Sir, your servant!’ (calling out to the servants) Ford Meg And then I curtseyed, giving my obsequious Bring in that basket full of dirty linen. You go. Success? greeting, Quickly then gave the tempting invitation. We’ll catch him good and proper. Falstaff Quickly The bait was swallowed, you should have seen It’s late though, my rendezvous is urgent. It will be easy! him, Alice Ford Alice bursting with anticipation. Nannetta, why aren’t you laughing? Of course, I understand. Brava! 3 It’s really very simple; What’s wrong? You’re weeping. he’s utterly persuaded that you are both besotted, What’s wrong? Come, tell your mother. Falstaff Quickly with his enormous assets. Nannetta You first! We’ll teach him how to cut a caper. And soon you’ll have him falling at your feet. My father… Ford Alice and Meg Alice Alice Please! Splendid! When? Well, what? Falstaff Quickly Quickly Nannetta All right. He fell headlong into our booby trap. This morning, here, from eleven till twelve. My father tells me I have to marry Dr Caius. Ford and Falstaff Alice Meg Alice We’ll go together. Tell us what happened, tell us. From eleven till twelve. That pompous pedant? Meg Alice Quickly COMPACT DISC TWO Tell us. It’s that already! Oh, no! Meg Scene Two Alice Meg From eleven till twelve. Ford’s house Tell us. Not that bonehead! Alice Alice Quickly Alice From eleven till twelve. He’s so boring! 1 I think we should propose a bill, 2 I hurry down the river to the Garter, down at the House of Commons, and I ask to be shown into the room Quickly Nannetta for a tax on fat men. of our Cavalier, on confidential business. From eleven till twelve. And much too old for me!

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All Alice Alice Falstaff No, no! Set the scene for the seduction. It’s time we showed these men that honest women 5 At last I’ve caught you, Put the chair there. gently provoke them only for honest reasons. my heavenly jewel, Nannetta But the woman who won’t join in the joking, I’ve caught you! I’d rather die of suffocation… Nannetta Use my lute. she is the wife who’s cheating. Were I to die now, I’d be happy. Alice I need to live no longer, Nannetta and Meg …under a mountain of smelly old turnip heads! Alice after this single hour of ecstasy. The screen looks better open. 4 Witty young women of Windsor… Quickly Alice That’s perfect, like that! A little wider. Alice That’s settled! Oh, my dearest Sir John! The comedy is only just beginning! Women of Windsor… Meg Witty young women of Windsor, the time has Falstaff Brava! come! Nannetta, Meg and Alice My lovely Alice! Time to raise the roof with torrents of laughter. We’ll raise all the rafters with torrents of laughter. I am lacking in elegance. Alice Laughter that bubbles and crackles and dances; I cannot flatter with flowery phrases, Don’t you worry. Quickly that blazes so brightly with darts and with lances. Off you go! He’s here! but there’s one wicked thought which I’ll confess Nannetta Witty young women, you sisters in laughter, to you. Thank heavens. banish grimaces, brighten your faces. Alice Get to your places, the moment has come, You’re sure? Alice To Dr Caius, I shall answer ‘No!’ Which is? the fireworks are starting, the fun has begun! Quickly Alice (to the servants with the basket) (to Meg) Just at the corner. Falstaff Put it down there. Then when you hear me call Now Meg, you must do it all, just as we planned it. Which is… you, Nannetta I wish that Master Ford collect the basket and empty it in the river. Meg Hurry! I hope you’ll be safe, was on his way to heaven. Nannetta with your great paramour! Quickly Alice Yes! He’s about to come up. Quickly But why? Alice I’ll be on the look-out. Alice (to Nannetta) Falstaff Quiet. You, in there. But why? You know why. Alice (to Quickly) Meg, in there. Get ready! (to the servants) Come quick if I whistle. So you might be my Lady, That’s all now. Nannetta, Meg and Quickly and Falstaff be your Lord. Nannetta Get ready! Nannetta I’ll wait on the stairs, Alice Windsor will be flooded! keeping watch by the door. (They hide. Enter Falstaff.) Pitiful Lady indeed!

