Season Sponsor

and The School District of Philadelphia

Giuseppe Verdi’s

Falstaff

Written and produced by:Opera Company of PhiladelphiaEducation Department ©2007

1420 Locust Street, Suite 210Philadelphia, PA, U.S.A. 19102

Tel: (215) 893-3600, ext. 246Fax: (215) 893-7801

www.operaphilly.org/education

Michael BoltonCommunity Programs Managerbolton@operaphilly.com

Barbara MillsVolunteerOpera Company of Philadelphia

Ryan BunchVolunteerOpera Company of Philadelphia

Special thanks to:Dr. Dennis W. CreedonCreator, Sounds of LearningTM

Curriculum Consultant

Dori BaggsTaylor BaggsJulie-Ann WhitelyRichard St. ClairThe Teachers of Our ChildrenEMI RecordsAcademy of Music Ushers

Maureen Lynch Operations ManagerAcademy of Music

Shannon Walsh Assistant Operations ManagerAcademy of Music

Greg BuchProduction ManagerAcademy of Music

Cornell WoodHead UsherAcademy of Music

R. A. Friedman The Historical Society of Pennsylvania

Free Library of Philadelphia Print and Picture Department

Debra Malinics AdvertisingDesign

A Family Guide to

Best Practices in Arts Education is sponsored by Pennsylvania Alliance for Arts Education,Pennsylvania Council on the Arts and the Pennsylvania Department of Education.

Pennsylvania’s standards in education call for students to show what they know and are able to do.As every parent knows, children need to share what they have discovered or learned. Thus, the title of our program is Sounds of Learning™. It reflects our belief that children must be actively engaged in sharing ideas,which reflects the collaborative learning that has been called for by the U.S. Department of Labor. For thefuture success of our research and development teams, today’s students must learn to work collaborativelyusing creative problem-solving techniques. This was further highlighted by Professor Richard Florida ofCarnegie Mellon University. He noted that 30% of the U.S. work force is directly involved with some level ofcreative engagements in their work. His June 2002 book, The Rise of the Creative Class, was published by BasicBooks. His work supported the U.S. Governors report that was released in spring of 2002. This report calledfor arts education in all schools since it has been directly tied to the economic development of urban areas.

With the Sounds of Learning™ program we strive to support the creative needs of our youth while wealso support the core literacy goals of our community. This book will integrate with the local core curriculumin literacy in many ways. Just as opera is a uniquely integrated art, combining orchestra, voice, literature,drama, and dance, the Sounds of Learning™ program is an interdisciplinary and student-centered program. The goal of Active Learning is to have your children engaged in the process of self-teaching. They will be ableto show how they have gained insights into their learning by drawing, writing, charting, and discussing theissues most relevant to them. In this way, students demonstrate what they can do with what they know.

We believe the family is the most important foundation to learning. Let your kitchen table become aclassroom where your children can build their knowledge of opera and the humanities. As you join in theteaching and learning process with your children, watch their eyes sparkle. Opera is a communal celebration,so too should be your children’s education.

In reading the libretto, we suggest that your family members take turns reading particular roles. This adds a dimension of fun to the reading of this great literature. Recent research by Dr. Ellen Winner of Harvard’s Project Zero found that “drama helps to build verbal skills that transfer to new materials.” She found that acting out texts helps students in “reading readiness and achievement” and “oral and writtenlanguage development.” (Journal of Aesthetic Education, v34, #3/4, Fall/Winter, 2000.) In preparing for theopera, we suggest you purchase one of EMI’s excellent recordings of this opera. We are grateful to EMI for offering us their libretti for use in our program. Together, we hope to build future audiences for, and performers of, the arts.

ofTable

ContentsOpera 101: Getting Ready for the Opera4 A Brief History of Western Opera

6 Philadelphia’s Academy of Music

8 Broad Street: Avenue of the Arts

9 Opera Etiquette 101

10 Why I Like Opera by Taylor Baggs

Relating Opera to History: The Culture Connection11 Giuseppe Verdi: Hero of Italy

12 Verdi Timeline

13 Make Your Own Timeline

14 Game: Falstaff Crossword Puzzle

16 Bard of Stratford – William Shakespeare

18 All the World’s a Stage: The Globe Theatre

Falstaff: Libretto and Production Information20 Falstaff Synopsis

22 Meet the Artists

23 Introducing Soprano Christine Goerke

24 Falstaff LIBRETTO

Behind the Scenes: Careers in the Arts65 Game: Connect the Opera Terms

66 So You Want to Sing Like an Opera Singer!

68 The Highs and Lows of the Operatic Voice

70 Life in the Opera Chorus: Julie-Ann Whitely

71 The Subtle Art of Costume Design

Lessons72 Conflicts and Loves in Falstaff

73 Review of Philadelphia’s First Falstaff

74 2006-2007 Season Subscriptions

Glossary 75

State Standards 79

State Standards Met 80

4

A Brief History of

Western OperaMusic was changing, too.

Composers abandoned the ornateBaroque style of music and beganto write less complicated musicthat expressed the character’s thoughts and feelingsmore believably. One of the first operas to use this new style was Cristoph Willibald Gluck’sOrpheus and Euridice (1762).

With the new democratic sentiments cameinterest in operas about common people in familiarsettings, rather than stories from ancient mythology.A good example is Wolfgang Amadeus Mozart’sThe Marriage of Figaro (1786), in which a servantoutsmarts a count. Several of Mozart’s operas remain among the most popular today, including Figaro, Don Giovanni (1788), Così fan tutte (1790),and The Magic Flute (1791).

In the nineteenth century operas continued togrow more diverse in their forms and national styles.The Italian tradition continued in the bel canto movement. Operas written in this style, which means“beautiful singing,” included arias with intricateornamentation, or combinations of fast notes, in themelodies. The most famous composers of bel cantoare Vincenzo Bellini, Gaetano Donizetti andGioacchino Rossini, whose The Barber of Seville(1816) is one of the most beloved comic operas.

Later in the century the Romantic Movementgrew throughout Europe as operas celebrated nationalpride in a country’s people, history and folklore.Among the operas that showed the growth of patriotictraditions are Carl Maria von Weber’s DerFreischütz (Germany, 1821), Mikhail Glinka’sRuslan and Lyudmilla (Russia, 1842) and GeorgesBizet’s Carmen (France, 1875). In Italy Giuseppe

Theatrical performances that use music, songand dance to tell a story can be found in many cultures. Opera is just one example of music drama.In its 400-year history opera has been shaped by thetimes in which it was created and tells us muchabout those who participated in the art form as writers,composers, performers, and audience members.

The first works to be called “operas” were created in Italy at the end of the sixteenth century.They were inspired by a group of intellectuals knownas the Camerata who admired the culture of theancient Greeks. They proposed the invention of anew style of music theater that would imitate Greekdrama’s use of music.

The result was a series of operas based onGreek myths, starting with Dafne by Jacopo Peri in1598. The most famous work of this early period isClaudio Monteverdi’s Orfeo (1607), based on themyth of Orpheus. These early operas had all thebasic elements that we associate with opera today:songs, instrumental accompaniments, dance, costumes, and scenery.

These early operas were performed in thecourts of Italian noblemen, but soon opera becamepopular with the general public. Europe had a growing middle class with a taste for spectacularentertainment. During the Baroque period (1600 -1750), the Italian style of opera was so popular thatit became the preferred form even in foreign countries. George Frideric Handel was a German-born composer who lived and worked in England,but his operas such as Julius Caesar (1724) were inthe Italian language and in the Italian style. The onlynation to develop a national tradition to rival the Italian was France, where operas often includedballets. Jean-Baptiste Lully and Jean-PhilippeRameau are the most famous French Baroque opera composers.

By the middle of the eighteenth century the European middle class was more influential than ever. People spoke of new forms of governmentand organization in society. Soon the American and French Revolutions (1776 and 1789) fought toestablish the first modern democracies.

Claudio Monteverdi1567-1643

Bass Kevin Glavin gets a close shave from baritone Roberto DeCandia in Rossini’s The Barber of Seville.

5

Verdi composed in a bold, direct style. In GermanyRichard Wagner took the Romantic style to theextreme in an ambitious series of four operas basedon Norse mythology known collectively as The Ringof the Nibelungs (1876).

In the twentieth century opera became moreexperimental. Some composers such as GiacomoPuccini (La bohème, 1896), Claude Debussy(Pélleas and Mélisande, 1902), Richard Strauss(Salome, 1905), and Benjamin Britten (PeterGrimes, 1945) continued their nationalistic styles.Others, horrified by the destructive effects of WorldWar I (1914-1919) and modern life, created radi-cally experimental and dissonant works thatexplored topics that were disturbing (Wozzeck byAlban Berg, 1925) or absurdist (The Rake’sProgress by Igor Stravinsky, 1951). Americanopera came into its own in this century, beginningwith George Gershwin’s jazz-influenced operaPorgy and Bess (1935). In the latter part of the cen-tury a repetitive and hypnotic style known as mini-malism was championed in Phillip Glass’s Einsteinon the Beach (1976). The late twentieth centuryeven saw a return to some of the traits of Romanticopera in works such as John Corigliano’s TheGhosts of Versailles (1991).

Today, opera is a living art form in which bothnew works and those by composers of the past continue to be performed. It remains to be seen whatthe future of opera will be, but if history is any indication, it will be shaped by the creativity oflibrettists, composers and other artists responding to the changing times in which they live.

World Premiere of FalstaffThe world premiere of Verdi’s Falstaff was at Teatro alla

Scala in Milan, Italy on February 9, 1893. The fact that Verdi

produced such a masterpiece is considered even more

unbelievable because of his advanced age at the time of

composition. Verdi was almost eighty years old. The opera’s

success was so great that the King of Italy sent Verdi a telegram

and invited him to the Palazzo del Quirinale (Royal Quirinale

Palace), the official royal residence, for the opera’s Rome

premiere. This opera was a true labor of love for Verdi. During

most of his career, he composed serious operas with great

arias and large scenes. This time was to be different. In this

opera he focused on smaller details to penetrate his characters’

emotions rather than the massive dramatic effects that he used

in his many tragedies. With this comedy, only the second that

he ever wrote, Verdi composed to entertain himself and enjoyed

every aspect of it. Without any question, his Falstaff is one of

the great masterpieces of comic opera.

Verdi’s Falstaff had its first performance in Philadelphia

at the Academy of Music on Thursday afternoon, February 7,

1895. This was just three days after the American premiere in

New York and was almost exactly two years from the date of its

world premiere. It was totally sold-out at the Academy. The

performance was given by the Metropolitan Opera in New York.

The role of Falstaff was played by Victor Maurel who had created

the role in the first productions in Italy. He was considered a

perfect performer for the role and traveled with the production

to the premieres in Paris, London, New York, and Philadelphia.

He was able to bring out each detail of the character’s innate

vulgarity without ever rendering him offensive. (See review on

page 73.)

While Falstaff was considered a great success by those

in attendance, they counted themselves lucky for another reason

besides the possession of the prized ticket. That evening a second

opera was scheduled at the Academy and it was to have an

unexpected ending. While the day had stared as any normal

winter day, as it wore on, a cold snap came down from the

north that sent temperatures falling below zero, and with the

wind came the snows. In spite of the falling snow, the Academy

was again packed. Some audience members realized that the

storm did not seem normal and they left at the intermissions.

Those who stayed to the final curtain at 12:30 AM struggled to

leave the Academy and, as they did, they entered a city in the

grips of the great blizzard of 1895. Waist-high snow drifts

covered Broad Street and fifteen-foot-high drifts blocked trains

throughout the region. It was truly a day and night of opera for

the history books.

Renowned baritoneVictor Maurel as Verdi’s andPhiladelphia’s first Falstaff.

6

Philadelphia’s

Academy of Music

As the guests enter the Opera House’s mainhall, there above the proscenium arch, over theAcademy stage, a bas-relief of Mozart looks downupon the audience. This place of prominence forMozart indicates that the builders of the Academyexpected to attract the finest performing arts knownto the world. However, building this Opera Housewas not an easy task for the young country. Between1837 and 1852 there were five attempts to raise thefunds needed to build an Opera House within thecity limits of Philadelphia. After Commissioners wereappointed by an act of the General Assembly of theCommonwealth of Pennsylvania, Charles HenryFisher began to sell stock in the Academy of Musicon May 24, 1852. On October 13, 1854, the land onthe southwest corner of Broad and Locust Streets waspurchased. At that time, the area was undeveloped.(The Old State House, now known as IndependenceHall, was the heart of the city at that time.)

The Commissioners held a competition to select the design of the Academy. Fifteen architects submitted designs between October 3 and December 15of 1854. The winners were announced on February 12,1855. Gustav Rungé and Napoleon le Brun won the $400 prize. It was their idea to dedicate the Academy to Mozart’s memory. Within four monthsthe ground-breaking took place. This project was soimportant that President Franklin Pierce, alongwith Governor James Pollock and Mayor Robert T.Conrad, laid the cornerstone on July 26, 1855.

On January 26, 1857, the Academy held theGrand Ball and Promenade Concert of its opening.The first opera presented in the brand new operahouse was Verdi’s Il trovatore on February 25, 1857.Gounod’s opera Faust had its American premierehere on November 18, 1863. On February 14, 1907,Madama Butterfly premiered to “emphatic success”with its composer, Giacomo Puccini, in attendance.

On May14,1897, John Philip Sousa’s composition“The Stars and Stripes Forever” was premiered onthe Academy stage. On March 29 and April 5, 1900,Fritz Scheel conducted two serious concerts of professional musicians. These two concerts are considered the genesis of the PhiladelphiaOrchestra. Today the Opera Company ofPhiladelphia and the Pennsylvania Ballet call theAcademy home.

Numerous presidents have visited theAcademy, including Ulysses S. Grant, TheodoreRoosevelt, Dwight D. Eisenhower, and RichardNixon. The Academy has had many world-famousperformers on its stage: Peter Tchaikovsky, SergeiRachmaninoff, Richard Strauss, Igor Stravinsky,Anna Pavlova, George Gershwin, ArturoToscanini, Marian Anderson, Maria Callas,Leontyne Price, Luciano Pavarotti, and thousandsmore

The Academy was made a Registered NationalHistoric Landmark in 1963. Since then, a few changeshave been made to the structure. In 1996 the“Twenty-First Century Project” began, which allowedfor a new rigging system, replacement of the stagefloor, and cleaning and restoration of the historic ceiling. With Mozart’s image looking down on theAcademy’s audiences from his position above thestage for over one hundred years, let the joy of opera and dance continue forever.

Few Philadelphians know that the great Academy of Musicwas dedicated to the memory of Mozart.

A wood engraving from the Academy Proscenium Box in 1857.Historic images of the Academy courtesy of The Historical Society of Pennsylvania.

7

Academy Facts2 Built in 1857, The Academy of Music is the oldest grandopera house in the United States used for its initial purpose.

2 In 1963, The Academy was honored as a NationalHistoric Landmark. As a National Historic Landmark, liveflame can never be produced on the stage.

2 The auditorium seats 2,897; 14 columns support theAcademy’s tiers; and the auditorium is encased within a three foot-thick solid brick wall.

2 The Academy of Music chandelier is 50 feet in circumference, 16 feet in diameter, and 5,000 pounds inweight. It is lowered once a year for cleaning. It used to take four hours and 12 men to hand lower thechandelier. Now it takes five minutes, thanks to an electric-powered winch.

2 The red and gold pattern on the Academy’s stage curtain simulates that of a pineapple, a Victorian-era symbolfor “welcome.”

2 The Academy of Music has an expandable orchestra pit to accommodate works with larger orchestral requirements. The first two rows of seats on the Parquet level are on a platform which can be removed to enlarge the pit. The decorative brass and wooden orchestra pit railing can also be moved to ornament the expanded pit as well.

2 In the 1800’s, an artificial floor was placed over the Parquet level seats for balls, political conventions, gymnastic and ice skating expositions, carnivals, parades, and other events. You’ll see a wooden guide along the edge of the Parquet wall that helped support the floor.

2 The first-ever indoor football game was held on the Academy’s Parquet level on March 7, 1889 betweenUniversity of Pennsylvania and Riverton Club of Princeton. At halftime, tug-of-war matches were held as entertainment.

2 A motion picture was first screened at the Academyon February 5, 1870. The silent movie consisted of an oratory, an acrobatic performance by a popular Japanesegymnast, and a waltz danced by the presenter, Henry H. Heyl and his sister. 1,600 people attended.

2 There were talks underway to turn the Academy ofMusic into a movie theater in 1920.

2 Starting in 1884, electricity was used to light the large chandelier (originally lit by 240 gas burners), the auditorium, and stage lights. New regenerative gas lights were placed along the exterior walls on both Broad andLocust streets.

2 Incandescent electric lighting was introduced to the foyer and balcony in 1892.

2 Air conditioning was installed in the theatre 1959.

2 There was no elevator for the general public in theAcademy until 1990!

For more information on the Academy of Music, go to thelibrary and take out Within These Walls, by John FrancisMarion or go online to www.academyofmusic.org.

Broad Street:

Avenue of the ArtsHere is part of a map of Center City. This area,

which includes Broad Street south of City Hall, is thehome of many famous theaters, museums, hotels,restaurants and cultural centers. Here are somedescriptions of the attractions around the Academyof Music. See if you can match them to the letteredflags on the map.

_____ The Kimmel CenterDance, orchestra, chamber and folk music

_____ Prince Music TheaterContemporary music, musicals and blues

_____ Merriam TheaterTheater and broadway musicals

_____ University of the ArtsArt and Design School

_____Wilma TheaterModern theater and musicals

_____ Ritz Carlton HotelWorld famous 5-star hotel and restaurant

1. The Academy of Music is marked on this map with a picture. What is its address?

_______________________________________

2. How many blocks is it from City Hall to the Academy?

_______________________________________

3. All but one of the East to West streets on this map have names that have something in common? What is it?

_______________________________________

4. You and your friends are planning a night on the town. You will hear a lecture about famous artists, see the Broadway musical The Lion King and scout celebrities at a fancy restaurant. Where do you go?

_______________________________________

_______________________________________

_______________________________________

For more information about this exciting part of thecity, visit: www.avenueofthearts.org/visit.htm.

8

9Opera Etiquette101

Here’s a list of do’s and don’ts so that everyone inthe theater can enjoy the opera:

Please Do...Applaud after the arias; you can shout “Bravo!” for the men and “Brava!” for the women.

Enter and exit the theater in an orderly fashion.

Please use the bathrooms before the rehearsal begins or at intermission.

Be careful in the auditorium! Because the theatre is 150 years old, it’s not necessarily designed for modern conveniences.

Turn off your cell phones and all electronic devices.

Enjoy the rehearsal. You’ve worked too hard learning this not to!

Don’t Forget...Food and beverages are not allowed inside the Academy of Music.

Photographs may not be taken during the performance.

Please no talking during the performances.

The Holland Homeschool is prepared for the Sounds of Learning™ Dress Rehearsalof La bohème.

