A faithful parterreian writes: “Recently, I was listening to various performances of ‘Amami Alfredo’ and was struck by the August 29, 1939 Stockholm performance (sung in Swedish) with Hjordis Schymberg and Jussi Björling. After she finishes the passionate outcry, the orchestra, instead of playing Verdi’s agitated three measures of exit music, launches into a grand reprise of the tune of ‘Amami Alfredo’.”

Two questions: 1) Why? and 2) How might this postlude be staged?

Here’s the excerpt: [Amami Alfredo]