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Falstaff Falstaff Alice Alice Fit for a king! I see you now, To be in love is not a sin, you know it. Don’t deceive me, Sir John. Quick, behind that screen. emblazoned with my coat of arms, Alice Falstaff decked out with pearls and rubies, (Falstaff hides behind the screen. Quickly signals to Sir John! It seems I’ve waited all these years to hold you. to enhance your snow-white breasts. Meg to come in, then leaves.) I love you! The fire that flashes in your eyes Falstaff Meg (entering) is brighter to me than diamonds. And I am not afraid to show it. Alice Oh, Alice! You are shamed, Those little feet so delicate, I love you! And at last I’ve found you. Please let me go! overthrown, undone for ever. peeping from velvet slippers. Alice You dare not lose a moment, quickly! You’d shine for me more dazzlingly Falstaff If I could only get my arms around you. Angel! than any shooting star. Alice Falstaff Quickly (offstage) O God in heaven! Alice 6 When I was page to the noble Duke of York, Oh, Mistress Alice! What’s happened? I know that precious jewels don’t suit me, I was so tender. and gold’s a power that I abhor. I was a vision, a mirage, a spirit so slender. Falstaff Meg I’ll wear this veil so resolutely, Those were the days of merriment and splendour, Who is that? Your husband’s on his way. perhaps a flower, those were the days I happily remember. Quickly He’s ranting and raving, saying… I ask no more. I was so quick and so supple and nimble, Oh, Mistress Alice! Alice (aside) Falstaff that I could have hidden myself in a thimble. Alice Speak a bit louder. Enchantress! When I was young I was tender, so tender, I was a vision, a mirage, a spirit so slender. I’m here! Alice Meg Quickly (entering) You are too bold! Alice He’ll hunt him down and kill him! You’re making fun of me! 7 Mistress Alice, Falstaff I fear I cannot trust you. it’s Mistress Meg, she wants to see you. Alice (aside) We are alone, and no one can disturb us. You love another. Huffing, puffing, in a panic… Stop laughing! Alice Falstaff Falstaff Meg And so? Who? Talk of the devil! And he is possessed by furious, burning Falstaff Alice Quickly indignation, I love you! Meg. She’s coming up. I did my best to stop her. cursing loudly all the daughters of Eve! Alice Falstaff Falstaff Alice Adultery is sinful! Not Meg! I cannot bear the sight of her. Where can I hide? Oh, God in heaven!

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Meg Come, follow me quickly and track down the Dirty nightshirts… I’ll get him! Falstaff (getting into the basket) He says you’re entertaining a lover. vermin! The bedclothes… Darling! You and you only! Rescue me! He knows you have a man in your room! Run after the fox and destroy him! Disgusting old nightcaps…not here! Quickly Search all of the passages! Quickly (coming back) Alice, Meg and Quickly Hurry! Oh, Mistress Alice! Bardolph and Pistol What a whirlwind! Meg Your husband’s here! Go, save yourself! We’ll catch him! Ford Help him! He’s raging like a tempest! Ford Let’s search in the kitchen, Billowing, screaming, bellowing! Quickly Don’t let him escape! the cellar, the attic, the parlour, the chimneys, He’s gone out of his mind. Push him! Put a man at the doorway. the bedroom! He says you have a lover! Meg Alice Alice Alice Shove him! My dear, are you crazy? He’s delirious! You mean it or you’re joking? What’s wrong? Falstaff Quickly Quickly Ow! Ow! I’m in. Now cover me. Ford Now’s our chance. I mean it. Quickly Who’s hiding in the basket? 8 He jumped the hedge, and he trampled the Alice Hurry! Fill up the basket. hydrangea. Alice How is he going to escape? Behind him there’s a great crowd of people. Nannetta (to Fenton, quietly) It’s the laundry. 9 You are in danger. Meg Come here! Indeed, I think I hear his arrival. Ford In the basket. Fenton You harlot, you trollop! Alice A riot! Ford (offstage, shouting) (to Dr Caius) No! I think he would break it. Bloody villain! You, take all my keys. Nannetta He’s much too heavy. Falstaff Go and empty the cupboards. Mad as a hatter! The devil’s on the war-path, (to Alice) Falstaff (coming out from behind the screen and This way, but quiet. I fear for my survival. You have deceived me! running to the basket) Fenton To hell with the laundry! Let’s see, yes, that’s it, that’s it! Madmen don’t matter. (Enter Ford, Dr Caius, Fenton, Bardolph, Pistol Lock all of the gates in the garden! and Nannetta.) Suspenders… and stockings… Alice Nannetta Ford (He pulls all the laundry out of the basket.) I’ll run and fetch the servants. Passion around us, passion above. Lock all of the doorways and bolt all the Just you wait till I catch you! Meg They’re mad with fury… windows. Dirty napkins, out! Out! Sir John! What’s this? You? (They hide under the table.)