Attending the OperaThere’s nothing quite as exciting as attending

the opera in a beautiful theater like the Academy ofMusic! If this is your first time at the opera there area few things for which you should prepare:

You will be attending the final dress rehearsalfor this opera. This is the last opportunity that the artistswill have to rehearse the entire opera before openingnight just a few nights away. The goal is to treat thisrehearsal exactly like a performance and perform theentire opera straight through without a pause.

You may notice in the center of the Parquetlevel, the floor level of the Academy, several computermonitors and a large table spread out over the seats.Seated in this area is the production team: Director,Assistant Director, Costume Designer, LightingDesigner, Set Designer, and other members of the production team. They’ll be taking notes andcommunicating via headset with the myriad peoplebackstage who help make all of the operatic magichappen: Stage Manager, Master Carpenter, lightingtechnicians, Supertitle Operator, Stagehands andmore. They’ll be able to give notes so changes canbe instantly made. Should things go awry, they may stop and repeat a section to make sure that it is perfect.

Opera EtiquetteBecause this is a working rehearsal, we ask

that you please refrain from talking. The produc-tion team needs to concentrate on fine-tuning the production. You can show them how much youappreciate their work and the opportunity to cometo the rehearsal at no charge by being as quiet as possible. Have you ever tried to study for a test andthere’s just too much noise at home or outside? It’salmost impossible to concentrate! So, please refrainfrom talking out of respect for the cast, musicians,and the entire production team.

I was in 7th grade when I first saw an opera with the Sounds of Learning™ program as part of my homeschooling curriculum. My Mom made me go! I thought it would be seriously boring for I had consideredopera something only for adults and not for kids like me.

The first opera I saw was La Perichole. That opera was hilarious! I loved it! I remembered I actually want-ed to go to see it again! After that I decided that opera wasn’t that bad. Over the next years of homeschool-ing, I went to many operas with the Sounds of Learning™ program. My mom didn’t have to make me go any-more, I wanted to go. The operas were all different. There was drama, comedy, tragedy and romance. Theseare my favorites of the operas I’ve seen: Così Fan Tutte, Il trovatore, The Grand Duchess of Gerolstein, AMasked Ball, and The Barber of Seville.

The opera Il trovatore was my favorite for its live action. The opera A Masked Ball was also interesting.One of the surprises in that opera was the ending. The murder weapon ended up being not a knife, as waswritten in the student booklet, but a pistol! I remember everyone in the audience jumped when that was fired.The Barber of Seville was my second favorite comedy. I now like to listen to classical music, something I usedto hate. Being exposed to classical music at the opera gave me an appreciation for it.

I would say to other kids like me…give opera a try. It may sound boring at first, but they are awesome!Every opera I saw was entertaining. I know going to see the opera is something I will do even after I graduatefrom high school this year.

Taylor and his classmates pose for apicture outside the Academy of Music

before Rossini’s Cinderella.

10 Why I Like OperaOpera is Not Just For AdultsBy Taylor Baggs, 12th gradeHomeschool, Philadelphia, PA

11

Giuseppe Verdi:

Hero of ItalyGiuseppe Verdi was born into the dangerous

period of the Napoleonic Wars at Le Roncole nearBusseto on October 10, 1813. His parents were CarloVerdi and Luigia Uttini Verdi.

Verdi’s love of music was evident from his earliest years. One of his greatest joys was listeningto the old organ in the church just a few steps fromhis home. After begging his father for lessons, Verdifinally got his way in 1821 when his father boughthim an old spinet. Verdi’s father hoped his son wouldbecome a country band leader so he arranged forhim to study under the church organist. Four yearslater, at the age of twelve, young Verdi became thechurch organist when his teacher took another post.Carlo Verdi recognized his son’s gift and arranged forhim to study in the nearby town of Busseto. His friend,Antonio Barezzi, who was a successful shopkeeperand amateur musician, agreed to put the young Verdiup in his home. It was in this town that Giuseppemet the director of the music school who put him towork copying the orchestral parts for the scores ofHaydn and Rossini.

Verdi advanced in his understanding of theclassics quickly enough for the director of the school toallow him to take the podium of the local orchestra.Barezzi was so impressed with Verdi’s gifts that hehelped arrange for Verdi to receive a scholarship tocontinue his studies in Milan. However, Verdi was nowover eighteen, and the judges did not care for his simplecountry dress. As a result they refused to accept himinto the school. The director of La Scala told him notto give up and encouraged him to study under MaestroVincenzo Lavigna. Under his new teacher’s tutelage,Verdi studied the works of Mozart and Beethoven.

At twenty-one, Verdi was attending a rehearsalof Haydn’s Creation when the conductor became ill.Verdi was asked to continue. He sat at the piano andplayed with one hand while conducting with theother. The musicians were so impressed with his talent that he was given the responsibility to conductthe performances before Milan’s society. This successlaunched his career.

On May 4, 1836, Verdi married his benefactor’sdaughter, Margherita Barezzi. On November 17, 1839,his first opera, Oberto, premiered at La Scala and was amoderate success. The next few years, however, weretimes of deep sadness. Verdi’s two children died beforeeither reached the age of three, and then Margheritadied in June 1840, a few months after the second child.

Verdi returned to Milan and composed thecomic opera for which he had signed a contract priorto his wife’s death. This opera was a complete failuredue partly to the extreme grief with which Verdistruggled while composing it. Deeply depressed andfinding it hard to concentrate on his work, Verdi wasalmost impoverished. He could only afford to eat onemeal a day. One day, while leaving a tavern, hebumped into Bartolomeo Merelli, the opera housedirector who had supported Verdi’s earlier work. Heasked Verdi to compose another opera. From thisaccidental meeting, the great opera Nabucco was born.The night the opera was premiered, March 9, 1842 inLa Scala, the audience cheered Verdi, who still couldnot smile.

Over the years, Verdi composed masterpieceafter masterpiece. Some of his operas had a politicalnature and the censors were always checking hiswork. Verdi believed in republican ideals and thoughtof George Washington as his personal hero. His musicoften contained political overtones. The song, “VaPensiero” (Go Thought) from Nabucco became therevolutionary hymn of Italy. It still inspires us today.

Verdi always remembered and loved his simplecountry heritage. He never forgot those less fortunatethan himself. He supported other struggling artistsfinancially, and upon his death willed all the royaltiesof his operas to support a home in Milan for agedopera singers. This nursing home exists to this day.Verdi was more than an artist, he embodied the heartand soul of Italy.

Giuseppe Verdi

12 Verdi Timeline1813 Born on October 10 in Le Roncole, a small village near Busseto, Italy, 1st son of Carlo and Luigia.

1821 His father buys him a broken-down spinet, initiating Verdi’s 1st musical studies.

1825 At 12 years old, Verdi becomes the village organist at Le Roncole.

1828 At a performance of The Barber of Seville in Busseto, Rossini’s overture was replaced by an opening

symphony composed by Verdi.

1832 Travels to Milan to attend the Conservatory but is not accepted.

Begins to study independently with Maestro Vincenzo Lavigna.

1836 Verdi marries Margherita Barezzi, the daughter of his benefactor.

1839 Meets famous singer Giuseppina Strepponi in Milan.

Successful opening of Oberto at La Scala in November.

1840 Death of his wife, shortly after the death of his two small children.

1842 March 9, triumph of Nabucco at La Scala.

1843-51 Writes and produces thirteen operas, among them: I Lombardi alla prima Crociata, I due Foscari, and Macbeth.

1848 Verdi acquires near Busseto the estate of Sant’Agata, a vast property rich in woods, vineyards and water, whichfrom then on becomes his refuge and the place where he draws new inspiration and enjoys the quiet of nature.

1851 Verdi’s mother dies.

1851-62 He composes Rigoletto, Il trovatore, La traviata, I vespri siciliani, Simon Boccanegra, A Masked Ball, and La forza del destino.

1859 Verdi marries Giuseppina Strepponi, his loving and competent companion, secretary and faithful advisor.

1861 Verdi elected to Parliament under the Liberal Party.

1863-71 During these years Verdi composes Don Carlos, and revises and reworks several of his previous works.

1867 In this year Verdi loses his father and his benefactor Barezzi.

1871 Triumphant debut of Aida in Cairo, Egypt.

1873 Verdi composes Quartet for Strings.

1874 First performance of the Requiemmass, which many people consider the most beautiful religious music of its time.

1880 Composers “Pater noster” and “Ave Maria.”

1881 Reworks Simon Boccanegra with libretto revised by Arrigo Boito.

1887 Verdi’s masterpiece Otello is premiered.

1893 Falstaff is presented in Milan.

1896 Deposits the funds to erect in Milan a rest home for those who had devoted their lives to music. He wills the royalties to all his operas to the Casa di Riposo, which to this day still welcomes aging singers and musicians.

1897 Verdi’s second wife, Giuseppina Strepponi, dies on November 14.

1898 Quatro Pezzi Sacri and Te Deum are performed in Paris during Holy Week.

1901 After spending a pleasant Christmas with his dearest friends, Verdi dies in Milan, on January 27.

13

American Presidents1809-1817 . . . . . . . . . . . . .James Madison

1817-1825 . . . . . . . . . . . . .James Monroe

1825-1829 . . . . . . . . . . . . .John Q. Adams

1829-1837 . . . . . . . . . . . . .Andrew Jackson

1837-1841 . . . . . . . . . . . . .Martin Van Buren

1841 . . . . . . . . . . . . . . . . . . . .William Harrison*

1841-1845 . . . . . . . . . . . . .John Tyler

1845-1849 . . . . . . . . . . . . .James K. Polk

1849-1850 . . . . . . . . . . . . .Zachary Taylor*

1850-1853 . . . . . . . . . . . . .Millard Fillmore

1853-1857 . . . . . . . . . . . . .Franklin Pierce

1857-1861 . . . . . . . . . . . . .James Buchanan

1861-1865 . . . . . . . . . . . . .Abraham Lincoln†

1865-1869 . . . . . . . . . . . . .Andrew Johnson

1869-1877 . . . . . . . . . . . . .Ulysses S. Grant

1877-1881 . . . . . . . . . . . . .Rutherford Hayes

1881 . . . . . . . . . . . . . . . . . . . .James Garfield†

1881-1885 . . . . . . . . . . . . .Chester Arthur

1885-1889 . . . . . . . . . . . . .Grover Cleveland

1889-1893 . . . . . . . . . . . . .Benjamin Harrison

1893-1897 . . . . . . . . . . . . .Grover Cleveland

1897-1901 . . . . . . . . . . . . .William McKinley

*Died in office†Assassinated in office

European Leaders1804-1814 . . . . . . . . . . . . .Napolean (Fr.)

1825-1855 . . . . . . . . . . . . .Nicholas I (Russ.)

1830-1848 . . . . . . . . . . . . .Louis Philippe (Fr.)

1837-1901 . . . . . . . . . . . . .Queen Victoria (Gr. Brit)

1848-1916 . . . . . . . . . . . . .Franz Josef (Aus./Hngry)

Other Classical Composers1770-1827 . . . . . . . . . . . . .Ludwig Van Beethoven (Ger.)

1813-1883 . . . . . . . . . . . . .Richard Wagner (Ger.)

1833-1897 . . . . . . . . . . . . .Johannes Brahms (Ger.)

1840-1893 . . . . . . . . . . . . .Peter Ilyich Tchaikovsky (Russ.)

Make Your Own

Timeline

Active LearningCut apart three supermarket paper bags. Cut them opendown one of the side seams and cut off the bottom so thatwhen laid flat, you have a rectangular piece of paper. Tape thebags together at the shorter ends, creating a long rectangularpiece of paper. From the longer side of the bag near the top,measure in 10" and place a dot. Do the same near the bottom.Draw a straight line from the top to the bottom of the bagthrough both dots. From the information on this page, selectthe most important incidents for your timeline. With thesefacts, include some of the important dates in history listedabove. You may also illustrate your timeline.

InventionsBicycle1816 . . . . . . . . . . . . . . . . . . . .Karl von Sauberbronn (Ger.)

Camera1822 . . . . . . . . . . . . . . . . . . . .Joseph Niepce (Fr.)

Telegraph1837 . . . . . . . . . . . . . . . . . . . .Samuel F. B. Morse (U.S.)

Typewriter1867 . . . . . . . . . . . . . . . . . . . .Christopher Sholes (U.S.)

Telephone1876 . . . . . . . . . . . . . . . . . . . .Alexander Graham Bell (U.S.)

Radio1895 . . . . . . . . . . . . . . . . . . . .Guglielmo Marconi (It.)

Airplane1903 . . . . . . . . . . . . . . . . . . . .Wilbur and Orville Wright (U.S.)

Other Major Events1824 . . . . . . . . . . . . . . . . . . . .Beethoven’s Ninth Symphony

1839-1842 . . . . . . . . . . . . .Opium War

1845 . . . . . . . . . . . . . . . . . . . .Irish Potato Famine

1848 . . . . . . . . . . . . . . . . . . . .Year of revolutions in Europe

1849 . . . . . . . . . . . . . . . . . . . .California’s Gold Rush begins

1861-1865 . . . . . . . . . . . . .American Civil War

1863 . . . . . . . . . . . . . . . . . . . .Abolition of slavery by Lincoln

1869 . . . . . . . . . . . . . . . . . . . .U.S. transcontinental railroad completed

1898 . . . . . . . . . . . . . . . . . . . .Spanish-American War

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Alice

Baritone

Boito

Contralto

Dame

Elizabeth

Fenton

Ford

Forrest

Garter Inn

Giuseppe

Globe Theatre

Henry IV

John

Knight

Maurel

Nannetta

Page

Shakespeare

Sir

Soprano

Thames

The Merry Wives of Windsor

Verdi

William

Windsor

Falstaff

Crossword Puzzle

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ACROSS

3 Name of river into which Falstaff is dumped.

5 Last name of Falstaff’s librettist.

9 Name of a young gentleman who is in love with Ford’s daughter.

10 This character’s wife is sent an amorous letter by Falstaff.

11 Last name of playwright who penned Hamlet, Othello, Romeo and Juliet, and many other plays and sonnets.

14 Name of theatre where Shakespeare wrote and acted in plays.

17 Both Falstaff and Ford are sung by this voice type.

19 First name of esteemed playwright, considered to be the greatest writer in the English language.

20 Mistress Meg’s last name, or a young servant in court.

21 Alice’s daughter who is in love with Fenton.

22 Falstaff was composed by Giuseppe _____.

23 There’s nothing like a _____ , or Quickly’s title.

24 Quickly has a very low female voice. She sings in this register.

25 Falstaff’s first name.

DOWN

1 The action of Falstaff takes place in this city.

2 Hern’s Oak is a tree in the _______ where Falstaff meets the merry wives at midnight.

4 Last name of the baritone who sang the role of Falstaff in the Philadelphia and world premieres.

6 Falstaff is a ________, and bears the title Sir.

7 Both Alice and Nannetta sing in the higher female register, known as __________.

8 ___ _______ _______, the first three words ofthe title of one of the Shakespeare plays on which Falstaff is based, with 15 down.

11 Falstaff’s title.

12 First name of Falstaff’s composer.

13 Other Shakespeare play in which Falstaff appears.

14 This tavern is one of Falstaff’s favorite hang outs.

15 ___ _______, the rest of the title that starts in 8 down.

16 British queen known for her love of the theatre who ruled at the time that Shakespeare wrote plays.

18 First name of Ford’s wife.

William Shakespeare was born the third ofeight children to John Shakespeare and Mary Ardenin 1564. His father was a merchant and a fine leatherglove maker. His mother was from a family of landowners. As William grew, his father became an alderman and later the mayor of their town, Stratford-upon-Avon. William attended the local grammar schoolwhere he studied the comedies of Plautus and Terenceand the tragedies of Seneca in Latin. It was during thistime that his love of the theater was born.

In 1582 William married Anne Hathaway, whowas about eight years his senior. Together they hadthree children: Susanna, 1583, and the twins Judithand Hamnet, 1585. While there was work for Williamin Stratford-upon-Avon as an actor, the call of London,the capital of his craft, led him to take his family tothe city in 1588. By 1594 he had established himselfas both a playwright and actor and was invited to jointhe company “The Lord Chamberlain’s Men.”

This group of actors performed at The GlobeTheater, located on the South Bank of the ThamesRiver in Southwark. To attend their performances,theater goers had to take the ferry across the river ortravel across the London Bridge. When The GlobeTheater, which had a thatched roof, burned down duringa production of Shakespeare’s Macbeth, it became atradition not to mention the name of the play backstage

for fear of bad luck. To this day it is referred to as“the Scottish play.” Later, under the patronage of KingJames I of England, the group was given an indoortheater known as The Blackfriars. The group was thennamed “The King’s Men.”

Shakespeare’s plays were very popular withthe people of London. While it was not customary topay much to a playwright for his work, Shakespearewas given a share of the profits from the sale of tickets.As a shareholder of the company, he became wealthy.He also took pleasure in acting in his creations. It isbelieved that he acted the roles of Adam in MuchAdo about Nothing and the ghost of Hamlet’s father.His knowledge of stagecraft and the demands of act-ing gave him a great insight into the dynamics ofsuccessful drama.

Although he wrote thirty-eight plays, we haveno manuscripts in his handwriting because he didnot consider the writing of plays as literature. Hewould only publish them to correct errors in othereditions of his works that were printed without hispermission. In his day, the concept of copyright didnot exist. Anyone could copy the work of anotherperson and publish it for profit. Shakespeare author-ized the publishing of only half of his work knownas “quarto” editions. For the remainder of his plays,we depend upon his friends and colleagues for“folio” editions which were published several yearsafter his death.

Shakespeare’s poetry is also very highlyregarded. His sonnets are regarded as a very highform of poetry and his work in this area earned him theepithet, “mellifluous and honey-tongued Shakespeare”in 1598. His classical epics, Venus and Adonis and

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Bard of Stratford

William Shakespeare

Shakespeare was born in this half-timbered house in Stratford-upon-Avon. British Travel Association

The witches wreak havoc in The Opera Company ofPhiladelphia’s 2003 production of Verdi’s Macbeth.

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The Rape of Lucrece are considered two of the finestpieces of writing in the English language. With hissuccess, he returned to Stratford-upon-Avon andpurchased one of the finest homes in town, NewPlace. Across the garden from his home, he hadanother home built for his daughter Susanna and herhusband Dr. Hall. Whenever the plague would strikeand the theaters were closed, he would return hometo wait out the cycle of the disease. After writing TheTempest in 1610, he left London and retired to hiscountry home. Six years later, the venerable “Bard ofStratford” died and was given a hero’s funeral.

So great were his plays that the field of operahas hundreds of scores written to them. Berlioz wrotehis Béatrice et Bénédict based upon Much Ado aboutNothing. Ralph Vaughn Williams’ opera, Sir John inLove, was based upon The Merry Wives of Windsor.Verdi’s Otello and Macbeth were based uponShakespeare’s plays of the same name and his Falstaffwas based upon both King Henry IV and The MerryWives of Windsor. Shakespeare’s Romeo and Juliethas twenty-five operas based upon it, The Tempesthas forty-seven and A Midsummer Night’s Dream hasforty-eight operas based upon it. Few authors canclaim to have affected the culture of the world morethan William Shakespeare, the “Bard of Stratford.”

