Madrid / “Falstaff”, the last opera composed by Verdi, an “incontestable masterpiece” of Shakespearean style, arrives at the Royal Theatre with a format which goes from realism to dream to represent one of the most polyhedral universal themes, the struggle of the sexes, and it remembers that “tutto è burla” (everything is comedy).
From April 23 to May 8 through 11 performances, the Madrid Coliseum will host this version of Laurent Pelly made in co-production with the Theatre Royal De La Monnaie in Brussels, the Opera National in Bordeaux and the Tokyo Nikkai Opera, theatres where it will be represented later.
“Verdi gave a great lesson in wisdom with ‘Falstaff'”, pointed out the artistic director of the Royal Theatre, Joan Matabosch, during the presentation of this lyrical comedy in three acts where the viewer can enjoy the whole dramatic arc because it is about a “total experience”.
This was also confirmed by Pelly himself, for whom Verdi’s second comic opera, composed as an octogenarian and premiered in 1893 at the Scala in Milan Verdi, contains all the elements existing in Shakespeare’s work, that is, it is “pure theater”.
The performance of “Falstaff”
In particular, this title tells the adventures of the old “Falstaff”, played by Roberto De Candia and Misha Kiria, which seeks the love of two women of the English upper middle class of Henry IV’s reign, “Alice Ford”, played by Rebecca Evans and Raquel Lojendio, and “Meg Page” (Maite Beaumont and Gemma Coma-Alabert) to access the money of their rich husbands.
These interpreters are part of a cast composed of ten Spanish singers.
For the musical director of this version, the Italian Daniele Rustioni, is an opera of “great strength, brilliant and difficult to interpret” for the orchestra, and has highlighted that it shows expressions of “a great genius”, “like the fact which Verdi decided to finish the piece with “a fugue in C major”.
“It is a work of maturity with great wealth of harmony and sometimes, Verdi is expressed in the figure of Falstaff, giving us pearls of old Verdi,” he said.
Something highlighted by the two baritones who playe this bearded old man: “In this work he understands that his life has passed and that what remains is mockery,” according to Kiria.
As for the staging, Pelly wanted to “bring” the main character to the “real moment” with a set that is “between reality and dream” because the French, he has confessed, does not like realism in the opera.
“The starting point is a realistic room that represents the bar where Falstaff lives, and when he wants to seduce Alice and Nanetta – Alice’s daughter – he explodes in a dreamlike space (…) It’s not about decorating, the staging is a tool that allows you to tell a story”,he added.
With this content and continent comes “Falstaff” to the Royal Theatre after 17 years of absence, almost two decades without going up on stage to this braggart who will have fun with his sorrows and will lead the public to a world where, according to Verdi, “tutto è burla”. (April 22, 2019, EFE/Practica Español)
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una ópera que se representará en el Teatro Real.
las principales óperas de Verdi.
una ópera que se representó en un teatro de Madrid.
solo se representará en Madrid.
tiene muchos elementos del teatro de Shakespeare.
podrá verse durante varios meses en el Teatro Real.
está enamorado de una mujer rica.
busca el amor de unas mujeres por motivos económicos.
no está interesado en el dinero que tienen unas mujeres.
esta ópera cuenta una historia dramática.
hay humor en esta ópera de Verdi.
no se sabe si hay realmente humor en esta ópera.
piensa que debe haber mucho realismo en una ópera.
prefiere los elementos oníricos en la representación de una ópera.
no cree que sea bueno incluir elementos oníricos en una ópera.
tiene entre 80 y 89 años.
tiene menos de 80 años.
tiene más de 90 años.
no tiene barba.
solo tiene bigote.
el mundo real.
suele ser cobarde.
presume de algo que no es.