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Fenton Pistol Surrender, you dungheap! Dr Caius …and we with love. No. Not here! How I’ll beat you. Nannetta Ford Dr Caius Ford This way, but slowly. Well? You’ve had it! Not here! You’ll regret it. Bloody drunkard! Fat pig! We are near! Fenton Bardolph Dr Caius They’ll never find us. Not yet, no. Ford I will whip you like a dog. You scoundrel! You bastard! Nannetta Ford Ford We’re safe in our harbour! Search through the house, top to bottom. Dr Caius I’ll smash your face in. You scoundrel! You bastard! Fenton Dr Caius Dr Caius Our lovers’ arbour. There’s no one up here. Ford Say your prayers. You scoundrel! You dog! Nannetta Ford Ford Dr Caius Stay quiet, I’ve told you. I’ll swear that he’s hiding right under our noses. I’ll make you sorry! You scoundrel! You dog! I know it! Fenton (During the uproar, Nannetta and Fenton, under Quickly Dr Caius Come, let me hold you. the table, have been exchanging tender Though we are pretending to sort out the linen, Sir John, I’ll be happy to have the last laugh, we’ll keep a sharp eye on the man we’re Nannetta endearments. Now, as it dies down for a moment, when you hang from the gallows. defending. Here we may hide as my arms enfold you. the sound of a kiss is clearly heard.) Ford Meg Nannetta and Fenton Nannetta and Fenton Come out, you seducer, or I’ll tear up the Among the confusion, we’ll keep him protected, (They kiss.) …my arms enfold you. floorboards! but if we’re suspected, keep calm and collected. Dr Caius and Ford (Enter Ford, Dr Caius, Bardolph, Pistol and Dr Caius Quickly There! townspeople. Quickly and Meg are beside the basket Surrender! If Ford can discover the truth of the game, where Falstaff is hidden.) Ford Ford we’ll laugh at his madness and put him to shame. 11 When I catch you… Dr Caius Come out, you fat coward, we’re waiting. Meg and Quickly 10 I’ll kill him! I’ll slaughter him! Bardolph and Pistol Dr Caius Until we are sure that the game has been won, I’ll unseat you. the greater the danger, the greater the fun. Ford Can’t find him! Where’s that vandal? I’ll kill him. Ford Ford Dr Caius Yes? Well, carry on looking! When I snatch you… On your guard! Take care!

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Ford Falstaff Nannetta Dr Caius Take care! Prepare for the last battle. I’m gasping! While all the others battle around us, We are ready in position. we can be kissing while they surround us. Quickly Falstaff Dr Caius Here with our love, we’re deaf to confusion. Get back there! I’m roasting! I’m melting! Beware! In our seclusion we’ll fly to heaven above. Ford Meg and Quickly Ford Ford Can’t you hear their lustful kisses? Stay under! I’ll unseat you… I won’t attack him till I’ve made a plan of battle. Dr Caius, Bardolph, Pistol and Chorus Dr Caius Meg Bardolph, Pistol and Chorus Into battle! When I catch you… He’s got to stay under! Bravo! Meg Ford Quickly Dr Caius He is gasping for someone to fan him. How I’ll beat you… You’re risking your neck if you surface. We’ll shoot the elephante, Falstaff Dr Caius Bardolph when we catch him in flagrante! I’m sweating so much that I fear I will drown. When I snatch you! We can catch the greedy glutton, Ford Quickly Bardolph (running in with Pistol ) while he’s gobbling up your Missus! With one masterly transaction, If you don’t keep quiet, I’ll gag you! we will see him fall in action. I can’t find him. Falstaff Meg and Quickly (to Pistol and some servants) I’m roasting! Down! Pistol You approach them from the far side, He has vanished. Meg (to Bardolph and Dr Caius) Nannetta Ford Stay under! Stay under! while we three can hold the nearer. Among this madness, sighing and laughter, (to the others) Sshh! Come closer. I have found him! Quickly though I am smiling, my heart is sighing. And you others go behind them, (pointing to the table) Get back there! He’s in there with Mistress Alice. so they’re finished when we find them. Fenton I see your dark eyes beneath their lashes. Ford Fenton Bardolph Let us think. Their wondrous beauty sparkles and flashes. Dirty, godforsaken drunkard! I wish this moment would last for ever. Fenton Ford Dr Caius, Pistol and Ford Nannetta When you are smiling at me so sweetly, Listen, come a little nearer. Silence! Then we could spend every day together. you are completely divine, beguiling. What pathetic, love-sick murmurs. Ford I fell in love with you at first sight, Bardolph, Pistol and Chorus Soon a thunderbolt will tumble, Save that for later. and in your smile both our hearts unite. What a wonderful tactician! on that nest of nightingales.