Portrait of William Shakespeare, Bard of Stratford.

Words, words, words: Shakespeare’s influence on the English Language

When Shakespeare’s Hamlet is asked what he is reading, he responds with the famous line “Words, words, words.” Even 400 years after his death, WilliamShakespeare’s writings leave their mark on culture even today. Considered the greatest writer in the English language, Shakespeare’s plays are filled with quotes, phrases and even words that are used in every day conversation. Listed below are some of the famous phrases and words that Shakespeare originated.Do you recognize any of these?

As You Like It• Too much of a good thing

Hamlet • Neither a borrower nor a lender be • The lady doth protest too much

Henry IV, part 2• Eaten me out of house and home • Dead as a doornail

Henry VIII• For goodness sake

Julius Caesar• It was Greek to me

King John• Elbow room

Love's Labour's Lost• The naked truth

Macbeth• Knock, knock! Who’s there? • The be-all and the end-all • Sorry sight

Much Ado About Nothing • Done to death

Othello• Neither here nor there• Wear my heart on my sleeve

Romeo and Juliet• You kiss by the book

The Merchant of Venice• Love is blind• My own flesh and blood

The Merry Wives of Windsor• Laughing-stock

The Taming of the Shrew • An eye-sore • Kill ... with kindness

The Tempest• Into thin air

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All the World’s a Stage

The Globe Theater

The Theater was a very important part of lifein Shakespeare’s day. There was no XBOX and noSony Playstation, no computers or mp3 players, noradios or televisions, and no phones at all during theVictorian era. What did people do to pass the time?Reading was important, if you had access to books.Music would be performed at home, if you hadaccess to a fortepiano and music lessons. The oneform of entertainment that everybody could accesswas the theater. Everyone went to the theater, rich orpoor. It didn’t hurt that one of the biggest theaterlovers was Queen Elizabeth I. Supposedly it was shewho demanded a play devoted to the characterFalstaff. She loved the old knight in Shakespeare’sHenry IV, and insisted that the bard give her a com-edy which showed the fat old knight in love.

Many of Shakespeare’s plays were performedin The Globe Theater, built in 1598 in London. It wasthree stories high, octagonal in shape, and 100 feet indiameter. The stage was a compact 43 feet wide by28 feet deep and five feet off the ground. The Globe,like many theaters of it’s time, was an open-air theaterthat could fit 3,000 people – that’s more people thancan fit into the Academy of Music. There was no roofover the main portion of it so sunlight could come inand light up the stage. (Remember, Ben Franklin didn’texperiment with electricity with his kite until 1752.)Performance would take place during the day andmost likely only during fair weather. The structure wascapped by a turret with a flag from which a trumpeterwould announce that day’s performance.

There were three tiers, or levels, on whichpeople sat, and standing room on the ground.Standing room was the cheapest ticket and youwould stand right in front of the stage. People here,dubbed the groundlings, were loud and boisterous.They would talk back to the actors and eat and drinkduring the performance. It could be tough in thiscrowd, too, with pushing, shoving, fistfights, and evenpick pockets! For the middle priced ticket, you’d geta seat in the gallery on one of the theater’s tiers. You’dsit on a bench, and you’d have some protectionfrom the hot sun or rain from the theater’s thatchedroof. If you were rich and could pay the most expensiveprice, you’d sit in the exclusive Gentleman’s Room.These private boxes gave you a private entrance intothe theater, that way you would avoid contact withthe general public. The boxes were located along thewalls near the stage and allowed you to be seen by theaudience, similar to the box seats on the sides of thestage of the Academy of Music.

Since the entire town would have seen a playin a few days, a new one would have to be put onpretty quickly so the theater could make money.Acting companies couldn’t spend too much timerehearsing and would need to have a new play readyin three to four days.

Companies were known for their “star” actorswho would play the romantic and heroic leads. Inthis time there were actors only - no actresses. Allroles, male and female alike, were acted by men orboys. Boys got to play all of the young heroines likeJuliette in Romeo and Juliette. In The Merry Wives ofWindsor boys, whose voices had not yet changed,would have played Alice, Nannetta, and Meg Page.For more comedic roles like Dame Quickly, mostlikely an older man who specialized in playing funnyladies would have played the part.

Each of the actors in the troupe would havedone certain types of roles – young men, comicparts, heroic parts, tragic parts – but each wouldhave had their “role” in a play. That made it easierfor the actors to fit into their role – especially sincethey might have played more than one part. Whenthe actors received their script, it wasn’t the script ofthe entire play, just their scenes.

The Company would sit down before rehearsalsbegan and the playwright would read the entire playto the actors – perhaps the only time the actorswould have heard the full play.

Woodcut image of the Globe Theater circa 1612.

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Because the Globe had no roof, the sound ofthe actor’s voices would escape out of the building,not to mention the fact that audiences then could be quite noisy – especially those on the floor. Actorshad to learn how to effectively project their voices.They were forced to shout their lines, over enunciate,and overact so audiences understood what wasgoing on.

Theaters like the Globe didn’t use sets likeyou’ll see in the opera Falstaff. Instead the back wallof the theater had different doorways and balconiesthat could be used for any situation. They might usea particular prop or piece of furniture that could beused only if it was absolutely necessary, like thelaundry basket in which Falstaff is hidden, but you’dnever see a complicated set like you see today. Sothat audiences would know where each scene wasset, the playwright would use the first few lines ofthe new scene to comment on the surroundings ortime of day.

Costumes, too, were multi-functional.Frequently a rich theater lover would donate their oldclothes to the theater company. The theater wouldhave a collection of clothes that they would use for costumes for all of their plays. It would be possibleto see the same costume in several plays a year.

The original Globe Theater burned to the groundin 1613 when a cannon shot during a performance ofHenry VIII set the thatched roof on fire. A new Globewas built on the same location before Shakespeare’sdeath. The Globe and other theaters were alwayscareful to make sure the authorities were happy asthey could be shut down for any reason from offensivematerial, to threats to public safety – including thespread of the plague. The Globe was forced to close itsdoors 1642, when the Puritans closed all entertainmentvenues as they were viewed as immoral. The Puritanstore down the building in 1644 and built tenementsat the location.

The Globe’s foundations were rediscovered in1989, and plans to build a modern-day Globe Theaterwere spearheaded by American actor Sam Wanamaker.Construction started in 1993 near the site of the originaltheater and was completed in 1996. Queen ElizabethII officially opened the theater on June 12, 1997 witha production of Henry V. Every effort was made toreproduce the Globe as faithfully as possible. But asthere are no existing blueprints or plans, the newtheater was based upon sketches and writtendescriptions of the original Globe. The modern Globeseats 1,500 people between the galleries and thegroundlings. In its opening season, 210,000 spectatorssaw productions at the theater.

Shakespeare at the MoviesIf Shakespeare were alive today, you can bet that he’d be one of the greatest writer/directors in

Hollywood history. Hollywood has turned to his plays time and again for inspiration. Here’s a list a moviesthat you may have seen which are based on Shakespearean plays:

Year Film Based on1953 Kiss Me Kate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Taming of the Shrew1956 Forbidden Planet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Tempest1957 Throne of Blood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hamlet1961 Manchurian Candidate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hamlet1961 West Side Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Romeo and Juliet1965 Chimes at Midnight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Merry Wives ofWindsor1983 Strange Brew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hamlet1985 Ran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .King Lear1991 My Own Private Idaho . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Henry IV1995 Green Eggs and Hamlet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hamlet1996 Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Romeo and Juliet1999 10 Things I Hate About You . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Taming of the Shrew2000 Romeo Must Die . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Romeo and Juliet2001 Macbeth: The Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Macbeth2001 My Kingdom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .King Lear2001 O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Othello2001 Scotland, PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Macbeth2004 Manchurian Candidate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hamlet2006 She’s the Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Twelfth Night

Falstaff

SynopsisTime: Reign of King Henry IVPlace: Windsor, England

Act IScene 1 In a room in the Garter Inn, Sir

John Falstaff is writing letters. Dr. Caius enters andcomplains of the various outrages that have beencommitted against him by the knight and his followers,Pistola and Bardolfo. Falstaff laughs off these accusations and Dr. Caius storms out of the tavern.Finding they have no money to pay the bill, Falstaffblames his companions and announces a plan torepair his fortunes by having affairs with Alice Fordand Meg Page, both of whom are married to wealthymen (“V’è noto un tal”). He produces the two loveletters and tells Pistola and Bardolfo to deliver one toeach woman, but the men refuse to assist in such adishonorable enterprise. Falstaff sends the letters offwith a page instead and then lectures the two menon the subject of honor (“L’onore! Ladri!”) beforechasing them out of the inn.

Scene 2 In the garden outside of Ford’shouse, Alice Ford and her daughter Nannetta meetwith Meg Page and Dame Quickly. Alice and Meg areeach bursting with the news of their letter fromFalstaff. Upon comparing the letters they find themto be identical and the women decide he must betaught a lesson (“Fulgida Alice! Amor t’offro”).Meanwhile, Ford meets with Dr. Caius, Bardolfo,Pistola, and young Fenton, who is secretly in lovewith Nannetta. Bardolfo and Pistola have betrayedtheir master and told Ford that Falstaff is pursuinghis wife. Briefly alone, Fenton and Nannetta stealkisses but are interrupted when the women return,plotting to send Dame Quickly to Falstaff to arrangean assignation with Alice. Nannetta and Fenton arenext interrupted by Ford, who is also plotting hisrevenge, and plans to be introduced to Falstaff as‘Master Brook,’ so that he can keep an eye on him.The women return once more and, unaware of eachother’s plans, all pledge to punish the knight.

Act IIScene 1 Back at the Garter Inn, Falstaff

accepts the feigned apologies of Bardolfo and Pistola.Dame Quickly arrives to tell the knight that bothAlice and Meg return his affections. She says thatMeg’s husband guards her too closely to ever leaveher alone but that Alice will meet with him betweentwo and three that afternoon when her husband isalways out. Once the meeting is set, Dame Quicklyleaves and Falstaff begins to preen himself inpreparation for his rendezvous. Ford enters the innand introduces himself to Falstaff as ‘Master Brook,’a wealthy man who has fallen in love with Alice Fordbut has been unable to woo her. He offers Falstaffmoney for his help in the matter, suggesting that ifthe knight can break down Alice’s resistance, he willbe able to follow suit. Falstaff accepts the challenge,gleefully boasting that he himself has already set upa tryst with the lady and excuses himself to get ready.Left alone, Ford can’t believe his wife’s betrayal andvows to avenge his honor (“È sogno? o realtà”). Heregains his composure by the time Falstaff returns,and the two men leave together.

Ford and his men hear a lover’s kiss from behind the scrim in Act II Scene II from the Opera Company of Philadelphia’s production of Falstaff.

20

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Scene 2 Back at Ford’s house, DameQuickly gives a detailed report of her meeting withFalstaff. Nannetta comes in and tearfully tells themthat Ford has ordered her to marry old Dr. Caius.When she says that she is in love with Fenton andwill marry no one but him, her mother promises tohelp her. The other women hide and Alice sits at herlute as Falstaff arrives. She listens to his advancesbut keeps the knight at a safe distance. They areinterrupted by Dame Quickly, who tells them thatFord is on his way. Falstaff hides behind a screen justas Ford enters with his followers, hoping to catch theknight seducing his wife. Finding nothing, the menleave to search the rest of the house. While Ford issearching the other rooms, the women hide Falstaffin a laundry basket, covering him with dirty linens.Ford returns and, hearing the sound of kissing frombehind a screen, discovers Nannetta and Fenton.More furious than ever, Ford rushes out to continuehis search, while Alice orders the servants to dumpthe laundry basket out the window and into theThames River below. When Ford returns, Alice leadshim to the window just in time to see Falstaffdumped into the muddy river.

Act IIIScene 1 Back at the inn, Falstaff broods

over his humiliation, but his spirits improve drasti-cally as he drinks his wine (“Mondo ladro”). DameQuickly comes with a message from Alice, butFalstaff wants nothing more to do with her. She per-suades him that it was the servants’ fault that heended up in the river and that Alice wants to meetwith him again. Falstaff cannot resist the temptationand agrees to a midnight meeting in Windsor Park,where he is to come disguised as the ‘BlackHuntsman,’ who is said to haunt the forest. Thewomen plan the details of the midnight masquerade.Fenton and Caius participate in the plans as well,along with Ford, who is now convinced of his wife’sfidelity. Dame Quicklyreappears to overhear Ford and Caius plotting toannounce Nannetta’s marriage to the doctor thatvery night, and she vows to stop them.

Scene 2 That night in Windsor Forest,Fenton sings of his love for Nannetta (“Dal labbro ilcanto”) but is interrupted by Alice, who gives him acostume identical to the one that Ford has givenCaius to wear. The rest of the group hastily dons theircostumes and hides just as Falstaff arrives dressed asthe Black Hunter. Alice greets him, but when theyhear noises, she quickly disappears, leaving him aloneas a horde of spirits descends on him. Nannetta, whois disguised as Queen of the Fairies, calls to herfollowers, who gather around the knight as he cowerson the ground (‘Sul fil d’un soffio etesio”). Beggingfor mercy, Falstaff finally recognizes Bardolfothrough his disguise. The rest of the group unmasksand Falstaff realizes that he has been played for afool. The ladies reprove him for thinking that theywould have accepted him as a lover and Ford revealshimself as Alice’s husband, not the lovelorn ‘Brook.’Ford takes Nannetta by the hand and announces herbetrothal to Caius. He does the same for a similarlydisguised couple brought forward by Alice. He bidsthem all unmask and is shocked to find that Bardolfohas been dressed up in Nannetta’s clothes and isnow therefore betrothed to Caius. The other coupleis, of course, Nannetta and Fenton in disguise. Fordhas been duped too but he forgives them all, andFalstaff leads the group in declaring that the world isbut a jest (“Tutto nel mondo è burla”).

Meet the

ArtistsFalstaff

Roberto De Candia, baritone

Figaro, The Barber of Seville (2005)

Alice Christine Goerke, soprano

Rosalinde, Die Fledermaus (2005)

Dame QuicklyMeredith Arwady, contralto

Mrs. Ott, Susannah (2003)Martha, Faust (2004)

FentonJesús Garcia, tenor

Ernesto, Don Pasquale (2004)

BardolphSteven Cole, tenor

Sportin’ Life, Porgy and Bess (2007)

DirectorRobert B. Driver

Aida (2005)Die Fledermaus (2005)A Masked Ball (2005)The Barber of Seville (2005)The Marriage of Figaro (2006)La bohème (2006)

FordMark Stone, baritone

Opera Company Debut

Nanetta Evelyn Pollack, soprano

Opera Company Debut

Dr. CaiusMark T. Pannucio, tenor

Giuseppe, La traviata (1997)Peasant, La Fille Du Regiment (1998)

PistolMatthew Rose, bass

Trufaldino, Ariadne auf Naxos (2003)Doctor Grenvil, La traviata (2003)

Apparition Doctor, Macbeth (2003)

ConductorCorrado Rovaris

Aida (2005)Die Fledermaus (2005)A Masked Ball (2005)

The Barber of Seville (2005)The Marriage of Figaro (2006)

La bohème (2006)Cinderella (2006)

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Introducing Soprano

Christine GoerkeIt’s been an interesting road to the opera stage.

I never even thought of pursuing a career as a singerwhen I was in high school. I started out wanting toteach high school band. I played the clarinet for yearsand learned to play other woodwind instruments too.Flute and saxophone were fun, but when I learned toplay the Bass Clarinet, I thought that was a blast! Ididn’t really know I could sing until I was in college.I had to take a placement test at the music school tosee if I could sight read music. That means just looking at a piece of music and “singing” what’s onthe page. You don’t have to sing it well, just get thenotes and note values right.  It turned out that theschool liked my singing more than my clarinetplaying! I was very confused by this, but then realizedthat I didn’t have to carry around an instrument in acase, and could just sing instead... so - I guess youcould say I’m a singer because I was lazy!

Actually, I laugh sometimes when people saythat they think that singing is something that youjust get up and do, and that’s that. Singing is reallyhard work! Education plays a very big part in it, too,but education is important in any choice of career,not only music. We singers  all train for years. Notjust learning how to sing, but learning about differentkinds of music, different composers, and what wasgoing on in the world historically when pieces werewritten. This makes a difference when you’re tryingto become a character in a different time period.We study movement, acting, and I even studiedOceanography and Statistics too! Then there are themany languages we have to learn and study in orderto be able to sing in them.

Falstaff is by Giuseppe Verdi. It was writtenin Italian  and was first performed in Milan, Italyin February 1893.  I had to study Italian, and learnItalian diction when I was in college. Diction is just aschmancy word for pronouncing a language correctlywhen you sing in it. I started to study different languages in college.  I’m not fluent in all of them,but I can speak enough Italian, German, and Frenchto get by - and I can understand  what I’m sayingwhen  I sing in all of them now. But it took time,like anything that you learn for the first time!

The first time I had to sing an opera in alanguage other than English I was scared to death. Iwas in college and didn’t know Italian very well yet.I translated everything on the top of the page and

hoped that it would beenough. I some how wasable to get through it andmade lots of mistakes! Iwas able to laugh aboutit. That was the greatestthing I learned very earlyon. We will always make mistakes and if we can’t laughabout them and learn from them? What is the point?

I came away from my education with so muchmore than just my knowledge and understandingof  music. This is the way that any education orcareer path should go. Learn everything that youcan. Soak it up like a sponge. I promise - you’ll neverknow when you can use the information that you’velearned, and when it will make you more valuable atyour job!

I really love what I do, but being away frommy friends and family when I have to travel far fromhome is toughest part of the job. So, when I’m home,I really make the time count. My husband Jim usedto be a chef - he’s incredible in the kitchen, and I’ma very lucky lady... but we love two things: pizzanight and BBQ night. There is a place near our housecalled “Cubby’s BBQ”. The most amazing ribs! Wealso really have an addiction to miniature golf. Iknow that probably sounds stupid but it’s so muchfun! I love watching Family Guy - it cracks me up,and I’ve been hooked on Days of our Lives everysince my Mom got me started watching it when I was10 years old! 

Despite all the hard work, it’s so much fun tobe able to sing. Singing is fun wherever you do it: inthe bathtub, in the car, on stage, in school - you nameit. I’m very lucky because I get to make a living doingwhat I love, and having fun too! Plus, I love seeingand feeling the audience enjoying themselves. Whenpeople sit in an audience to watch a show, and theyget involved with what is on stage? The performerscan “Feel” that involvement. When I know that theaudience is being moved by what I’m doing? It’s thebest reward I could ask for.

I hope you enjoy Falstaff!Christine

To learn more about Christine, check out her webpageat www.christinegoerke.com, and send her a mes-sage!

