Of paunches and princes
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
22 pieces since 2012 — in 10 roles, at 8 companies, most often at Metropolitan Opera.
7 pieces as Falstaff — stats above show all coverage for Ambrogio Maestri.
View allRevivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
This is the tenth season of the Met’s HD broadcasts, not that I would know it.
Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop.
It may have taken most of Verdi’s canon to do it, but the “Tutto Verdi” collection finally manages to do justice to Verdi in his last two operas.
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.
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