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Bardolph (to Pistol ) Ford Ford (to Nannetta) Nannetta (to the servants, struggling with the basket) They’re canoodling, and they’re warbling, Quiet, look out! This is the moment. I cannot trust my daughter! We have a lot of washing. you can hear their love duet. Quiet, get ready. Ready to strike! (to Fenton) Alice Get out to save your life! Dr Caius (to Ford ) Falstaff Run down and call my husband. How often must I tell you? Listen, listen, I can hear them, Pouff! This stinking laundry! (to Meg) She’ll never be your wife! and now I’m certain, yes, I’m positive, I’m dying! Please take me away! Then we can prove that we were only joking. women are the worst deceivers. Bardolph So when he sees poor Falstaff cold and soaking, Alice He’s there, stop him! he’ll know he has no reason to be jealous. Pistol (to Bardolph) Be quiet! We will teach him such a lesson, Ford Quickly when we catch him in the act. Meg and Quickly Where? Heave-ho! This sweet song won’t last much longer. Our whale’s getting restless. He will have to change his tune. He’s steaming with frustration. Pistol Alice and Meg There on the staircase. Together. Chorus Dr Caius When he falls he won’t escape us, Give the word! Ford Nannetta we have caught the infidel. Get hold of him! The bottom’s going to crack! When he runs into the devil, Falstaff All the Men and Chorus Nannetta, Meg and Quickly he’ll be on his way to hell. Help! Help! Help! We’ll catch him! Heave! Ford Meg Quickly We’ll speak sotto voce, ignoring his cries, One… two… three! Alice You’ll catch him in Hades! He’s going! while he bubbles over in front of our eyes. (They overturn the table.) (The men run off.) Nannetta, Meg and Quickly Quickly Dr Caius He’s dirtied himself with so loathsome a deed, Alice He’s going! Ha, ha! 12 It’s not him! to give him a wash will be mercy indeed. Ned! Will! Tom! Alexander! Come, quickly, quickly! Alice, Nannetta, Meg and Quickly Nannetta Alice, Meg and Quickly He’s going! You are defeated! Take the basket and tip it out of the window, Softly we’ll murmur our love. and into the river. (The men return. Alice leads her husband to the Fenton Bardolph, Ford, Pistol and Chorus There, by that group of women down on the bank, window. They watch as Falstaff, the basket and the Tell me you love me. We have been cheated! who are washing out their linen. laundry go tumbling into the river.) Nannetta Nannetta, Fenton and Dr Caius Nannetta, Meg and Quickly All So much I love you, love you. Ah! Yes, yes, yes, yes! What a crash!

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Act III Sweet employment! For good wine dispels Think of that! Think of that! A man of my Ford all the gloomy vapours of our depression, proportion, Still reading. We’ve caught him. Scene One brightens the eye, sharpens the wit. reducing just like butter in the heat of such Outside the Garter Inn Falstaff (reading) From the mouth, it flies to the brain, contortion. ‘I shall wait for you at midnight in Windsor Falstaff and there wakes a little demon cricket who is Then, when I was nicely sweating, Great Park. 13 Hey! Landlord! trilling. and toasting and almost roasting, You must come disguised as the Black Huntsman… Dreadful world! Treacherous world! Evil world! Its first vibration brings us exhilaration. I was dumped in the river. to Herne’s oak tree.’ (to the landlord ) Trilling with heart and soul the air about us Those bitches! Landlord, bring me a pint of mulled wine. thrills with expectation. Quickly Quickly Appalling that, after years of adventure, Then with mad elation, the trill travels through Ah, do not blame her. You are mistaken. How love loves the mysterious! a knight so bold, and so distinguished, every nation Alice has made a plan for your meeting, should find himself trussed up inside a basket, till music fills the world! Falstaff using a tale that old wives tell. Off with you! to be swathed in foul linen while silly women (Enter Mistress Quickly. Alice, Nannetta, Meg, At that oak, the witches hold their Sabbaths. titter, Ford, Dr Caius and Fenton hide at the back.) Quickly There hanged himself, and flung into the river like some mongrel’s You ought to blame those stupid, hamfisted upon its ancient branches. litter. Quickly (curtseying) servants! There are those who believe that he haunts it still. 14 Without this mighty belly, which floated to the Sir, your servant! Alice is weeping, wailing, prays to the virgin. Good Mistress Ford… Falstaff surface, Lord, how she suffers! She loves you. Come with me. Inside we can talk more freely. I would have perished. Brutal ending, bloated to Falstaff (hands him a letter) Tell me the whole story. bursting. To hell with you and with Mistress Ford! This letter… Evil world, where is virtue now? Your world is (Falstaff leads Quickly into the inn.) I was thrown into the ford! My belly’s full of ford! Alice and Ford crumbling. Quickly Quickly He’s reading. Go, go, old Jack, go. You must continue, 15 Just as the chimes of midnight are resounding, You are mistaken. keep stumbling towards your tombstone. Nannetta echoing through the dark and silent gloom, With you, the last great flower Falstaff He’ll take another tumble. up come the spirits from their graves and wander… of true English chivalry will vanish. A plague on you! I can still hear the ranting, Alice Ford Oh, what a day of blackness. Oh, help me, God! of that mad, jealous husband. Men never learn their lessons! We’ve got him! I’m far too fat. I am growing old. My body’s black and blue and aching, I’ll mix a pint of wine with this barrel of river from being twisted and pushed and pummelled Meg Alice (continuing the story) water. about, Conceal yourself! Just as the chimes of midnight are resounding, Better, to drink good wine, squashed up double under that dirty, stinking Dr Caius echoing through the dark and silent gloom, and take one’s ease in the sunshine. laundry. Still reading. up come the spirits from their graves and wander;