23

Soprano Christine Goerke

24

Falstaff

LibrettoFinal Dress Rehearsal - Monday, April 30, 2007 at 6:15 p.m. at the Academy of Music Libretto, Courtesy of EMI Records ©

Cast of Characters

Sir John Falstaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Roberto De Candia, baritone

Ford, a young burgher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mark Stone, baritone

Mistress Alice Ford, his wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christine Goerke, soprano

Nanetta, her daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Evelyn Pollack, soprano

Dame Quickly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Meredith Arwardy, contralto

Mistress Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Elizabeth de Shong, mezzo-soprano

Fenton, a young gentleman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jesus Garcia, tenor

Dr. Caius, a physician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mark T. Panuccio, tenor

Bardolph, follower of Falstaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Steven Cole, tenor

Pistol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Matthew Rose, bass

Burghers and street folk, Ford’s servants, maskers, as elves, fairies, witches, etc.

Corrado Rovaris, Conductor

Robert B. Driver, Director

Richard St. Clair, Costume Designer

Paul Shortt, Scenic Designer

Act I, Part OneThe hall of the Garter Inn.A table. An armchair. A bench. On the table, the leftovers of a dinner, several bottles and a glass. An inkwell, pens, paper, a burning candle. A broom upright against the wall. To the rear, a door,another to the left. (Falstaff is melting the wax fortwo letters in the candle flame. He seals the letterswith his ring, then blows out the candle, lies back comfortably in the armchair and beings to drink.)

CAIUS (shouting menacingly as he enters)Falstaff!

FALSTAFF(paying no attention to Dr Caius, calls the innkeeper, who comes towards him)Ho, there!

CAIUSSir John Falstaff!

BARDOLPH (to the Doctor)Oh, what’s come over you?

CAIUS (shouting and approaching Falstaff) You beat my servants!...

FALSTAFF (to the innkeeper)Host! Another bottle of sherry!

CAIUSYou broke down my bay mare, you violated myhouse.

FALSTAFFBut not your housekeeper.

25

CAIUSOh, thank you! A blear-eyed old hag. Ample Sir,were you twenty times Sir John Falstaff, Knight, Ishould force you to answer me. FALSTAFFThis is my answer: I did everything you say.

CAIUSAnd so?

FALSTAFFI did it purposely.

CAIUSI shall appeal to the King’s Council.

FALSTAFFAnd God be with you. My counsel is this: be quietor you’ll make an ass of yourself.

CAIUS (still raging, but now at Bardolph)I haven’t finished!

FALSTAFFOh, the devil!

CAIUSBardolph!

BARDOLPHDoctor!

CAIUSLast night you got me drunk.

BARDOLPHToo bad! What a pain! (letting the Doctor feel hispulse) I am ill. Make me a prognostic. My gut isruined. Cursed by hosts who chalk their wine! You see this meteor? (pointing to his nose)

CAIUSI do.

BARDOLPHIt goes to bed ablaze like this each night.

CAIUS (exploding)Prognostic be damned! You made me drink, yourascal, with him... (indicating Pistol) ...talking nonsense. Then, when I was drunk, you emptiedmy pockets.

BARDOLPH (with decorum)Not I.

CAIUSWho, then?

FALSTAFF (calling)Pistol!

PISTOL (advancing)Sir!

FALSTAFF(phlegmatically, still seated in the armchair)Did you empty this gentleman’s pockets?

CAIUS (springing at Pistol)Of course it was he. Look – he’s about to deny it, the lying scoundrel! (emptying a pocket of his jacket) Here I had two shillings of King Edward’srealm, and six half-crowns. There’s not a sign ofthem now.

PISTOL(to Falstaff, as he gravely brandishes the broom)Sir, I ask leave to fight him with this woodenweapon. (to the Doctor) You lie!

CAIUSClodhopper! You’re speaking to a gentleman!

PISTOLSimpleton!

CAIUSBeggar!

PISTOLBeast!

CAIUSDog!

PISTOLCoward!

CAIUSScarecrow!

PISTOLGnome!

26CAIUSMandrake spawn!

PISTOLWho?

CAIUSYou.

PISTOLSay it again!

CAIUSYes!

PISTOLBy thunder!

FALSTAFF Eh, Pistol! Don’t go off here! (At Falstaff’s order,Pistol restrains himself. Falstaff calls Bardolph, whocomes forward.) Bardolph! Now, who emptied thisgentleman’s pockets?

CAIUSIt was one of them!

BARDOLPH (serenely pointing to Dr Caius)He drinks; then, having drunk too much, he loseshis senses. Later he comes up with some wild talehe’s dreamed while asleep under the table.

FALSTAFF (to Dr. Caius)You hear? If only you think, you’ll find the truth.The charge is refuted. Go now in peace.

CAIUSIf ever I get drunk again at the inn, I swear it willbe only with honest, sober, civil, pious folk. (He goes out.)

BARDOLPH, PISTOLAmen.

FALSTAFFEnough of this antiphon. You are out of time. Thisis the basic rule of art: steal deftly and at the righttime. You are clumsy artists.

BARDOLPH, PISTOLA...

FALSTAFFSix chickens: six shillings. Thirty bottles of sherry: two pounds. Three turkeys... (to Bardolph, throwing him his purse) Look in my purse. Twopheasants. An anchovy...

BARDOLPH(takes the money from the purse and counts it outon the table) One mark – one mark – one penny.

FALSTAFFSearch!

BARDOLPHI have!

FALSTAFFSearch!

BARDOLPH (tossing the purse onto the table)There’s not a penny more.

FALSTAFF (rising)You’re my ruin! Each week I spend ten guineas!Drunkard! True, as we go from tavern to tavern atnight, your blazing nose serves well as a lantern.But what I save in oil, you drink in wine. I’ve been watering that purple mushroom for thirtyyears! You cost too much. (to Pistol) And you too.Host! Another bottle! You make me lose weight! If Falstaff thins, he’s not himself, no one will lovehim; in this paunch a thousand tongues cry out my name!

PISTOLImmense Falstaff!

BARDOLPH (imitating)Enormous Falstaff!

FALSTAFF(looking at his belly and patting it) This is my kingdom. I must increase it.

BARDOLPHEnormous Falstaff!

PISTOLImmense Falstaff!

27FALSTAFFBut now we must sharpen our wits.

BARDOLPH, PISTOLLet’s sharpen away.

FALSTAFFDo you know a fellow here in town named Ford?

BARDOLPHYes.

PISTOLYes.

FALSTAFFHe’s a rich townsman...

PISTOLMore generous than Croesus.

BARDOLPHA lord!

FALSTAFFHis wife is beautiful.

PISTOLAnd she holds the purse-strings.

FALSTAFFThat’s the one! Oh love! Starry eyes! A swan’sneck! Her lips? A flower! A laughing flower. Hername is Alice. One day as I passed by in her neighborhood, she smiled. Love’s fire flamed in my heart. The goddess shone a burning-glass onme, on me, on my lusty flanks, my broad chest, my manly foot, my sturdy, upright, mighty frame!Desire blazed within her as I passed, as if shewould say: I am Sir John Falstaff’s!

BARDOLPHFull stop.

FALSTAFF (continuing Bardolph’s joke)And paragraph. There is still another...

BARDOLPH, then PISTOLAnother?!

FALSTAFF...named Margaret.

PISTOLThey call her Meg.

FALSTAFFShe too is taken with my charms. She too holds the keys to the coffer. These two shall be myGolconda, my Gold Coast! Look at me. I’m stillenjoying a pleasant Indian summer. Take these two fiery letters. (He gives Bardolph one of the letters from the table.) Take this to Meg; let us testher virtue. Your nose flames with zeal. (He givesPistol the other letter.) And you, take this to Alice.

PISTOL (with dignity, refusing)I carry a sword. I am no Pandarus. I refuse.

FALSTAFF (disdainful, calm)Charlatan!

BARDOLPH(coming forward and tossing the letter on the table) Sir John, I cannot serve you in this plot. It is forbidden by...

FALSTAFF (interrupting)By whom?

BARDOLPHMy honor.

FALSTAFF(catching sight of the page Robin coming in) Eh,page! (immediately thereafter, to Bardolph andPistol) Go hang, but no more on me. (to the page,who then runs out with the letters) Take these letters, for two ladies, carry them immediately – go, run along! (returning to Bardolph and Pistol)

28This section is Track 1 on the CD of music excerpts. Here is both the original Italian and English translation.

L’onore!Ladri. voi state ligi all’onor vostro, voi!Cloache d’ignominia, quando non sempre noipossiam star ligi al nostro. Io stesso, sì, io, io,devo talor da un lato porre il timor di Dioe, per necessità, sviar l’onore, usarestratagemmi ed equivoci, destreggiar,bordeggiare.E voi, coi vostri cenci e coll’occhiata tortada gattopardo e i fetidi sghignazzi,avete a scorta il vostro Onor!Che onore!? Che onor?Che onor! che ciancia! Che baia!Può l’onore riempirvi la pancia? No.Può l’onor rimettervi uno stinco?Non può.Né un piede? No. Né un dito?No. Né un capello? No.L’onor non è chirurgo.Ch’è dunque? Una parola.Che c’è in questa parola?C’è dell’aria che vola.Bel costrutto!L’onore lo può sentir chi è morto? No.Vive sol coi vivi?Neppure: perché a torto lo gonfian le lusinghe,lo corrompe l’orgoglio,l’ammorban le calunnie;e per me non ne voglio!No, no, no, no, no, no!Ma, per tornare a voi, furfanti,ho atteso troppo, e vi discaccio.(Prende in mano la scopa e insegue Bardolfo ePistola che scansano i colpi correndo qua e là eriparandosi dietro la tavola.)Olà! Lesti! lesti! al galoppo!Al galoppo! Il capestro assai bene vi sta.Lesti! lesti! al galoppo! ladri! ladri!Via! via di qua! via di qua!(Bardolfo e Pistola fuggono, non senza essersibuscato qualche colpo di granata, e Falstaff liinsegue.)

Honor!Thieves! You are faithful to your honor, yousewers of infamy, when not always can even wekeep faith with ours. Yes, even I myself,must sometimes lay aside the fear of Godand, of necessity, outwit my honor with somestratagem, some ambiguity, the better to tackwith deftness;and you, in your rags, with your crookedleopard’s eye, your foetid laughter,keep company with Honor!What honor? What honor indeed?Such chatter! What a joke!Can honor fill your belly? No.Can honor set a broken shin?It cannot.Or mend a foot? No. Or a finger?No. Or a hair? No.Honor is not a surgeon.What is it, then? A word.What’s in this word?Air, which flies away.A fine concept!Does a dead man know honor? No.Does it live, then, only with the living?Not even, for it puffs up at flattery,pride corrupts it,slander softens it.For me, I’ll have no part of it!No, no, no, no, no, no!But to get back to you two bandits.I’ve been patient too long, and now I throw you out.(He takes the broom and chases Bardolph andPistol about the hall. They escape his blows byrunning about, seeking shelter behind the table.)Ho, there! Quick, quick! At the gallop!At the gallop! The halter fits you well.Out, get out of here! Thieves! Thieves!Out of here!(Bardolph and Pistol escape – but not beforeseveral blows of the broom strike home as Falstaffchases them.)

29This section is Track 2 on the CD of music excerpts. Here is both the original Italian and English translation.

Seconda ParteGiardino. A sinistra la casa di Ford. Gruppi di alberinel centro della scena.

(Meg entra con Mistress Quickly. S’avviano versola casa di Ford, e sulla soglia s’imbattono in Alicee Nannetta che stanno per escire.)

MEG (salutando)Alice!

ALICE (salutando)Meg!

MEGNannetta!

ALICE (a Meg)Escivo appunto per ridere con te.(a Quickly) Buon dì, comare.

QUICKLYDio vi doni allegria. (accarezzando la guancia diNannetta) Botton di rosa!

ALICE (ancora a Meg)Giungi in buon punto. M’accade un fatto da trasecolar.

MEGAnche a me.

QUICKLY (avvicinandosi con curiosità)Che?

NANNETTA (avvicinandosi)Che cosa?

ALICE (a Meg)Narra il tuo caso.

MEGNarra il tuo.

NANNETTA, QUICKLYNarra! narra!

ALICEPromessa di non ciarlar.

Part TwoA garden. To the left, Ford’s house. Clusters of treesat centre-stage.

(Meg enters with Mistress Quickly. They advancetowards Ford’s house. They meet Alice andNannetta, coming out, as they near the door.)

MEG (greeting Alice)Alice!

ALICE (greeting Meg)Meg!

MEGNannetta!

ALICE (to Meg)I was coming to have a good laugh with you.(to Quickly) Good day!

QUICKLYGod grant you joy. (caressing Nannetta’s cheek)Rosebud!

ALICE (to Meg)You’ve come just at the right time.I’ve something here that will amaze you.

MEGSo have I.

QUICKLY (approaching with curiosity)What?

NANNETTA (coming nearer)What is it?

ALICE (to Meg)Tell me your story.

MEGNo – tell me yours.

NANNETTA, QUICKLYTell me, tell me!

ALICEPromise not to breathe a word.

30

MEGTi pare?!

QUICKLYOibò! Vi pare?!

ALICEDunque: se m’acconciassi a entrar nei rei propositidel diavolo, sarei promossa al grado di Cavalleressa!

MEGAnch’io.

ALICEMotteggi.

MEG(cerca in tasca. Estrae una lettera.) Non più parole. Ché qui sciupiamo la luce del sole.Ho una lettera.

ALICE (cerca in tasca)Anch’io.

NANNETTA, QUICKLYOh!!

ALICELeggi. (Le due donne scambiano lettere.)

MEGLeggi. (leggendo la lettera di Alice)“Fulgida Alice! amor t’offro...” Ma come?! Che cosa dice? Salvo che il nome la frase è uguale.

ALICE (leggendo la lettera di Meg)“Fulgida Meg! amor t’offro...”

MEG“...amor bramo.”

ALICEQua Meg, là Alice.

MEGÈ tal e quale. “Non domandar perché ma dimmi...”

ALICE“...t’amo.” Pur non gli offersi cagion.

MEGOf course not!

QUICKLYI should say not!

ALICEWell, if I were willing to heed the devil’s coaxing, I could be promoted to the rank of Milady!

MEGI too.

ALICEYou’re making fun of me.

MEG(takes a letter from her pocket)Enough chatter – we’re wasting time. I’ve a letterhere.

ALICE (searching in her pocket)So have I.

NANNETTA, QUICKLYOh!

ALICERead this. (The two women exchange their letters.)

MEGRead this. (reading Alice’s letter aloud)“Shining Alice! I offer love...” What’s this? What doesit say? Except for the name, the words are identical.

ALICE (reads the other letter)“Shining Meg! I offer love.”

MEG“...love I desire.”

ALICEHere Meg, there Alice.

MEGEverything else is the same. “Ask not why, but tellme only...”

ALICE“...I love you.” And yet I gave him no reason.

31

MEGIl nostro caso è pur strano. (Tutte sono in un gruppo addosso alle lettere, confrontandole e maneggiandole con curiosità.)

QUICKLYGuardiam con flemma.

QUICKLYLa stessa mano.

NANNETTALo stesso stemma.

ALICE, MEG(leggendo insieme ciascuno sulla propria lettera)“Sei la gaia comare, il compar gaio son io, e fra noidue facciamo il paio.”

ALICEGià.

NANNETTALui, lei, te.

QUICKLYUn paio in tre.

ALICE“Facciamo il paio in un amor ridente di donna bellae d’uom...”

TUTTE“...appariscente...”

ALICE“...e il viso tuo su me risplenderà come una stella,sull’immensità...”

TUTTE (ridendo)Ah! Ah! Ah! Ah! Ah! Ah! Ah! Ah!

ALICE“Rispondi al tuo scudiere, John Falstaff Cavaliere.”

MEGThis is a strange matter. (The women all crowdaround, curious to compare the letters.)

QUICKLYLet’s examine them with calm.

QUICKLYThe same handwriting.

NANNETTAThe same crest.

ALICE, MEG(in concert, each reading her own)“You are the merry wife, the merry man am I;between us, what a splendid pair we make.”

ALICEIndeed!

NANNETTAHe, she, you.

QUICKLYA triple pair.

ALICE“Let us join in a blithesome love, a beautifulwoman, a man...”

ALL“...handsome man...”

ALICE“...Your face will shine upon me like a star over thebottomless deep...”

ALL (laughing)Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha!

ALICE“Reply to your obedient servant, John Falstaff, Knight.”

32This section is just the English translation.

QUICKLYMonster!

MEG, NANNETTA, ALICEMonster!

ALICEWe must play a trick on him.

NANNETTAAnd cause a scandal.

ALICEAnd make a fool of him.

NANNETTAOh! Oh! What fun!

QUICKLYWhat sport!

MEGWhat sweet revenge!

ALICEThat winebag! That winevat! That king of paunches,still prattling like a handsome youth. His greasyhide is dripping with oil, yet he still carries on with verses and jingles! Let him go on with thiseasy chatter; he’ll end like the pipers who camedown from the hills. You’ll see – if I play with thisfine fat fellow I’ll make him spin faster than he’dturn in a reel.

MEGThe man is a cannon – if he explodes, we’re donefor. If he were to hug her, he’d crush even Juno.You’ll see – if you but wink at him, he’ll jump atthe bait; he’ll go mad in his eagerness to run intothe trap. Ah, what power in the fragile smile of awoman! What wisdom in the deft swirl of a skirt!When he’s once caught in the pitch we’ll hear himsqueal. We’ll see this hot passion of his go up in smoke.

NANNETTAIf you’re plotting a prank, I, too, want a part. Wemust bring it off smartly, with skill, so he can’t seethe trap as he slips. He’s already mistaken a fireflyfor a lantern. I have no doubt but what our plan willsucceed. We must offer the bait to catch him quick.If we use some skill along with our chattering, thebeast will sweat plenty before we’ve done.

QUICKLYThe stormy sea has cast up on the shore, on thebeach of Windsor a voracious whale. But herethere’s no place for him to fatten; he’s already beaten by the tongues of all three – three tongueswhich are merrier than castanets clicking, whichcan gossip far faster than the warbling of birds. Maythe mirth be eternal of all this fine chattering, thebrisk chattering of Windsor’s gay wives. (They walkoff. Dr Caius, Fenton, Bardolph and Pistol enter. Allare speaking to Ford at the same time, softly.)

CAIUS (to Ford)He’s a rascal, a trickster and a thief, a Turk, a vandal, a sneak. The other day he wrecked myhouse – a scandal. If I call him into Court he’ll pay for this nonsense, but the fate he deserves is to end up with the devil. Those two there besideyou are men from his tribe, and neither’s a saintnor a flower of virtue.

BARDOLPH (to Ford)Falstaff, yes, I repeat, I swear, (Heaven enlightensyou through my mouth) – John Falstaff has in minda filthy plot against you. I am a man of arms and I cannot suffer to see the villain muddy you. I’m notone to forget his honor, not even for a kingdom!Mister Ford, a man who is warned is only halfsaved. It’s up to you to devise a trick to defeat thetrick he would play on you.

FENTON (to Ford)If you wish, sir, I am willing to bring him to hissenses one way or another and to give him his justdeserts. Frankly, I like the idea (it would be a merrysport) of breaking through that hyperbolic-apoplecticpaunch. With sharp words or with a sword, if I meet him face to face, either he’ll walk the chalkline or I’ll pack him off to hell.

