![]() ![]() In watertight dramatic form, Shakespeare’s intriguing plot is jauntily and snugly bound to Verdi’s swift-paced and narrative-heightened music and in tune with Arrigo Boito’s comically-polished and visually inducing libretto. Indeed their cheeky retaliatory efforts go to plan but does Falstaff learn his lesson? Sadly, he seems not to have, for this hard-shelled self-assured mass ignorantly believes himself victorious. ![]() ![]() In its comic comment on entitlement, lechery and gluttony focused on The Bard’s “great whale of Windsor”, Falstaff is outsmarted and mocked after plotting to seduce two married women who want to teach him a lesson. Even when holding positions of power, they draw the short straw, often depicted with an emotional fragility and doomed by the men around them.īut over the course of a day in Verdi’s Falstaff, based on the larger-than-life character from three of Shakespeare’s plays - The Merry Wives of Windsor and Henry IV, Parts 1 and 2 - women appear to have the upper hand. Across centuries of storytelling through opera, the position of and outcomes for women rarely look glowing for contemporary eyes. ![]()
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