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then, through the park, Ford Nannetta Alice, Nannetta, Meg and Fenton comes the ghost of Herne himself. Forgive me, I have suffered for my jealousy. That will do nicely! Till midnight. He glides along so slowly, slowly, slowly, Alice Alice Alice with the lethargic step of one who’s sleeping. Beware, lest you’re discovered, You bring the Windsor children, 16 Don’t you forget the lanterns. His face is colourless… searching in manic fury, to join our merry party. (Exeunt Alice, Meg, Nannetta and Fenton. Nannetta every nook, every cranny of the house, Dress them up as elves and pixies, Quickly comes out of the inn and, seeing Ford and Oh, I’ll be frightened! for an imaginary lover. imps and devils and hobgoblins. The sun is setting. And when they see the ghost of Herne the Dr Caius in conversation, stays in the doorway to Meg It’s time to get things ready. Hunter, eavesdrop.) I am already shivering with fear. Meg they’ll jump on him and mock him. Ford (to Dr Caius) Alice What’s the plan? Nannetta, Meg and Fenton Caius, my friend, soon you shall have my It’s only a fairy tale, that nannies Mock him, mock him. daughter. tell children at bedtime, Fenton Do you remember what she will be disguised as? to settle them, and to send them to sleep. We should decide on our disguises. Alice Alice They’ll tease him and torment him, Dr Caius Alice, Nannetta and Meg Nannetta. until he has confessed, Queen of the Fairies, with a garland made of roses. Beware, for our vengeance will make grown men and agreed to mend his ways. Alice (offstage) weep! Nannetta Then we’ll reveal ourselves to him, Don’t you forget the costumes. What shall I wear? and when the dawn is breaking, Alice Alice our happy band of fairies Meg (offstage) His face is colourless, and as he approaches the You will appear, hurries off home to bed. Of course not, don’t you forget the rattles. tree, as the Queen of all the Fairies, on which he breathed his final farewell, Meg white as a lily, with a veil, Ford fairies surround him, and upon his forehead, It’s , we should go. and a gown circled with roses. I have already devised my triumph. the antlers rising, rising. Alice When the fooling is over, you come to me. Nannetta Remember, meet by the oak tree at midnight. But keep your faces covered, Ford And I shall sing a song sweetly harmonious. she with the veil, you hooded like a friar. Splendid! How the sight of those antlers Fenton Alice (to Meg) And I will bless you both as bride and bridegroom. will delight me. We’ll be there. You’ll be dressed all in green, as nymph of the Dr Caius Nannetta Alice forest. We’ll be married! Careful! You should apologise. And what shall we make Quickly? Give her a Oh yes, we’ll be there. I let you off too lightly. broomstick. What a scary adventure! (They leave.)