PISTOL (to Ford)Sir John Falstaff is preparing dangerous business foryou, Mister Ford. Even now, something’s hangingstraight up and down above your head. Mister Ford,I’ve been in the service of the man of ample skin:but I’ve repented and given it up for reasons ofhealth. Now you know what threatens you, andyou know your rascal, too. Watch out, watch out,watch out – here there’s a question of honor.

33

FORDThe buzz of bees, the whine of wasps, the crash of thunder – these are all I hear. My brain reels indrunken terror. What’s building up around me isthe whisper of conspiracy. Four speak, one listens –which shall have my ear? If you talk one at a time,perhaps I’ll understand. (to Pistol) Tell me oncemore.

PISTOL (to Ford) To make it brief: the mighty Falstaff has decided toenter your house, pinch your wife, break open yourcoffer and smash your bed.

CAIUSYe gods!

FORDWhat troubles I have!

BARDOLPH (to Ford)He’s already written her a letter...

PISTOLBut I refused to carry the filthy thing.

BARDOLPHI, too, refused.

PISTOLTake care!

BARDOLPHTake care!

PISTOLFalstaff ogles them all, whether they are ugly orbeautiful, both maidens and wives.

BARDOLPH, then PISTOLAll of them! All of them!

BARDOLPHThe crown which adorned the brow of Acteon issprouting on your head.

FORDWhich is to say?

BARDOLPHHorns.

FORDAn ugly word!

CAIUSThe Knight has voracious appetites.

FORDI shall watch my wife, and I shall watch the gentleman too. (The four women return.) I shallprotect my home from the lusts of others.

FENTON (as he sees Nannetta, to himself)It’s she!

NANNETTA (as she sees Fenton, to herself)It’s he!

FORD (as he sees Alice, to himself)It’s she!

ALICE (as she sees Ford, to herself)It’s he!

CAIUS (to Ford, pointing to Alice)It’s she!

MEG (to Alice, pointing at Ford)It’s he!

ALICE (in a low voice, to the other women)If he knew!

NANNETTAOh!

ALICELet’s avoid him. (The men, except Fenton, leave.)

MEGIs Ford a jealous man?

ALICEVery.

QUICKLYBe quiet!

ALICELet’s be careful! (The women, except Nannetta, leave.)

34This section is Track 3 on the CD of music excerpts. Here is both the original Italian and English translation.

FENTONPst, pst, Nannetta.

NANNETTASsss.

FENTONVien qua.

NANNETTATaci. Che vuoi?

FENTONDue baci.

NANNETTA, poi FENTONIn fretta. (Si baciano rapidamente.)

NANNETTALabbra di foco!

FENTONLabbra di fiore!

NANNETTAChe il vago gioco sanno d’amore.

FENTONChe spargon ciarle, che mostran perle, belle a vederle, dolci a baciarle! (Tenta di abbracciarla.)Labbra leggiadre!

NANNETTAMan malandrine!

FENTONCiglia assassine! Pupille ladre! T’amo!

NANNETTAImprudente. (Fenton fa per baciarla ancora.) No.

FENTONSì...Due baci.

NANNETTA (svincolandosi)Basta.

FENTONMi piaci tanto!

FENTONPst, pst, Nannetta!

NANNETTASh-h-h!

FENTONCome here.

NANNETTABe quiet. What do you want?

FENTONTwo kisses.

NANNETTA, then FENTONQuickly, then. (They kiss hastily.)

NANNETTALips like fire!

FENTONLips like flowers!

NANNETTAWhich know the pretty game of love.

FENTONWhich speak nonsense, revealing pearls, pretty tolook at, sweet to kiss! (He tries to embrace her.)Happy lips!

NANNETTANaughty hands!

FENTONNaughtier eyes! They’ve stolen my heart! I love you!

NANNETTABe careful. (Fenton tries to kiss her again.) No.

FENTONYes...just one more kiss.

NANNETTA (freeing herself)That’s all now.

FENTONI want you so much!

35

NANNETTAVien gente. (S’allontanano; le donne rientrano;Fenton nasconde dietro gli alberi.)

FENTONBocca baciata non perde ventura.

NANNETTA (avvicinandosi alle altre donne)Anzi rinnova come fa la luna, come fa la luna.

ALICEFalstaff m’ha canzonata.

MEGMerita un gran castigo.

ALICESe gli scrivessi un rigo?

NANNETTAVal meglio un’ambasciata.

ALICE poi NANNETTA poi QUICKLYSì.

ALICE (a Quickly)Da quel brigante tu andrai. Lo adeschi all’offa d’unritrovo galante con me.

QUICKLYQuesta è gaglioffa!

NANNETTAChe bella burla!

ALICEPrima, per attirarlo a noi lo lusinghiamo...

NANNETTAE poi?...

ALICE...e poi gliele cantiamo in rima.

QUICKLYNon merita riguardo.

ALICEÈ un bove.

MEGÈ un uomo senza fede.

NANNETTASomeone’s coming. (They separate; the womenreturn; Fenton hides behind a bush.)

FENTONLips which are kissed lose none of their charm.

NANNETTA (as she joins the others)But enter a new phase, like the moon.

ALICEFalstaff’s tried to make a fool of me.

MEGHe deserves punishment.

ALICEIf I were to write him a line?

NANNETTAA visit would be better.

ALICE, then NANNETTA, then QUICKLYYes.

ALICE (to Quickly)You shall go to the rascal’s house. Bait him with thepromise of a love-tryst with me.

QUICKLYThis is rich!

NANNETTAWhat a joke!

ALICEFirst, to bring him round, we’ll flatter him, then...

NANNETTAAnd then?

ALICE...then we’ll give him his just deserts.

QUICKLYHe deserves no mercy.

ALICEHe’s a bull.

MEGHe’s a faithless wretch.

36

ALICEÈ un monte di lardo.

MEGNon merita clemenza.

ALICEÈ un ghiotton che scialacqua tutto il suo aver nelcuoco.

NANNETTALo tufferem nell’acqua.

ALICELo arrostiremo al fuoco.

NANNETTAChe gioia!

ALICEChe allegria!

MEG e QUICKLY, poi ALICE e NANNETTAChe gioia!

MEGProcaccia di far bene la tua parte.

QUICKLYChi viene?

MEGLà c’è qualcun che spia. (Escono rapidamente Alice, Meg e Quickly.Nannetta resta e Fenton le torna accanto.)

FENTONTorno all’assalto.

NANNETTATorno alla gara. Ferisci!

FENTONPara! (Si slancia per baciarla; Nannetta si ripara il viso con una mano che Fenton bacia e vorrebberibaciare; ma Nannetta la solleva più alto che puòeFenton ritenta invano di raggiungerla colle labbra.)

NANNETTALa mira è in alto. L’amor è un agile torneo, suacorte vuol che il più fragile vinca il più forte.

ALICEHe’s a mountain of fat.

MEGHe deserves no mercy.

ALICEHe’s a glutton, who wastes his fortune on his cook.

NANNETTAWe’ll douse him in the river.

ALICEWe’ll roast him in the fire.

NANNETTAOh joy!

ALICEWhat sport!

MEG, QUICKLY, then ALICE, NANNETTAOh joy!

MEGBe sure to play your part well.

QUICKLYWho’s there?

MEGThere’s someone spying on us. (Alice, Meg and Quickly hurry away. Nannetta stays behind and Fenton comes to join her.)

FENTONI return to the assault.

NANNETTAI return to the joust. Strike!

FENTONParry! (He tries to kiss her, but Nannetta covers herface with her hand, which Fenton kisses. As hetries to kiss her hand again, she raises it higher andhigher so that Fenton cannot reach it with his lips.)

NANNETTAThe target is high. Love is a nimble joust, whoseCourt decrees that the weak shall conquer thestrong.

37

FENTONM’armo, ti guardo. T’aspetto al varco.

NANNETTAIl labbro è l’arco.

FENTONE il bacio è il dardo. Bada! la freccia fatal già scocca dalla mia bocca sulla tua treccia. (annodandogli il collo colla treccia, mentre labacia.)

NANNETTAEccoti avvinto.

FENTONChiedo la vita!

NANNETTAIo son ferita...ma tu sei vinto.

FENTONPietà! Pietà! Facciamo la pace e poi...

NANNETTAE poi?

FENTONSe vuoi, ricominciamo.

NANNETTABello è quel gioco che dura poco. Basta.

FENTONAmor mio!

NANNETTAVien gente. Addio!(Fugge.)

FENTONBocca baciata non perde ventura.

NANNETTA (da lontano, rispondendo)Anzi rinnova come fa la luna.

FENTONI am armed, I watch you, I await you at the pass.

NANNETTALips are the bow.

FENTONThe kiss is the arrow. Beware! The fatal dart nowflies from my lips to your hair. (winding her hair about his neck, as he kisses her)

NANNETTANow I have conquered you.

FENTONI beg for my life!

NANNETTAI may be wounded, but you are vanquished.

FENTONI beg for mercy! Let’s make our peace, and then...

NANNETTAAnd then?

FENTONIf you wish, we shall begin all over again.

NANNETTAA pleasant game is quickly done. Enough!

FENTONMy darling!

NANNETTASomeone’s coming. Goodbye!(She runs out.)

FENTONLips that are kissed lose none of their charm.

NANNETTA (answering, in the distance)But enter a new phase, like the moon.

38This section is just the English translation.

(Ford, Caius, Bardolph and Pistol enter; Fentonjoins them.)

BARDOLPH (to Ford)You will see what proud and overbearing eloquencehe uses.

FORDWhere did you say he lives?

PISTOLAt the Garter Inn.

FORDYou shall announce me under a false name. Later,you’ll see how I’ll catch him. But – not a word!

BARDOLPHI’m not a chatterbox. My name is Bardolph.

PISTOLMy name is Pistol.

FORDThen we all agree.

BARDOLPHYour secret will be kept.

PISTOLI’m deaf and dumb.

FORDThen we’re all agreed.

BARDOLPH, PISTOLYes.

FORDYour hand on it. (Alice, Nannetta, Meg and Quickly enter.)

CAIUS (to Ford)Your barbaric diagnosis is perhaps worse than the disease. Although it’s not pleasant to taste, you ought to try the truth. Just as with the acid flavor of juniper and rhubarb, whose bitterness is sweetened by their virtues as a physic.

PISTOL (to Ford)Keep his cup full, never leave it empty, while youquestion your man. Perhaps then you will succeedin unraveling this tangled knot. As the willow bendsto the river, so Sir John to a glass of wine. This wayyou’ll discover his plans and he’ll betray histhoughts.

BARDOLPH (to Ford)Mister Ford, in you is personified a matrimonialmisfortune. If you aren’t wise as well as cautious,Sir John will surely betray you. This fleshly full-moon, empurpled by wine, would find yourinnocence too delicious to resist.

ALICE (to Meg)You shall see – if I play with this fine fat fellow, I’llspin him faster than he’d spin in a reel.

MEG (to Alice)Once he’s caught in the pitch we’ll hear him squeal.We’ll see this hot passion of his go up in smoke.

NANNETTA (to Alice)If we use some skill along with our chattering, thebeast will sweat streams before we are through.

QUICKLYMay the mirth be eternal of all this fine chattering,the brisk chattering of Windsor’s merry wives.

FENTON (to himself)Over here the men are muttering, the air is filled withmystery. Over there the wives are chattering in somedeep conspiracy. But she whose name, o Love, thouspeakest in my heart, must soon be mine! We shallbe like two twin stars, which shine in a single gleam.

FORD (to Pistol)You will see how well I work in my dealings withthis villain. The game is worth the candle if only Ifind out his plans. If I can avoid this shame, ourwork won’t have been in vain. If I draw him intothe trap, the snake will bite the rascal. (Ford, Caius, Fenton, Bardolph and Pistol leave.)

ALICEEnough of talking.

NANNETTA (to Quickly)Run off to your work, now.

39ALICEI’ll hear him miaou like a tomcat for love. (to Quickly) We’re agreed?

QUICKLYYes.

NANNETTAAgreed.

ALICETomorrow.

QUICKLYYes, yes.

ALICEGood day, Meg.

QUICKLYNannetta, good day.

NANNETTAGoodbye.

MEG, NANNETTAGood day.

ALICE (to Meg)You’ll see how that frightful paunch will puff up.

ALICE, MEGPuff up.

ALICE, MEG, QUICKLY, NANNETTAPuff up and burst.

ALICE“But my face shall shine upon him...”

ALL“...like a star over the bottomless deep.”

Ha! Ha!(They take leave of one another laughingly.)

Act II, Part OneThe hall of the Garter Inn (Falstaff, as always, isseated in his great chair, drinking sack. Bardolphand Pistol are upstage, next to the door.)

BARDOLPH, PISTOL(striking their chests in penitence) We are penitentand contrite.

FALSTAFF(scarcely turning towards them) Man returns to hisvice like a cat to cream.

PISTOLAnd we return to you.

BARDOLPHMaster, a woman outside asks to be admitted toyour presence.

FALSTAFFLet her in. (Bardolph goes out and then returnswith Quickly.)

This section is Track 4 on the CD of music excerpts. Here is both the original Italian and English translation.

QUICKLY (inchinandosi profondamente)Reverenza!

FALSTAFFBuon giorno, buona donna.

QUICKLYReverenza! (avvicinandosi con gran rispetto e cautela)Se Vostra Grazia vuole, vorrei, segretamente, dirle quattro parole.

FALSTAFFT’accordo udienza. (a Bardolfo e Pistola, rimasti nelfondo) Escite. (Escono facendo sberleffi.)

QUICKLY (with a deep bow to Falstaff)Your Grace!

FALSTAFFGood day, my good woman.

QUICKLYYour Grace!(drawing near, cautious, respectful)If it please your grace, I should like a word with you, alone.

FALSTAFFI grant you audience. (to Bardolph and Pistol, whoare eavesdropping from the door) Away with you.(They go out, making faces.)

40

QUICKLYReverenza! Madonna Alice Ford...

FALSTAFFAh!...Ebben?

QUICKLYAhimè! Povera donna! Siete un gran seduttore!

FALSTAFFLo so. Continua.

QUICKLYAlice sta in grande agitazione d’amor per voi; vidice ch’ebbe la vostra lettera, che vi ringraziae che suo marito esce sempre dalle due alle tre.

FALSTAFFDalle due alle tre.

QUICKLYVostra Grazia a quell’ora potrà liberamente salirove dimora la bella Alice. Povera donna! Le angoscie sue son crudeli! Ha un marito geloso!

FALSTAFFDalle due alle tre. Le dirai che impaziente aspettoquell’ora. Al mio dover non mancherò.

QUICKLYBen detto. Ma c’è un’altra ambasciata per VostraGrazia.

FALSTAFFParla.

QUICKLYLa bella Meg (un angelo che innamora a guardarla)anch’essa vi saluta molto amorosamente, dice chesuo marito è assai di rado assente. Povera donna!Un giglio di candore e di fé! Voi le stregate tutte.

FALSTAFFStregoneria non c’è, ma un certo qual mio fascinopersonal. Dimmi: l’altra sa di quest’altra?

QUICKLYOibò! La donna nasce scaltra. Non temete.

FALSTAFF (cercando nella sua borsa)Or ti vo’ remunerar...

QUICKLYChi semina grazie, raccoglie amor.

QUICKLYYours Grace! Mistress Alice Ford...

FALSTAFFAh!...Well?

QUICKLYAlas! Poor woman! You are a great seducer!

FALSTAFFI know. Continue.

QUICKLYAlice is quite upset for love of you. She sends wordthat she’s got your letter, she thanks you, and herhusband is always out from two o’clock until three.

FALSTAFFFrom two o’clock until three.

QUICKLYAt that time, your Grace can freely go to lovelyAlice’s house. Poor woman! Her suffering is mostcruel! She has a jealous husband!

FALSTAFFFrom two o’clock until three. Tell her that I awaitthe hour with impatience. I shall not be wanting inmy duty.

QUICKLYWell said. But I have still another message for yourGrace.

FALSTAFFSpeak.

QUICKLYThe lovely Meg (an angel; to see her is to loveher), she too greets you warmly; she says her hus-band’s rarely absent. Poor thing! A lily of truth, offaith! You bewitch them all.

FALSTAFFThere’s no witchery – just a certain personal fasci-nation. Tell me, the other one knows of this other?

QUICKLYImagine! Women are born deceivers. Fear not.

FALSTAFF (searching in his purse)Let me give you something...

QUICKLYHe who sows favors, reaps love.

41

This section is just the English translation.

FALSTAFF (alone)Alice is mine!

Go, old Jack, go thy ways. This old hide of thinestill holds some sweetness for thee. All women arein a whirl to damn their souls for me! Good bodyof Sir John, which I nourish to satiety, I thank thee!

BARDOLPH (entering)Master, there is a certain Mister Brook outside whowishes to meet you. He has with him a demijohn ofCyprian wine for Your Grace’s thirst.

FALSTAFFHis name is Brook?

BARDOLPHYes.

FALSTAFFWelcome indeed that brook which flows with wine!Show him in. (Bardolph goes out.)Go, old Jack, go thy ways. (Ford, disguised, entersescorted by Bardolph, who stops at the doorway tobow as Ford passes. Then Pistol enters, bearing ademijohn, which he places on the table. Pistol andBardolph stay in the background. Ford is carrying a small bag in his hand.)

FORD(bowing deeply, then advancing towards Falstaff)My lord, may Heaven bless you!

FALSTAFF (returning the bow)And Heaven bless you too, sir.

FORDI am indeed most indiscreet; I ask your pardon forcoming like this, without due ceremony, omittingproper perambulations.

FALSTAFFYou are welcome.

FORDIn me you see a man well supplied with life’s comforts; a man who spends freely, throwingmoney about, seeking pleasure in this life. My name is Brook!

FALSTAFFMy dear Mr. Brook! I hope to get to know you better.

FORDMy dear Sir John, I wish to speak to you in confidence.

BARDOLPH (softly, to Pistol)Watch, now!

PISTOLQuiet!

BARDOLPHLook! I bet he goes straight into the trap.

PISTOLFord’s going to snare him.

BARDOLPHQuiet!

PISTOLQuiet!

FALSTAFF (to Bardolph and Pistol)What are you two doing there? (Bardolph and Pistolleave. To Ford:) I am listening.

FORDI am encouraged to speak by a well-known proverb,which says that gold can open all doors, that goldis a talisman, that gold conquers all.

FALSTAFFGold is a stout captain who marches boldly forward.

FALSTAFF(estraendo una moneta e porgendola a Quickly)Prendi, Mercurio-femmina. (congedandola colgesto) Saluta le due dame.

QUICKLYM’inchino. (Esce.)

FALSTAFF(takes out a coin and hands it to Quickly) Take this,Dame Mercury. (dismissing her with a gesture)My greetings to the two ladies.

QUICKLYYour Grace. (She goes out.)

42

FORDWell, then, here is a bag of money; it weighs heavilyupon me. Sir John, if you wish to help me carry it...

