| Verdi, Giuseppe (1813-1901) | Falstaff | Libreto de Arrigo Boito |
| Teatro Real | |||
| Daniele Rustioni | Dirección | ||
| Laurent Pelly | Dirección de escena, Diseño de vestuario | ||
| Barbara de Limburg | Diseño de escena | ||
| Joël Adam | Diseño de iluminación | ||
| Orquesta Titular del Teatro Real | |||
| Coro Titular del Teatro Real | |||
| Nicola Alaimo | Barítono | Sir John Falstaff | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Roberto de Candia | Barítono | Sir John Falstaff | 2019 abr 24, 27, may 01, 07 |
| Rebecca Evans | Soprano | Alice Ford | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Raquel Lojendio | Soprano | Alice Ford | 2019 abr 24, 27, may 01, 07 |
| Simone Piazzola | Barítono | Ford | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Ángel Ódena | Barítono | Ford | 2019 abr 24, 27, may 01, 07 |
| Joel Prieto | Tenor | Fenton | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Albert Casals | Tenor | Fenton | 2019 abr 24, 27, may 01, 07 |
| Ruth Iniesta | Soprano | Nannetta | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Rocío Pérez | Soprano | Nannetta | 2019 abr 24, 27, may 01, 07 |
| Daniela Barcellona | Mezzosoprano | Mistress Quickly | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Marianna Pizzolato | Contralto | Mistress Quickly | 2019 abr 24, 27, may 01, 07 |
| Maite Beaumont | Mezzosoprano | Meg Page | 2019 abr 23, 25, 28, 30, may 02, 06, 08 |
| Gemma Coma-Alabert | Mezzosoprano | Meg Page | 2019 abr 24, 27, may 01, 07 |
| Mikeldi Atxalandabaso | Tenor | Bardolfo (Bardolph) | |
| Valeriano Lanchas | Bajo | Pistola (Pistol) | |
| Christophe Mortagne | Tenor | Dr Caius |
We must thank Arrigo Boito, friend, confident and librettist of Giuseppe Verdi, for a multitude of things, among which was his being able to persuade the composer to initiate, at 75 year of age, the creation of a new opera. With Falstaff, Verdi finally found the perfect material to construct what would not only be his last lyric creation, but also the last of the great Italian comic operas. Verdi launched himself into the composition with the ease and nonchalance of his youth, as though the comedy had liberated him from the aesthetic crisis of the opera at the end of the XIX century and had permitted him to write for the simple pleasure of doing so.
This explains how he injected musical life into a character determined to seduce two married women so that he could keep their husbands’ fortune. He was a man as stripped of any moral sentiment as he was captivating; a witty old man, having already navigated all the storms of a lifetime, he smiles with sarcasm and wisdom. Falstaff ends up being an opera that –when all is said and done- encourages us to laugh at life and at ourselves, raising an ode to hope and tolerance.
New production by the Teatro Real, in co-production with the Théâtre Royal de la Monnaie, the Opéra National de Bordeaux and Tokyo Nikikai Opera