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Quickly (aside) So it begins once more, but its sole purpose Alice Alice (entering) That’s what you think. is to ever unite all that’s discordant. Trappists don’t ask questions, be silent. Sir John! Nannetta, hey! Nannetta, hey! Thus have I kissed the lips of my beloved. When opportunity comes knocking, take it. Falstaff Kisses may fade, but the memory lingers. (to Quickly) (Exit Quickly.) You are my dearest! Who will pretend to be Nannetta? Nannetta (offstage) Nannetta (offstage) You are my deer. Ever returning as the moon to heaven. What now? What now? Quickly Alice A rogue with a purple nose who despises Dr Caius. Quickly (offstage) Fenton What sparkling wit, my buck! The song soon dies on lips that are united. The fairy song, do you know it already? Meg Falstaff I have hidden the goblins in the hedgerows. Nannetta (offstage) (Nannetta enters. They embrace. Enter Alice, Come then, trembling and fervent… We’re ready. Of course I know it. undisguised, then Quickly, dressed as a witch, and Meg in green.) Alice Alice (offstage) Alice Sir John! Do not be late. Alice Listen! Those are fat man’s footsteps. 19 Master Fenton, put on this friar’s habit. Falstaff Quickly (offstage) Alice, Nannetta, Meg and Quickly …I am your servant! Whoever’s first must wait. Fenton Vanish! I am the dish served up before you, What’s going on? with a garnish of truffles, radishes and borage. (Enter Falstaff, with a pair of antlers on his head. For they shall be my fodder, and love my forage. Nannetta Midnight is striking.) Scene Two Do as she tells you. We’re alone here. Windsor Forest, night Falstaff Alice Alice 17 [Introduction] 20 One, two, three, four, five, six, seven chimes; The hood, too. No. There in the woods behind me, eight, nine, ten, eleven, twelve; it is midnight. Fenton I can see Meg. Nannetta This is the oak tree. Help me, O you ancient Gods. 18 From lover’s lips a happy song is flying, He looks exactly like a truant Trappist. Jupiter! You, who transformed yourself into a bull, Falstaff through the still of the night it glides to heaven. for love of fair Europa, you wore the horns too. A double assignation! Bring her as well! And from another’s lips the song re-echoes, Alice I’m happy to follow your example. Divide me up, just like a haunch of venison. responding with the same ecstatic sighing. Now that we know the betrayal which Ford has For love transforms a man, Dismember me! planned, At last the God of Love rewards me! And then the song which is alone no longer, into a rampant beast of passion. we’ll turn it around to our advantage. I love you! vibrates with joy in secret celebration, 21 I hear a nimble footstep… it fills the scented air with sweetest passion, Fenton Alice! Your lover’s calling! Meg (offstage) returning faithful to its first inspiration. Explain yourself. Come then, love has no fear. Oh, help me!

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Alice Alice Nannetta Alice, Nannetta, Meg and Fairies What screaming, alas! On the ground. It’s past the hour of midnight. A man! Your queen bids you attend her. Meg (offstage) Nannetta Ford Gather your flowers by moonlight, Here come the goblins! He is rigid with fear. He’s antlered like a reindeer! perfume they will surrender. Alice Fairies Bring lilies, roses and violets, Pistol Alas! Escape them! He’s not looking. and weave them into garlands. He’s paunchy as a pumpkin! Writing a secret message, Falstaff Alice Bardolph Save me! in words unknown to mortals, Gigantic as a galleon! Don’t you laugh. read their concealed inscriptions. Alice (rushing off ) Fairies Written in words of gold. Bardolph and Pistol Oh God, have mercy! Do not blame me! We won’t laugh. Sweetest enchantment, Up you get! Come on! Falstaff the secrets that never can be foretold. Falstaff Nannetta The devil surely will not come to claim me! You’ll need a block and tackle! I cannot. I am ready to sing. Gather round. Fairies Nannetta (appearing in her disguise as Queen of We glide with silent footsteps, Ford Fairies the Fairies) footsteps of elfin folk, He’s much too heavy. 22 Wood-nymphs, elfins, naiads, leprechauns and In a ring. follow the Queen of Fairies, Quickly and Fairies sirens! to Herne the Hunter’s oak. Nannetta He’s corrupted! See how the star of sorcery is now ascending. 23 Upon a fragrant breath of night, (Nannetta and the fairies approach. Enter Alice, Awaken, shadowy creatures! come spirits gently gliding. Meg, Quickly, Fenton, Bardolph, Pistol, Dr Caius, Alice, Nannetta, Meg and Fairies And perverted! Women See how the moon, with silver light, Ford and townspeople in various disguises.) Wood-nymphs, naiads, and sirens! summons you out of hiding. Bardolph With dancing, your nimble footsteps Bardolph 24 I’ll exorcise the devil! Falstaff will echo the song we sing, Who goes there? Alice (aside to Nannetta) Here come the fairies, it is death to see them. and with our elfin magic, Pistol Here you are in great danger, we’ll mark our fairy ring. (Enter Alice with girls dressed as fairies.) Who would dare? for Dr Caius is after you. Fairies Alice Falstaff Nannetta The woods are sleeping, Follow me. Have pity! We’ll find a place to hide in. and full of strange enchantment. Nannetta Within the fragrant stillness, Quickly Quickly He is there. the shade is deep as any sea. A man! You must return here quickly when I call you.