FALSTAFF(takes the bag and puts it on the table) With pleasure. I don’t know, however, why you havechosen me, Sir...

FORDI’ll tell you. Here at Windsor, there is a lady, beautiful, comely. Her name is Alice; she’s the wife of a certain Ford.

FALSTAFFI am listening.

FORDI love her: she doesn’t love me. I write to her: shedoesn’t answer; I look at her: she doesn’t see me; I seek her: she hides. On her, I have wasted a fortune, with gift after gift. Trembling, I have triedall I could think of. Alas, in vain! I remained on thestairs, alone, dry-mouthed, singing my madrigal.

FALSTAFFLove, love, which never gives us peace our wholelife...

FORD, FALSTAFF...through,...is like a shadow......which you flee......yet it follows you......and if you follow it......it flees...Love, love!

FORDI’ve paid a fortune to learn this madrigal.

FALSTAFFSuch is the poor lover’s fatal destiny.

FORDLove, love gives no truce...

FALSTAFFShe never encouraged you?

FORDNo.

FALSTAFFBut why do you tell all this to me?

FORDI shall explain. You are a gentleman – gallant,shrewd, resourceful, a soldier, a man of the world.

FALSTAFFOh!

FORDThis isn’t flattery. There’s a bag of gold. Spend it!Spend it! Yes, spend my whole fortune! Be rich andhappy! But in exchange, you must win Alice for me!

FALSTAFFA strange request!

FORDI shall explain: this cruel beauty has always lived inutter chastity. Her importunate virtue has blindedme. This unvanquished woman says: woe if youtouch me! But if you conquer her, then I, too, canhope. One sin begets another, then...what do you say?

FALSTAFFFirst, sir, to speak frankly, I accept the money.Then (my word as a gentleman – your hand!) I’llsatisfy your desire. You shall have Ford’s wife.

FORDThank you!

FALSTAFFI’m already well on the way; (I can be frank withyou). In half an hour, she will be in my arms.

FORDWho?...

FALSTAFFAlice. She just sent a...a lady, to tell me that herfool of a husband is always out from two o’clockuntil three.

FORDFrom two until three. Do you know him?

FALSTAFFMay the devil carry him off to hell with his forbearMenelaus! That lout, that lout! You’ll see! You’llsee! I’ll cuckold him for you, neatly! If he disturbsme I’ll pound his horns until he sees fireworks! ThisMister Ford’s an ox! An ox! I’ll fix him for you.You’ll see, you’ll see! I’ll cuckold him for you, neatly,neatly, neatly! It’s getting late. Wait here. I musttidy up. (He takes the bag of money and goes out.)

43This section is Track 5 on the CD of music excerpts. Here is both the original Italian and English translation.

FORD (solo)È sogno? o realtà?...Due rami enormi crescon sulla mia testa.È un sogno? Mastro Ford! Mastro Ford!Dormi? Svegliati! Su! Ti desta!Tua moglie sgarra e mette in mal’assettol’onor tuo, la tua casa ed il tuo letto!L’ora è fissata, tramato l’inganno;sei gabbato e truffato! E poi dirannoche un marito geloso è un insensato!Già dietro a me nomi d’infame coniofischian passando; mormora lo scherno.O matrimonio: Inferno!Donna: Demonio!Nella lor moglie abbian fede i babbei!Affiderei la mia birra a un tedesco,tutto il mio desco a un olandese lurco,la mia bottiglia d’acquavite a un turco,non mia moglie a sé stessa.O laida sorte!Quella brutta parola in cor mi torna:Le corna!Bue! Capron! le fusa torte!Ah! le corna! le corna!Ma non mi sfuggirai! no!sozzo, reo, dannato epicureo!Prima li accoppio e poi li colgo...Io scoppio!Vendicherò l’affronto!Laudata sempre sianel fondo del mio cor la gelosia.

FORD (alone)Is this a dream? Or reality?Two enormous horns are sprouting on my head.Is this a dream? Master Ford! Master Ford!Are you asleep? Wake up! Come! Wake up!Your wife wantons, bringing shameupon your honor, your house, your bed!The hour is set, the betrayal planned.And you’re made a fool, a gullible fool!And yet they say a jealous husband’s a madman!Already, as I pass, the infamous nameswill sound behind me, the scornful laughter.Oh, marriage: a hell!Oh, woman: a devil!Let fools trust their wives!Better to trust a German with my beer,a greedy Dutchman with my table,a Turk with my aquavitae,but not my wife alone!O loathsome fate!That ugly word keeps coming back to my heart:cuckold!Ox! Goat! Twisted horns!Ah, cuckold! Cuckold!But you shall not escape! No!Filthy villain, damnable rake!I’ll get them together first, then I’ll catch them.I’m bursting!I’ll have revenge!Praised be forever jealousy,deep in my heart.

(Falstaff enters. He is wearing a new jacket and ahat and carries a walking-stick.)

FALSTAFFHere I am. I’m ready. Will you walk with me a way?

FORDI’ll see you on your road. (They start out. At thedoor, each tries to let the other pass.)

FALSTAFFAfter you.

FORDAfter you.

FALSTAFFNo – this is my house. Please pass.

FORDNo – you first.

FALSTAFFIt’s getting late – I must get on.

FORDPlease, really.

FALSTAFFPlease pass.

FORDPlease!

FALSTAFFPlease pass!

This section is just the English translation.

44

FORDPlease!

FALSTAFF, then with FORDWell, then, let’s go together. (He takes Ford by thearm and they go out together.)

Part TwoA room in Ford’s house. Upstage, a great window overlooking the garden.Doors right and left, and two doors at the back in the corners of the room, opening on to stairs. A folding screen stands against the wall, left, beside a huge fireplace. A wardrobe against the right wall. A low table. A chest. Along the walls, an armchairand several benches. On the armchair, a lute. On the table, a vase of flowers.

(Alice and Meg enter, laughing: Nannetta enterswith them but stands sadly aside.)

ALICELet’s present a bill in Parliament – a tax on fat men.

QUICKLY (entering)Ladies!

ALICEWell?

MEGWhat is it?

QUICKLYHe will be beaten!

ALICESplendid.

QUICKLYWe’ll soon have our sport with him!

ALICE, MEGGood!

QUICKLYHe fell head-first into the trap.

ALICETell me about it, hurry.

MEG, then ALICEHurry.

QUICKLYWhen I arrived at the Garter, I asked to be admittedto the Knight’s presence, to have a word in secret.Sir John deigns to grant me audience. He receivesme with a swagger: “Good day, my good woman.”“Your Grace,” and I curtsy, most humbly, beforegoing on to the juicy tidings. He drinks it all in,swallowing every last drop of nonsense. Well, tomake it short, he’s convinced that both of you aremadly in love with his charms. (to Alice) You’llsoon see him at your feet.

ALICEWhen?

QUICKLYToday, here – from two o’clock until three.

MEG, then ALICE, QUICKLYFrom two until three!

ALICEIt’s already two o’clock. (running to the door, she calls:) Ho! Ned! Will! (toQuickly) I have prepared everything. (She calls outagain.) Bring the laundry-basket.

QUICKLYThis will be great!

ALICENannetta – you don’t laugh? What’s wrong? (coming near and caressing her) You’re crying?What is it? Tell mother.

NANNETTA (sobbing)Father...

ALICEYes?

NANNETTA...Father... says I must marry Dr Caius!

ALICEThat pedant?

QUICKLYOh, no!

MEGThat ass!

ALICEThat idiot!

45

NANNETTAThat grandfather!

ALICE, then MEG, QUICKLYNo! No! No! No!

NANNETTAI’d rather be stoned to death...

ALICEWith a volley of cabbages.

QUICKLYWell said!

MEGGood girl!

ALICENever fear.

NANNETTAOh, good! I’ll never marry Dr Caius! (Meanwhilethe servants come in, carrying a basket filled withsoiled laundry.)

My merry wives of Windsor! The hour has come!The hour of resounding laughter, of laughter whichexplodes at the joke, flashing laughter, armed withbarbs and whiplash! Merry wives! Laughing band!Let your faces light up with a smile, then roar withlaughter, the fire of our mirth, of the mirth in theair, to the mirth in our hearts. (to Meg) It’s up tous! You must play your part.

MEG (to Alice)You must risk your all with our monstrous friend.

QUICKLYWhile I keep watch.

ALICE (to Quickly)If you blunder, I’ll whistle.

NANNETTAI shall stay here at the door, to spy.

ALICEWe’ll show the man that the sport of proper women is quite proper too. The worst of women is the one who plays the saint.

This section is Track 6 on the CD of music excerpts. Here is both the original Italian and English translation.Gaie comari di Windsor! È l’ora! L’ora d’alzar larisata sonora! L’alta risata che scoppia, che scherza,che sfolgora, armata di dardi e di sferza! Gaiecomari! festosa brigata! Sul lieto viso spunti il sorriso, splenda del riso l’acuto fulgor! Favillaincendiaria di gioia nell’aria, di gioia nel cor.(a Meg) A noi! Tu la parte farai che ti spetta.

MEG (ad Alice)Tu corri il tuo rischio col grosso compar.

QUICKLYIo sto alla vedetta.

ALICE (a Quickly)Se sbagli ti fischio.

NANNETTAIo resto in disparte sull’uscio a spiar.

ALICEE mostreremo all’uom che l’allegria d’oneste donneogni onestà comporta. Fra le femmine quella è lapiù ria che fa la gattamorta.

ALICE (to the servants)Put it there. Then, when I call you, empty the basket in the gutter.

NANNETTABoom!

ALICEQuiet! (to the servants) You can go now. (The servants leave.)

NANNETTAWhat a bombardment!

ALICELet’s set the stage. A chair here.

NANNETTAMy lute here.

ALICELet’s open the screen. (Nannetta and Meg take thescreen, open it and set it up between the fireplaceand the basket.) Splendid! Like that – no, a littlemore. The play is about to commence!

46

FALSTAFF (entrando)Alfin t’ho colto, raggiante fior, t’ho colto! (PrendeAlice, che ora s’è alzata, pel busto.) Ed or potròmorir felice. Avrò vissuto molto dopo quest’ora di beato amor.

ALICEO soave Sir John!

FALSTAFFMia bella Alice! Non so far lo svenevole, né lusingar, né usar frase fiorita, ma dirò tosto un mio pensier colpevole.

ALICECioè?

FALSTAFF Cioè: Vorrei che Mastro Ford passasse a miglior vita...

ALICEPerché?

FALSTAFF (entering)At last I pluck thee, o radiant flower, now I shallpluck thee! (He takes Alice, who by now has stoodup, by the waist.) Now I can die happy. After thishour of blessed love, I shall have lived indeed.

ALICEO sweet Sir John!

FALSTAFFMy lovely Alice! I’m not a man to swoon nor faint, nor flatter, speak flowery phrases, but I must confess one guilty thought.

ALICEWhich is?

FALSTAFFWhich is this – I wish Master Ford might pass on to a better life.

ALICEAnd why?

This section is Track 7 on the CD of music excerpts. Here is both the original Italian and English translation.

ALICE, MEG, NANNETTAGaie comari di Windsor, ecc.

QUICKLY (guardando dalla finestra)Eccolo! È lui!

ALICEDov’è?

QUICKLYPoco discosto.

NANNETTAPresto.

QUICKLYA salir s’avvia.

ALICE (prima a Nannetta poi a Meg)Tu di qua. Tu di là. Al posto!

NANNETTAAl posto! (Esce correndo.)

MEG, poi QUICKLYAl posto! (Escono correndo. Alice si siede allatavola, prende il liuto e tocca qualche accordo.)

ALICE, MEG, NANNETTAMy merry wives of Windsor, etc.

QUICKLY (from the window)There he is! It’s he!

ALICEWhere is he?

QUICKLYNearby.

NANNETTAHurry.

QUICKLYHe’s about to come up the stairs.

ALICE (first to Nannetta, then to Meg)You, here. You, over there. Take your places!

NANNETTATake your places! (runs out)

MEG, then QUICKLYTake your places! (They run out. Alice has satdown at the table. Then, taking up the lute, sheplays a few chords.)

47

FALSTAFFPerché? Lo chiedi? Saresti la mia Lady e Falstaff iltuo Lord.

ALICEPovera Lady inver!

FALSTAFFDegna d’un re. T’immagino fregiata del mio stemma,mostrar fra gemma e gemma la pompa del tuo sen.Nell’iri ardente e mobile dei rai dell’adamante, colpicciol piè nel nobile cerchio d’un guardinfanterisplenderai più fulgida d’un ampio arcobalen.

ALICEOgni più bel gioiel mi nuoce e spregio il finto idolod’or. Mi basta un vel legato in croce, un fregio alcinto e in testa un fior.

FALSTAFFSirena!

ALICEAdulator!

FALSTAFFSoli noi siamo e non temiamo agguato.

ALICEEbben?

FALSTAFFIo t’amo!

ALICEVoi siete nel peccato!

FALSTAFFSempre l’amor l’occasione azzecca.

ALICESir John!

FALSTAFFChi segue vocazion non pecca. T’amo! e non è miacolpa...

ALICE (interrompendolo)Se tanta avete vulnerabil polpa.

FALSTAFFQuand’ero paggio del Duca di Norfolk ero sottile, sottile, sottile, ero un miraggio vago, leggiero, gentile.Quello era il tempo del mio verde aprile, quello era iltempo del mio lieto maggio. Tant’era smilzo, flessibilee snello che sarei guizzato attraverso un anello.

FALSTAFFWhy? You ask me why! Then you would be myLady, and Falstaff would be your Lord!

ALICEPoor Lady Indeed!

FALSTAFFWorthy of a king. I see you now, decked with mynoble crest – the majesty of your bosom resplendentin my gems, in the flashing fire of a diamond, yourtiny feet encircled by a noblewoman’s crinoline,beautifully shining, brighter than the rainbow.

ALICEEvery jewel dims my beauty – I hate false, goldenidols. I need but a veil, some bauble at my waist, a flower in my hair.

FALSTAFFSiren!

ALICEFlatterer!

FALSTAFFWe are alone, we need fear no surprise.

ALICEWell?

FALSTAFFI love you!

ALICEBut this is a sin!

FALSTAFFLove never lets a chance escape.

ALICESir John!

FALSTAFFWho follows his heart doesn’t sin. I love you – it isnot my fault...

ALICE (interrupting him)If flesh be weak, with all of yours.

FALSTAFFWhen I was page to the Duke of Norfolk, I wasslender, a mirage, light and fair, gentle, gentle. Thatwas my verdant April season, the joyous Maytimeof my life. Then I was so lean, so lithe, so slender,you could have slipped me through a ring.

48This section is just the English translation.

ALICEYou are joking. I fear your deceit. I fear you love...

FALSTAFFWhom?

ALICE...Meg.

FALSTAFFHer? I cannot stand her face.

ALICEDo not be false, John.

FALSTAFFIt seems I’ve waited a thousand years to hold youin my arms. (pursuing her and trying to hug her)I love you.

ALICE (defending herself)Please!

FALSTAFFCome!

QUICKLY (calling from the next room)Madam Alice!

FALSTAFFWho goes there?

QUICKLY (entering, pretending great agitation)Madam Alice!

ALICEWhat is it?

QUICKLYMilady! Here’s Mistress Meg. She wants to see you.She’s out of breath, shouting, angry.

FALSTAFFTo the devil with her!

QUICKLYShe wants to come in. I can’t hold her back...

FALSTAFFWhere can I hide?

ALICEBehind the screen. (Falstaff squeezes in behind the screen. Once he is concealed, Quickly signals to Meg, who is behind the door. Meg comes in,feigning great agitation. Quickly goes out.)

MEGAlice! What a fright! What a tumult! What quarrelling! Don’t lose a moment – run away!

ALICEMercy! What has happened?

MEGYour husband is coming on the run, shouting“Help!” He says...

ALICESpeak louder.

MEGThat he’s going to cudgel some man!

ALICEDon’t laugh.

MEGHe was running, blinded with fury! He was damning all the daughters of Eve!

ALICEMercy on me!

MEGHe says you’ve a lover hidden here, and that he’llfind him no matter what the cost.

QUICKLY (returning in a great fright)Mistress Alice! Master Ford is coming! Save yourself! He’s storming with anger! He thunders, helightens, he beats himself on the head, he’s shout-ing threats, yelling...

ALICE (to Quickly)Really, or is this part of the joke?

QUICKLYIt’s true. Now he’s climbing the garden hedge... acrowd is with him... he’s almost here... now he’scoming into the house.

49

FORD (shouting, from within)Villain!

FALSTAFFThe devil rides on a fiddle-bow!

FORD (entering and shouting to his men)Close the doors! Block the stairs! On to the hunt!Drive out the wild pig! (Caius and Fenton enter onthe run.) Follow the trail, keep to the scent! (toFenton) You search the hallways.

BARDOLPH, PISTOL(running in and shouting) To the hunt!

FORD (to Bardolph and Pistol)Don’t let them escape! Search that room! (Bardolph and Pistol run into the next room, withcudgels ready.)

ALICE (to Ford)Are you mad? What are you doing?

FORDWho is in that basket?

ALICEThe wash.

FORDWhat a washing I get from you, evil wife! (Hehands a bunch of keys to Caius.) You, take thesekeys, go through the chests – be quick! (turningagain to Alice) What a washing you give me! Tothe devil with these rags! Shut the gate in the garden! (He pulls out the soiled linen and scatters it about, searching like a madman among theclothes.) Shirts – skirts – I’ll smoke you out, rascal!Rags! Away, away! Torn caps! I’ll smoke you out.Sheets – nightcaps – He isn’t there!

ALICE, MEG, QUICKLYWhat a hurricane!

FORD (running out left)We’ll look under the bed, in the oven, in the well,in the bath, on the roof, in the cellar.

MEGHe’s raving mad.

QUICKLYLet’s play for time.

ALICEWe must find a way to get him out of here.

MEGIn the basket.

ALICENo, he won’t fit. He’s too big.

FALSTAFF (hurrying to the basket)Let’s see; yes, I fit, I fit.

ALICEI’m going to call the servants. (She goes out.)

MEG (pretending surprise)Sir John! You, here? You?

FALSTAFF (climbing into the basket)I love you! I love only you... Save me! Save me!

QUICKLY (covering him with clothes)Quick!

QUICKLY, then MEGHurry!

FALSTAFF(forcing himself in with a great effort)Ah!...Ah!...I’m in...cover me...

QUICKLY (to Meg)Hurry, fill the basket! (While the two of them arebusy hiding Falstaff, Nannetta and Fenton enter.)

NANNETTA (to Fenton)Come here.

FENTONWhat a racket!

NANNETTAWhat a cackling! Follow me!

FENTONA madhouse!

NANNETTAHere all are mad, each for a different reason. Theyare mad with rage.

FENTONAnd we with love.

50

NANNETTAFollow me. Slowly. (She leads him behind thescreen.)

FENTONNo one has seen me.

NANNETTAWe’ve reached port.

FENTONWe are alone!

NANNETTABe still – and on your guard.

FENTON (embracing her)Come to my arms!

NANNETTAMay this screen...

NANNETTA, FENTON...be forever blessed!