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Bardolph (continuing his exorcism) to bombard him and fling him, Dr Caius and Ford Men Apparitions! Hobgoblins! mosquitoes and gnats, Balloon! We won’t forget it! Jack o’lanterns and vampires! to attack him and sting him. Bardolph and Pistol Women Poisonous bats, infernal spirits, come hither. Poltroon! Are you repentant? come and glare at him! Alice, Meg and Quickly Sting him and swear at him! Pinch him and burn him, Dr Caius, Bardolph, Pistol and Ford Falstaff Tweak him and tear at him, and turn him about, Now, meet your doom! Ow! Ow! I’m repentant! with your sharp nippers! until candles and starlight and moonlight be blotted out. Ford Men Falstaff Monstrous offender! Say you regret it! Oh God! You stink! Falstaff You stink like an elephant! Ow! Ow! Alice Women Wicked pretender! Are you repentant? Fairies Alice, Meg, Quickly and Fairies Rattle him! Thump him and thrash him, Bardolph Falstaff Mountainous bubble! Ow! Ow! I’m repentant! Alice, Meg and Quickly and tear with your claws at him. 25 Pinch him and burn him, Bump him and bash him, Quickly Men and turn him about, and bite with your jaws at him. Maker of trouble! Buffoon! Baboon! Balloon! until candles and starlight Nip him and knock him, and tighten your grip on him. Pistol Falstaff and moonlight be blotted out. Sedulous drinker! I swoon! Falstaff Spirits and Imps Meg Bardolph Ow! Ow! Attack him! Rattle him! Gluttonous winker! No longer play the dandy! Fairies Dr Caius and Ford Dr Caius Falstaff We’ll poke him and prickle him, 26 Buffoon! Stealer of chattels! Get off! You stink of brandy! provoke him and batter him, explode him and shatter him, Bardolph and Pistol Ford Women attack him and tickle him. Baboon! Causer of battles! Lord, never grant him requiem! We’ll jump up and land on him. Dr Caius and Ford Bardolph, Pistol, Alice, Meg and Quickly Men We’ll dance on his belly, Buffoon! Are you repentant? Monstrous offender! and then we’ll abandon him, when he’s turned to jelly. Bardolph and Pistol Falstaff Falstaff With spiders and bats, Baboon! Ow! Ow! I’m repentant! But Lord, preserve my abdomen!

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Fairies Men Phosphorous handle! Alice Prickle him! Prickle him! Mountainous lump of fat, your answer! Blistering candle! Does he? Salamander! We’re waiting for your answer. Women Falstaff Ignis fatuus! Lord, never save his soul from sin! You are right! Falstaff Snout of damnation! Dear Master Brook, I greet you. Men Men Proboscis of carnation! Wicked pretender! Monstrous seducing rat, your answer! Fire of St Elmo! Alice Scarlet volcano! Sir John, you are mistaken. Falstaff Falstaff Rubiginous snorter! This is Ford. He’s my husband. But Lord, preserve my abdomen! You are right! Crimson poker! Quickly Fairies Men Blood sucker! Sir, your servant! Stickle him! Stickle him! Lustful deceiving cat, your answer! I’ve spoken, and if I wrong him, may every bone Falstaff Women Falstaff in this great frame be broken! Sir, your servant! Lord, never liberate him! Yes, so be it! All Quickly Men Bardolph Bravo! Could you think that two ladies were so foolish, Sedulous drinker! King of the gobblers! and so deluded, to fall, body and soul, King of the squabblers! Falstaff into the hands of the devil, Falstaff Enough! I’m exhausted. Let me rest. for one who’s balding, drunk and rather shabby? But Lord, preserve my abdomen! Falstaff Away! You stinker! Quickly (to Bardolph) Meg and Quickly Fairies Bardolph, I will disguise you with a veil. A man so unattractive… Tickle him! Tickle him! Men Ford Alice, Meg and Quickly Women Dirty old deadbeat! We’ll make you mincemeat! And now, while you recover from your nightmare, …so fat and flabby. Lord, truly castigate him! Sir John, tell me, which of us wears the horns? Ford Men Bardolph Now all you furies, consign him to hell fire! Meg Well said, ladies. Gluttonous winker! Do you? Falstaff Falstaff Ford Sulpher! Fire and brimstone! Alice It begins to occur to me, But Lord, preserve my abdomen. That’s no devil, it’s Bardolph! Do you? I’ve behaved like a donkey. Fairies 27 Nose incandescent! Meg Alice Prickle, him, stickle him, tickle him! Nozzle rubescent! Does he? A donkey…

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Ford Ford Falstaff, Pistol and Chorus Ford …with antlers. Look at her! Apotheosis! No. A crown of roses surrounds the veil, Alice, Meg, Quickly, Pistol and Chorus Ford Dr Caius which hides her radiant beauty. Ha, ha! Fenton with my daughter! Yes. Ready beside her bridegroom, Ford, Alice, Meg, Quickly, Pistol and Chorus he whom I have chosen. Dr Caius Bardolph (to Ford and Dr Caius) A mammoth monster. Ha, ha! Gather round them, you fairies. I am married to Bardolph! Disaster! You. Falstaff (Alice presents Nannetta and Fenton. Nannetta is Others Fenton 28 So the commonest rabble have collected, entirely concealed by a thick veil and Fenton is Ha, ha! Them. to mock me, and they enjoy it. masked.) But, thanks to me, I think you will observe, Women Dr Caius that life can be a lot more fun than you expected. Alice A triumph! Us. It’s I, it’s I, it’s I who make the running. Another couple have asked if they may join us. All Falstaff (to Ford and Dr Caius) My wit inspires you, Stupendous! Both together. I am the source of your cunning. They, too, wish to be married, hoping you’ll bless their betrothal. Dr Caius Alice Women and Chorus Disaster! No! All three of you. Well said, sir! Ford (to Ford) With pleasure, we’ll have a double wedding. Ford Ford Look on these children and pity their Bring over all the lanterns. I’m quite bewildered! And if I had not been laughing, May heaven bless you! confusion. I’d have struck you down! Now take off your disguises. Alice (indicating Nannetta and Fenton) Enough, though, now lend your ears to my Apotheosis! A man may fall into the trap Nannetta proposal. he’s set just for his own wicked purpose. I shall conclude our masquerade this evening, (Both couples remove their disguises so that their Dearest father, forgive us. true indentity is revealed.) Falstaff with the betrothal of the Queen of all the Fairies. Ford 29 Dearest, good Master Ford, my turn to ask you, Now the bride is approaching with her bridegroom. Women, Falstaff, Pistol and Chorus A man who receives his just deserts, 30 who’s the foolish one now? How charming! Ha, ha! must accept them with good grace. (Dr Caius, masked, and Bardolph, dressed as the Dr Caius Ford (pointing to Dr Caius) Dear children, I embrace you, Fairy Queen, approach hand-in-hand.) Disaster! Him. and I give you my blessing. Falstaff and Chorus Ford Dr Caius (pointing to Ford ) All How charming! You’ve deceived me! You. God bless you!

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Falstaff Your mind is a tempest whirling, One final song, if we are able… always this way and that. Everyone mocks you, whether you’re thin, Andrew Shore as Falstaff, Ford Rafferty Bill or whether you’re fat. disguised as Herne the Hunter, Then with John Falstaff, we’ll rejoice at table. But it is best for him who has from English National Opera’s Falstaff, then All the last laugh of all! production of Verdi’s Falstaff 31 Life is a burst of laughter, so, be happy hereafter. (Curtain)

translation by Amanda Holden, © 1987, revised 1997

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Staging director: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew

Recording producer Brian Couzens Sound engineer and editor Jonathan Cooper Assistant engineer Christopher Brooke Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 27 May–3 June 2001 Front cover Photograph of Andrew Shore as Falstaff in Opera North’s production. Photograph by Donald Cooper Back cover Photograph of Andrew Shore as Falstaff in English National Opera’s production. Photograph by Bill Rafferty Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright English translation © Amanda Holden p 2002 Chandos Records Ltd c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU Paul Daniel

158 SOLOISTS/ENO ORCHESTRA & CHORUS/DANIEL CHAN 3079(2) Printed in the EU DDD 58:12 67:24 CHAN 3079(2) 2002 Chandos Records Ltd COMPACT DISC ONE COMPACT DISC TWO c bass tenor tenor tenor 2-disc set soprano soprano baritone baritone Henry IV Henry and mezzo-soprano mezzo-soprano Stuart Kale Stuart Clive Bayley Clive 2002 Chandos Records Ltd Barry Banks p Richard Roberts Richard Susan Gritton Susan Yvonne Kenny Yvonne Andrew Shore Andrew DIGITAL Ashley Holland Alice Coote The Merry Wives of Windsor Rebecca de Pont Davies de Pont Rebecca CHANDOS (1813–1901) ...... , their daughter......

, her suitor......

...... , husband...... Alice’s bit 24 96 kHz 96 Pistol Dr Caius Dr Mrs Meg Page Mrs Meg Mistress Quickly Mistress Bardolph Nannetta Fenton English National Opera Orchestra and Chorus Orchestra Opera National English Daniel Paul Giuseppe Verdi Verdi Giuseppe Falstaff acts in three Boito after Shakespeare’s Arrigo by Libretto Falstaff John Sir Mrs Alice Ford Ford English translation by Amanda Holden translation by English CHANDOS RECORDS LTD Colchester . Essex . England

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