CAIUS (outside, shouting)Stop thief!

FORD (shouting)Stop the lecher!

CAIUS (entering)Tear him apart!

FORDStop thief! (Bardolph and Pistol run in.)Is he there?

PISTOLNo.

FORD (to Bardolph)Is he there?

BARDOLPHNo, he’s not here.

FORDI’ll turn the house upside down. (Bardolph and Pistol run out.)

CAIUS (having looked into the fireplace)I don’t see anyone.

FORDBut I swear the man is here. I’m sure! Sure! Sure!

CAIUSSir John! I shall laugh on that day when I see youhanged!

FORD(suddenly attacking the wardrobe, trying to openit) Give yourself up, rascal! Give up, or I’ll bom-bard the walls!

CAIUS(trying to open the wardrobe with a key)Give yourself up!

FORDCome out! Coward! Lecher!

BARDOLPH, PISTOL (from the door)No one!

FORDKeep on searching! Give yourself up! Scoundrel!(He succeeds at last in opening the wardrobe.) He’s not here!

CAIUS (opening the chest)Come out! He’s not here, either. (He goes about theroom, searching everywhere.) Glutton! Sot!Beware!

FORD(opens even the tiny drawer of the table)Coward! Liar!

CAIUS, FORDCoward! Liar! Rascal! (Nannetta and Fenton kiss each other audibly.)

FORDThere he is!

CAIUSThere he is!

FORD (slowly, silently, approaching the screen)If I get my hands on you!

CAIUSIf I catch you!

FORDIf I get you!

51CAIUSIf I catch you!

FORDI’ll crush you!

CAIUSI’ll hook you like a dog!

FORDI’ll smash your snout.

CAIUSWoe to you!

FORDPray to your saint!

QUICKLY (to Meg)Let’s pretend to be working on the wash – if onlyhe doesn’t betray us with an unforeseen move.Until now, he’s seen nothing; he can surprise us,perhaps, but confound us, never.

CAIUSBeware if I fight with you! If only I catch you!

FORDIf I get my hands on you!

MEG (to Quickly)We’ll make him a barrier in all of this rioting. Ingames, even danger is an added dash of pepper.Risk is a pleasure which adds to our zest, andawakens within us both our spirits and our hearts.

CAIUSIf I catch you!

FORDIf I get you!

BARDOLPH (entering)He’s nowhere to be found.

PISTOL (as he enters with neighbors)We haven’t caught him.

FORD (to Bardolph and Pistol and the neighbors)Psst! All of you – over here. (pointing to thescreen) I’ve found my man. There, there’s Falstaffwith my wife.

BARDOLPHDirty, cursed dog!

FORD, then CAIUS, PISTOLSilence!

FALSTAFF (putting his head out of the basket)I am drowning!

QUICKLY (thrusting him back in)Stay down!

FALSTAFFI’m drowning!

MEGAnd now he complains!

QUICKLY(bends down as she speaks to Falstaff) If someonesees you, you’re as good as dead.

FORDYou can shout later. There, I heard the smack of akiss!

BARDOLPHWe must catch the mouse while he’s nibbling atthe cheese.

FORDLet’s think it through.

FENTON (to Nannetta from behind the screen)Pretty girl! Laughing girl! Oh, how you come inanswer to my prayer, so like a woman! The firsttime I saw you, I fell in love; and now you smilebecause you know it is true.

NANNETTA (to Fenton)While these old folks are busy at their joust, we,safe in our nook, are busy at ours, too. Love has no ears for thunder and storm, it flies up to heavento find its blessed joys.

FORDI shall not strike a blow without a proper battle-plan.

BARDOLPH, PISTOL, SERVANTSBravo!

52CAIUSA man like him can cut us down with a breath.

FORDBut first you must understand my master tactic.(to Pistol and two others who are with him) Youwill be my right wing. (to Bardolph and Caius)And we shall be the left wing. While they, withcourageous foot, will kick down the rampart.

FENTONA beautiful dream of a wedding is dawning.

NANNETTAThe tiny sprite of love hovers over us.

BARDOLPH, PISTOL, SERVANTSBravo!

CAIUSBravo, General! We’re waiting for your signal.

FALSTAFF (from beneath the wash)I am cooked!

MEGStay down!

FALSTAFFIt’s hot!

QUICKLYStay down!

FALSTAFFI’m melting!

MEGOur rascal wants a fan!

FALSTAFF(with nose protruding, he beseeches them) A littlebreath of air – I ask no more.

QUICKLYI’ll muzzle you if you aren’t silent.

MEG, QUICKLY(pushing him back into the clothes) Down! Down!

NANNETTAAll is madness, laughter, sighs. The face smiles, butthe heart heaves a sigh. Sweet music of love.

FENTONBetween your lashes I see two beacons, wondrously shining, serene and bright.

FORD(to Caius, as he puts his ear to the screen) Listen,put your ear here! What pathetic cries! Over thislovebirds’ nest, the thunder will crash!

BARDOLPH (to Pistol)It is the voice of the woman who answers to herlover.

CAIUS (to Ford, as he puts his ear to the screen)I hear, I understand, I see clearly now how deceitful women are.

PISTOL (to Bardolph)But soon this game will end with a moral. He singsnow, but in a moment he’ll sing another song.

NEIGHBORSIf he once falls, he’ll not escape, and none can save him. Go to join your devil, but don’t try toescape us!

MEG (to Quickly)Let us speak softly, as we watch over the Knight,who is muttering and cooking here in our basket.

QUICKLY (to Meg)He has so dirtied himself with every kind of sinthat to send him out with the wash is a kindnesswe show him.

FALSTAFF (spluttering)Ouff! Filthy basket!

ALICE(re-entering and standing near the basket) Be still!

FALSTAFFI protest!

MEG, QUICKLYWhat a skittish animal!

FALSTAFFCarry me away!

MEGHe’s raving mad!

53FALSTAFFHelp!

FENTONTell me you love me!

NANNETTAYes, I love you!

FENTONI love you!

FORDSilence! Here goes! The moment has come. Silence!Pay attention to me.

CAIUSGive us the signal.

FORDOne...two...three! (They overturn the screen.Nannetta and Fenton are discovered and embarrassed.)

CAIUSIt’s not Falstaff!

ALL THE MENHorror!

ALICE, MEG, QUICKLYIt’s the end of the world!

NANNETTA, FENTONOh!

FORD (raging at Nannetta)You have disobeyed me again! (to Fenton)You, tend to your business! I have told you a thousand times: she is not for you. (Nannetta, frightened, runs out; Fenton leaves.)

BARDOLPH, PISTOLThere he is! Stop him!

FORDWhere?

BARDOLPH, PISTOLThere! On the stairs!

FORDTear him to bits!

CAIUS, PISTOL, BARDOLPH, SERVANTSTo the hunt!

QUICKLYWhat a devilish hunt! (All the men run up the stairs.)

ALICENed! Will! Tom! Isaac! Come! Hurry! Hurry!(Nannetta comes in with four servants and a page.)Empty this basket out through the window, into theditch. There – near the reeds, where those washer-women are.

MEG, QUICKLY, NANNETTAYes! Yes! Yes! Yes! (The servants find the basketvery heavy.)

NANNETTA (to the servants)There’s a big piece in there.

ALICE (to the page, who goes out)You – call my husband. (to Meg) We shall tell himthis mad story. Just to see the Knight in the sludgeought to cure him of his jealousy.

QUICKLY (to the servants)Heave ho!

ALICE, MEG (to the servants)Courage!

NANNETTAI heard the bottom go “crack”!

MEG, QUICKLY, NANNETTAUp! (The servants manage to carry the basket tothe window.)

ALICETriumph!

MEG, QUICKLY, NANNETTATriumph! Ha! Ha! (The basket, Falstaff and thewash go hurtling down from the window.)

ALICEWhat a thud!

NANNETTA, MEGWhat a thud!

ALLPatatrac!(A great shout, followed by the shrill laughter ofthe women outside. Then Alice, Nannetta, Meg andQuickly burst into loud laughter. Ford returns withthe other men. When Alice sees Ford, she takeshim by the arm and leads him quickly to the win-

54

This section is just the English translation.

(Quickly enters, bowing and interrupting him.)

QUICKLYYour Grace! The fair Alice...

FALSTAFFTo the devil with you and your fair Alice! I’ve had abasinful of the two of you! I’ve my belly full of thetwo of you!

QUICKLYYou misunderstand...

FALSTAFFThe devil! I still feel the horns of that jealous, cuckoldgoat! My bones still ache from lying cramped in thatsewing-basket, doubled like a good Spanish blade.What a swelter! What a stink! A man of my temper,melting away all the time, distempered drop bydrop. Then, when I’m cooked, red-hot, incandescent,quenched in the river! Rascals!

This section is Track 8 on the CD of music excerpts. Here is both the original Italian and English translation.

Atto Terzo, Prima parteUna piazzaleA destra, l’esterno dell’osteria della Giarrettiera coll’insegna e il motto: “Honi soit qui mal y pense”.È l’ora del tramonto. (Falstaff è seduto sulla pancadi fianco al portone.)

FALSTAFF (solo)Ehi! Taverniere! Mondo ladro. Mondo rubaldo. Reomondo! (Entra l’oste.) Tavernier: un bicchier di vincaldo. (L’oste parte per eseguire l’ordine.) Io, dunque,avrò vissuto tanti anni, audace e destro Cavaliere,per essere portato in un canestro e gittato al canaleco’ pannilini biechi, come si fa coi gatti e i catelliniciechi. Che se non galleggiava per me quest’epatronfia, certo affogavo. Brutta morte. L’acqua migonfia. Mondo reo. Non c’è più virtù. Tutto declina.Va, vecchio John, va, va per la tua via; camminafinché tu muoia. Allor scomparirà la vera virilità dal mondo. Che giornataccia nera! M’aiuti il ciel!Impinguo troppo. Ho dei peli grigi. (Ritorna l’osteportando su d’un vassoio un gran bicchiere di vincaldo. Lo posa e poi parte.) Versiamo un po’ di vino nell’acqua del Tamigi. (Beve sorseggiando edassaporando. Si sbottona il panciotto, si sdraia,ribeve a sorsate, rianimandosi poco a poco.)

Buono. Ber del vin dolce e sbottonarsi al sole, dolcecosa! Il buon vino sperde le tetre fole dello sconforto,accende l’occhio e il pensier, dal labbro sale al cervele quivi risveglia il picciol fabbro dei trilli; un negrogrillo che vibra entro l’uom brillo. Trilla ogni fibrain cor, l’allegro etere al trillo guizza e il giocondoglobo squilibra una demenza trillante! E il trilloinvade il mondo!!!

Act III, Part OneA squareTo the right, façade of the Garter Inn, bearing themotto: “Honi soit qui mal y pense”. It is sunset.(Falstaff is sitting on a bench beside the door.)

FALSTAFF (alone)Ho! Innkeeper! Thieving world! Rascally world!Evil world! (The innkeeper comes in.) Host – a glass of mulled wine. (The innkeeper leaves.)I, then, having lived so long as a brave and skillfulKnight, end up carried in a clothes-basket, tossed in the river with the stinking wash, like a kitten ora still blind pup. Without this buoyant paunch, I’dsurely have drowned. A nasty death. Water swellsme! Evil world! There’s no honor left, all goes topot. Go, old Jack, go thy ways; travel until thou’rtdead. Then true manliness will be gone from theworld. What a black day! Heaven help me! I’m getting fat. I’m going grey. (The innkeeper returns,bringing a huge glass of steaming wine. He sets theglass on the bench and goes out.) Let’s mix a bit ofwine with the water of the Thames. (He drinks thewine, sipping and savoring it. He unbuttons hiswaistcoat, lies back and continues sipping the wine.His spirits brighten.)

Good. To loosen one’s vest in the sun and drinksweet wine. A sweet thing! Good wine chases awaythe gloomy thoughts of sorrow, lights up the eyeand one’s thoughts; from the lips it rises to thebrain, wakening the fairy smith of trills, a blackcricket who sings in the reeling brain, waking totrills every fiber of the heart. The joyous air quiversto the trill, a thrilling madness intoxicates the happyglobe, the trill quivers through the entire world!

(Alice, Meg, Nannetta, Ford and Caius appear, oneby one, from behind the house to spy, unseen byFalstaff, They peep out, disappear, then peep outagain.)

QUICKLYShe is innocent. She is innocent. You are mistaken.

FALSTAFFGet out!

QUICKLYIt’s the fault of those shameful knaves! Aliceweeps, shouts, invokes the saints. Poor woman!She loves you. Read this. (She takes a letter fromher pocket. Falstaff accepts it and begins to read.)

ALICE (explaining to the others, softly)He’s reading.

FORDHe’s reading.

NANNETTAYou’ll see, he’ll fall for it again.

ALICEMen never learn.

MEG (to Alice)Hide.

CAIUSHe’s reading it again.

FORDHe’s reading it again. He’ll bite.

FALSTAFF (reading aloud)“I shall wait for you in the Royal Park at midnight.Come to Herne’s Oak, disguised as the BlackHuntsman.”

QUICKLYLove loves mystery. For your next meeting Alice is using a folk legend. Herne’s Oak is the tryst of goblins. The Black Huntsman hanged himselffrom a branch. They say he comes back.

FALSTAFF(relieved, takes Quickly by the arm and walks with her towards the inn) Let us go indoors. Therewe can talk better. What’s this old wives’ tale?

QUICKLYWhen the clock strikes twelve...

FORDHe’s falling.

QUICKLY...with a sombre clang in the ghostly quiet, wanderingspirits arise in throngs... (entering the inn withFalstaff)

ALICE(coming forward with the others and taking up thestory) When the clock strikes twelve with a sombreclang in the ghostly quiet, wandering spirits arise inthrongs and the Black Huntsman enters the park.Slowly, slowly, slowly, he walks, with the wearystep of the dead. With livid face he advances...

NANNETTAOh! How frightening!

MEGI’m already chilled with fright!

ALICEIt’s nonsense which grandmas tell to the children atbedtime, spinning it out long to get them to sleep.

ALICE, MEG, NANNETTAWomen’s revenge must never fail.

ALICEWith livid face he comes to the tree, where he gaveup his evil ghost. Then the fairies appear. Upon hishead are two long, long, long horns...

FORDSplendid! Those horns will be my delight!

ALICE (to Ford)Take care! You, too, deserve some punishment!

FORDForgive me. I have confessed my fault.

ALICEWoe unto you, if ever again you give in to thisbeastly mania of searching for your wife’s lover in walnut shells. But time’s getting short, we mustbe quick.

55

56MEGLet’s hurry.

FENTONLet’s plan the masquerade.

ALICENannetta!

NANNETTAHere I am!

ALICE (to Nannetta)You’ll be the Fairy Queen, all in white, with a purewhite veil and a garland of roses.

NANNETTAI shall sing sweet songs.

ALICE (to Meg)You’ll be a green wood-nymph, and Quickly willbe...a witch. (Evening is coming on, the scene darkens.)

NANNETTAOh, wonderful!

ALICEI shall bring some children dressed like imps, likesprites, like devils, like bats, like demons. We’ll fallupon old Falstaff, in his cape and horns...

MEG, NANNETTA, FENTONAll of us! All of us!

ALICE...until he has owned up to being a lecherous fool.Then we’ll unmask and just before dawn we’ll golaughing home.

MEGNight is falling, let’s go home.

ALICEWe’ll meet, then, at Herne’s Oak.

FENTONAgreed.

NANNETTA

Oh, how wonderful! How delightful and spooky!

ALICE, NANNETTA, FENTONGoodbye.

MEGGoodbye.

ALICE (to Meg)You bring the lanterns. (Alice, Nannetta and Fentongo out, just as Quickly comes out of the Garter. Shenotices Ford and Caius, who are talking together;she stops to listen.)

FORDHave no fear: you will marry my daughter. Youremember how she’ll be dressed?

CAIUSIn a white dress and veil, with a garland of roses.

ALICE (offstage)Don’t forget the masks!

MEG (offstage)Certainly not. Don’t forget the crickets!

FORDI have already spread my net. At the end, both ofyou will come to me – she in her veil, you cowledlike a monk. And I shall bless you as man and wife.

CAIUSWe’re agreed. (They leave.)

QUICKLYYou wait! (She goes out rapidly.) Nannetta! OhNannetta! Nannetta! Oh!

NANNETTA (offstage)What is it? What is it?

QUICKLYPrepare the Fairy’s song.

NANNETTAIt’s ready.

ALICE (offstage)Remember – don’t be late.

QUICKLY (far off)The first one there waits for the others! (Night has fallen.)

ALICE (to Fenton who is embracing Nannetta)No, sir! Put on this cape. (making him put on theblack cape)

FENTON (complying)What is this for?

NANNETTADon’t worry.

ALICE (handing the mask to Fenton)Tie this on.

NANNETTAA monk escaped from La Trappe.

ALICEThe betrayal which Ford has planned must beturned against him, in our favor.

FENTONWhat do you mean?

ALICEObey in silence. Opportunity knocks but once. (toQuickly) Whom will you dress up as the bride?

QUICKLYA lively, long-nosed rascal whom Dr. Caius abhors.

MEGI have concealed the imps along the ditch. We areready.

ALICESilence! Here comes the big one.

NANNETTA, ALICE, MEG, QUICKLYAway! Away! Away! Away!

57This section is Track 9 on the CD of music excerpts. Here is both the original Italian and English translation.

Seconda ParteIl parco di WindsorNel centro il gran Quercia di Herne. Nel fondol’argine d’un fosso. Fronde foltissime. È notte. Siodono gli appelli lontani dei guardiaboschi. Il parcoa poco a poco si rischiara coi raggi della luna.

FENTON (entrando solo)Dal labbro il canto estasiato vola pei silenzi notturni,e va lontano e alfin ritrova un altro labbro umanoche gli risponde colla sua parola. Allor la nota chenon è più sola vibra di gioia in un accordo arcano,e innamorando l’aer antelucano con altra voce alsuo fonte rivola. Quivi ripiglia suon, ma la sua curatende sempre ad unir chi lo disuna. Così baciai ladisiata bocca! Bocca baciata non perde ventura...

NANNETTA (da lontano)Anzi rinnova come fa la luna.

FENTONMa il canto muor nel bacio che lo tocca. (Nannetta appare, vestita da Regina delle Fate. Conlei è Alice, gnon mascherata, portando sul bracciouna cappa nera e in mano una maschera, e Quicklyin gran cuffia e manto grigio da befana, un bastonee un brutto ceffo di maschera in mano. Poi Megvestita con dei veli verdi e mascherata.)

Part TwoWindsor ParkAt mid-stage, Herne’s Oak. Upstage, the banks of aditch. Thick foliage. Night. From far off, the calls ofthe forest-wardens. Gradually the scene brightens inthe moonlight.

FENTON (entering alone)From the lover’s lips, the lovesong flies far off inthe silence of the night, until it finds an answeringvoice, singing the same sweet song. Then the note,no longer alone, vibrates joyously in a secret harmonyand, enamoring the dawn fresh air, with the othervoice it comes home again. The double song goesforth again, with no care but to join the two whohave divided it. Thus did I kiss the beloved lips!Lips which are kissed lose none of their charm.

NANNETTA (offstage)But are only more eager for kissing.

FENTONBut the song dies at last in the lovers’ kiss.(Nannetta enters, dressed as the Fairy Queen. Withher are Alice unmasked, with a cape over her armand a mask in her hand; Quickly, in a grey witch’scape and a huge bonnet, carrying a frightful maskin her hand; and finally, Meg, dressed in green veilsand wearing a mask.)

This section is just the English translation.

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NANNETTA (di dentro)Ninfe! Elfi! Silfi! Doridi! Sirene! L’astro degli incan-tesimi in cielo è sorto. (Comparisce nel fondo tra lefronde.) Sorgete! Ombre serene!

LE FATENinfe! Silfi! Sirene!

FALSTAFF(gettandosi colla faccia contro terra lungo disteso)Sono le fate. Chi le guarda è morto. (Entra Nannetta, nel ruolo di regina delle fate, conAlice ed alcune ragazzette vestite da fate bianche eda fate azzurre. Falstaff rimane sempre disteso con-tro terra, immobile.)

NANNETTA (offstage)Nymphs! Elves! Sylphs! Dryads! Sirens! Theenchanted star is burning in the sky! (She appearsamong the foliage.) Arise, serene shades!

THE FAIRIESNymphs! Sylphs! Sirens!

FALSTAFF(throwing himself at full length, face down, upon theground) They are the Fairies! Whoever sees themdies! (Nannetta enters, as the Fairy Queen, with Aliceand several little girls disguised as white and bluefairies. Falstaff remains motionless on the ground.)

This section is Track 10 on the CD of music excerpts. Here is both the original Italian and English translation.

(All run off. At the first stroke of midnight, Falstaffenters, dressed in a great black cape. On his headare two stag’s horns. A clock strikes the hour in thedistance.)

FALSTAFFOne, two, three, four, five, six, seven strokes –eight, nine, ten, eleven, twelve. Midnight! Here isthe oak. Gods, protect me. Jove! Thou, for love ofEuropa, didst become a bull; thou didst wear horns.The gods teach us humility. Love changes man intoa beast. (listening) I hear a gentle step. (Aliceenters.) Alice! Love calls to you! (coming near her)Come! I am on fire with love!

ALICESir John!

FALSTAFFYou are my lady!

ALICESir John!

FALSTAFFYou are my doe!

ALICEO burning love!

FALSTAFFCome! I am trembling with love!

ALICESir John!

FALSTAFFI am your slave! I am your impassioned stag. Lettruffles, horseradish and fennel rain upon me! Theyshall be my pasturage! Let love overflow! We arealone...

ALICENo. Here in the woods, Meg is following me.

FALSTAFFThe adventure is doubled! Let her come! Tear melimb from limb, like venison at table! Tear me toshreds! Cupid, at last, answers my prayer! I loveyou! I love you!

MEG (offstage)Help!

ALICE (feigning terror)A cry! Alas!

MEGThe goblins are coming!

ALICEAlas! We must escape!

FALSTAFF (frightened)Where?

ALICE (running off)Heaven forgive my sin!

FALSTAFFThe devil will not let me be damned! (flatteninghimself against the oak)

LA REGINA DELLE FATE (Nannetta)Sul fil d’un soffio etesio scorrete agili larve, fra i rami un baglio cesio d’alba lunare apparve.Danzate! e il passo blando misuri un blando suon,le magiche accoppiando carole alla canzon.

LE FATELa selva dorme e sperde incenso ed ombra; e par nell’aer denso un verde asilo in fondo al mar.

LA REGINA DELLE FATEErriam sotto la luna scegliendo fior da fiore, ognicorolla in core porta la sua fortuna. Coi gigli e leviole scriviam de’ nomi arcani, dalle fatate manigermoglino parole, parole alluminate di puro argentoe d’or, carmi e malie. Le fate hanno per cifre i fior.

LE FATEMoviamo ad una ad una sotto il lunare albor, versola quercia bruna del Nero Cacciator.

THE FAIRY QUEEN (Nannetta)Borne on the freshening breeze, fly, fleet spirits,while through the wood shines the bluish gleam of the rising moon. Dance! Let your fairy steps bemeasured by a fairy tune, which joins your magicdancing to a magic song.

THE FAIRIESThe wood is asleep and breathes out perfume andshadow; it shines in the black night air like a greencavern deep in the sea.

THE FAIRY QUEENIn the moonlight we wander from flower to flower;each blossom holds a secret treasure within itsheart. With lilies and violets we write secret names;from our enchanted hands blossom magic words –words which gleam with silver and gold, song andmagic charms, for the fairy folk write with flowers.

THE FAIRIESOne by one we move in the moonlight, towards thedark shadow of the Black Huntsman’s oak.

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This section is Track 11 on the CD of music excerpts. Here is both the original Italian and English translation.

ALICEInoltriam.

NANNETTAEgli è là.

ALICESteso al suol.

NANNETTALo confonde il terror. (Tutte si inoltrano con precauzione.)

LE FATESi nasconde.

ALICENon ridiam!

LE FATENon ridiam!

NANNETTATutte qui, dietro a me. Cominciam.

LE FATETocca a te. (Le piccole fate si dispongono in cerchiointorno alla loro regina.)

ALICEForward, now.

NANNETTAI see him there.

ALICELying on the ground.

NANNETTAFrightened to death.(All advance cautiously.)

THE FAIRIESHe’s trying to hide.

ALICEYou mustn’t laugh.

THE FAIRIESWe’re not laughing!

NANNETTAHere, behind me – all of you. Let’s begin.

THE FAIRIESYou go first. (The little fairies take their places in acircle about the Fairy Queen.)

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This section is just the English translation.

(As they sing, all the fairies and their Queen walkslowly towards the oak. There emerge, one by one:Alice, masked now; Meg, masked and dressed as a wood-nymph; Quickly, as a witch. They are preceded by Bardolph, in a red cape without a mask, but with the hood drawn low over his face; and Pistol, disguised as a satyr. Finally we see Dr Caius, in a grey cape, with no mask; and Ford,not in disguise. Various townsfolk in fantastic costumes bring up the rear, then gather to form a group. Behind them, other townsfolk, masked,carry lanterns of various types.)

BARDOLPH (stumbling over Falstaff)Halt!

PISTOLWho goes there?

FALSTAFFHave pity!

QUICKLYIt’s a man!

ALICE, MEG, NANNETTAIt’s a man!

CHORUSA man!

FORDHorned like an ox!

PISTOLRound as an apple!

BARDOLPHAs big as a ship!

BARDOLPH, PISTOL(prodding Falstaff with their feet) Ho, there, onyour feet!

FALSTAFFBring me a crane! I can’t get up.

FORDHe’s too fat.

QUICKLYHe’s corrupt!

CHORUSHe’s corrupt!

ALICE, MEG, NANNETTAHe’s impure!

CHORUSHe’s impure!

BARDOLPH(gesturing like a sorcerer) Make the sign against thedevil! (Alice takes Nannetta aside, while Caius runsabout as if looking for someone. Fenton andQuickly hide Nannetta with their bodies.)

ALICE (aside to Nannetta)Escape from what threatens you! The Doctor is trying to find you.

NANNETTALet’s find a hiding place. (She escapes with Fenton,covered by Alice and Quickly.)

QUICKLYCome immediately when I call you.

BARDOLPHSpirits! Elves! Goblins! Vampires! Swift gadflies ofhell! Prick him! Nettle him! Torture him with yourbarbed snouts! (The imps nearest Falstaff pinch hisarms and cheeks, belabor his paunch with whip-sticks andsting him with nettles.)

FALSTAFF (to Bardolph)Ah! You smell like a skunk.

IMPS(seizing Falstaff and rolling him over and over)Roll and spin, roll and spin! Roll and spin, roll and spin!

LA REGINA DELLE FATELe fate hanno per cifre i fior.

LE FATE...verso la quercia bruna del Nero Cacciator.

THE FAIRY QUEENThe fairies write with flowers.

THE FAIRIES...towards the black shadow of the BlackHuntsman’s oak.

ALICE, QUICKLY, MEGPinch, pinch, pinch and poke, bite and nibble, prickand nibble until he howls!

FALSTAFFOuch! Ouch! Ouch! Ouch!

IMPS, DEVILSDance with the flamelets’ crackling to the click ofcastanets, as with spattering mud and splashing we paint this winebag as he deserves. We’ll movein upon him with clever maneuvers, and dancewith abandon upon his fat paunch. Mosquitoes and gadflies; charge forth to the battle, with stingsand pin pricks! Prick him and sting him, prick him and sting him, until he bursts with rage!

ALICE, MEG, QUICKLYPinch, pinch, pinch and poke, bite and nibble, untilhe howls.

FALSTAFFOuch! Ouch! Ouch! Ouch!

IMPSButt him, goad him, from his heels to his skull!Choke him, squeeze him until his lust is quenched.Pinch him, pinch him, off with his claws, roll andspin, roll and spin!

DEVILSPrick him and sting him until he bursts with rage!Roll him, roll him! etc.

FALSTAFFOuch! Ouch! Ouch! Ouch!

THE WOMENPrick him, prick him! etc.

CAIUS, FORDRogue!

BARDOLPH, PISTOLLout! Glutton!

ALL THE MENPaunchbelly! Drunkard! Knave! On your knees!(They lift him and force him to kneel.)

FORDSwollen gut!

ALICEJowly fool!

BARDOLPHBed-smasher!

QUICKLYSeam-splitter!

PISTOLKeg-sucker!

MEGChair-crusher!

CAIUSMare-crippler!

FORDTriple-chin!

BARDOLPH, PISTOL, ALICE, MEG, QUICKLYSay you repent!(Bardolph takes Quickly’s stick and beats him.)

FALSTAFFOuch! Ouch! I repent!

ALL THE MENFraudulent rascal!

ALICE, MEG, QUICKLYSay you repent!

FALSTAFFOuch! Ouch! I repent!

THE MENTroublemaker!

ALICE, MEG, QUICKLYSay you repent!

FALSTAFFOuch! Ouch! I repent!

THE MENGoat! Cheater! Braggart!

FALSTAFFPardon!

BARDOLPH(his face close to Falstaff’s) Change your life!

FALSTAFFYou stink of gin.

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62

ALICE, MEG, QUICKLYLord, render him chaste.

THE MENSwollen gut!

FALSTAFFBut save his belly.

IMPSPinch him, pinch him!

ALICE, MEG, QUICKLYLord, render him impotent!

FALSTAFFBut save his belly!

ALICE, MEG, QUICKLYMay he be punished, o Lord! etc.

FALSTAFFBut save his belly, etc.

THE MENBig-belly!Ball of filth! Answer us.

FALSTAFFI am indeed.

THE MENMountain of fat! Answer us.

FALSTAFFI am indeed.

THE MENWineskin of malmsey! Answer us.

FALSTAFFSo be it.

BARDOLPHKing of paunches!

FALSTAFFGo away, you stink.

BARDOLPHKing of cuckolds.

FALSTAFFGo away, you stink.

CAIUS, FORD, BARDOLPH, PISTOLKnavery personified!

FALSTAFFOuch! So be it!

CAIUS, FORD, BARDOLPH, PISTOLGood for nothing!

FALSTAFFOuch! So be it!

CAIUS, FORD, BARDOLPH, PISTOLKnavery personified! Good for nothing!

BARDOLPH And now may the devil take you off! (In his excitement, he lets his hood fall.)

FALSTAFF (rising)Hell’s blazes! Fire and brimstone! I recognizeBardolph! Crimson-snout! Fish-nose! Awl-nose!Resin-candle! Salamander! Will-o-the-wisp!Halberd! Tailor’s knife! Devil’s roasting-spit! Driedherring! Vampire! Lizard! Hangman! Thief! I havespoken. If I have lied, may my belt burst.

ALLBravo!

FALSTAFFJust a minute! I’m tired.

QUICKLY (softly, to Bardolph)Come with me. I’ll put a white veil on you.

(Caius begins his search for Nannetta again. Hegoes out. Quickly and Bardolph disappear amongthe trees.)

FORD (to Falstaff, with an ironic bow)And now, while your sweat is passing, tell me, Sir John: the cuckold – who is it?

ALICE, MEG (unmasking)Who is it?

ALICEAre you struck dumb?

FALSTAFF(after a moment of bewilderment, to Ford) My dearMr. Brook!

ALICE (coming between them)You are mistaken – this is Ford, my husband.

QUICKLYSir Knight...

FALSTAFFYour Grace...

QUICKLYYou thought two women could be so stupid, soblock-headed as to give themselves body and soulto the devil, for a fat and dirty old man...

MEG, QUICKLYWith a bald head...

ALICE, MEG, QUICKLY...with all that weight!

FORDThey speak clearly, don’t they?

FALSTAFFI begin to see that I’ve been an ass.

ALICEAnd a stag.

FORDAnd an ox.

ALLHa! Ha!

FORD, then ALLAnd a rare kind of monster. A stag! An ox! Ha! Ha!

FALSTAFF (has regained his composure)All kinds of common folk jeer at me now, and areproud of it. But without me, their arrogance wouldbe flat and flavorless. It is I who season it for you. Iam not only witty in myself, but the cause that witis in other men.

ALLBravo!

FORDO ye gods! If I weren’t laughing so, I’d crush you!But enough. Now – listen to me, we shall crownour masquerade with the wedding of the FairyQueen. (Dr Caius comes forward with Bardolph,dressed now as the Fairy Queen, with his faceveiled. They are holding hands.) Here comes thehappy couple now. Attention.

ALLAttention!

FORDSee her there, all in white, veiled, a garland of roses in her hair, together with the husband of mychoice. Make a circle about her, nymphs. (Dr Caiusand Bardolph take their places, centre. The fairiesmake a circle around them.)

ALICE(introducing Nannetta, enveloped in a blue veil, and Fenton, in mask and mantle, into the circle)Another pair of lovers has asked to join in thehappy nuptials.

FORDSplendid! A double wedding! Bring the lanterns.(The imps and Alice approach with lanterns.)Heaven joins you in marriage! Unmask, unveil!Arise, be blessed! (Fenton and Caius quicklyunmask. Nannetta and Bardolph remove their veils.)

ALL (except for Ford and Caius)Ha! Ha! Ha! Ha!

CAIUSWhat a fright!

FORDTreachery!

FALSTAFF, PISTOL, IMPSArise, be blessed!

FORDFenton – and my daughter!

CAIUSI’ve married Bardolph!

ALLHa! Ha!

CAIUSWhat a fright!

ALICE, MEG, QUICKLYVictory is ours!

ALL (except Caius and Ford)Hurrah! Hurrah!

FORDOh, wonderment!

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64

FALSTAFFUn coro e terminiam la scena.

FORDPoi con Sir Falstaff tutti andiamo a cena.

TUTTIEvviva!

FALSTAFFTutto nel mondo è burla. L’uom è nato burlone...

TUTTITutto nel mondo è burla.L’uom è nato burlone,nel suo cervello ciurlasempre la sua ragione.Tutti gabbati! Irridel’un l’altro ogni mortal,ma ride ben chi ridela risata final.

Fine dell’opera

FALSTAFFA chorus to finish the play!

FORDAnd then to dinner – all of us – with Sir John Falstaff!

ALLHurrah!

FALSTAFFAll the world’s a prank,and man is born a clown...

ALLAll the world’s a prank,and man is born a clown.Within his addled headhis brains are in a churn.We all are fools! And every manlaughs at the others’ folly.But he laughs best who hasthe last laugh.

End of the opera

This section is Track 12 on the CD of music excerpts. Here is both the original Italian and English translation.

ALICEOftentimes man falls into the trap set by his ownmalice.

FALSTAFFMy dear Mister Ford, now tell me: the fool – who is it?

FORD (indicating Caius)He.

CAIUS (indicating Ford)You.

FORDNo.

CAIUSYes.

BARDOLPH (indicating Ford and Caius)You two.

FENTON (indicating Ford and Caius)They.

CAIUS (joining Ford)We.

FALSTAFFBoth.

ALICE (moving Falstaff over to join the other two)No. All three. (to Ford, indicating Nannetta andFenton) Turn, now; behold their joyous confusion.

NANNETTAForgive us, dear father.

FORDIf a man can’t escape his trouble, he had bestaccept it gracefully. I accept my new family – andmay Heaven bring you joy.

ALL (except Caius)Hurrah!

65

1. Opera Seria

2. Baritone

3. Opera

4. Ballet

5. Orchestra

6. Libretto

7. Duet

8. Aria

9. Soprano

10.Chorus

11.Act

12.Contralto

13.Tenor

14.Opera Buffa

15.Recitative

16.Bass

17.Overture

18. Verismo

A. Dance spectacle set to music.

B. Highest pitched woman’s voice.

C. Dramatic text adapted for opera.

D. Low female voice.

E. Comic opera.

F. A drama or comedy in which music is the essential factor; very little is spoken.

G. Opera with dramatic and intense plots.

H. Music composed for a singing group.

I. A composition written for two performers.

J. A group of musicians who play together on various musical instruments.

K. Highest pitched man’s voice.

L. A musical style used in opera and oratorio, inwhich the text is declaimed in the rhythm ofnatural speech with slight melodic variation.

M. Male voice between bass and tenor.

N. A piece of music originally designed to be played before an opera or musical play.

O. The term describing the realistic or naturalistic school of opera that flourished briefly in the late 19th and early 20th centuries; libretti werechosen to depict a ‘slice of life’.

P. Deepest male voice.

Q. Elaborate solo in an opera or oratorio.

R. Main division of a play or opera.

Connect the

OperaTerms

Singing on the operastage is a lot of hard work.Singers are like athletes inthat they are constantlytraining to perfect theirvoices. They ask their voices and bodies to dothings that most of us without training can’t do;specifically, to sing incredibly intricate and difficultmusic and project their voice over a sixty piece (ormore) orchestra and still be heard.

Singing begins with the human voice. Thevoice is a very versatile instrument. It can producesounds that present a wide range of frequencies thatwe call pitches. Pitches can be high or low. Womencan sing in the highest pitches and men in the lowest ones.

Our voices are also able tochange in volume. Sometimeswe speak softly as when weare telling a secret. Othertimes we yell as if we were ata football game. These aresome of the ways we can lookat the human voice. But we

can go deeper and see it as a gift of human biology.

Voices are powered by the air that is exhaledout of the lungs. The diaphragm, a muscle that sep-arates the chest cavity from the abdomen, is used tocontrol that flow of air. The abdomen is right behindthe stomach muscles and contains the intestines,spleen, and other organs. It’s always important tobreathe from the diaphragm. Inhaling deeply causesthe diaphragm to lower while the ribs and stomachexpand. The shoulders should not rise.

The diaphragm forces the air out when it contracts. When it does this, it causes the vocalchords to vibrate. The vocal chords are actually foldsof fibrous bands that are stretched along the twosides of the larynx. The larynx is the body’s soundinstrument. It is just below the ‘Adam’s apple.’When we hum, talk, or sing, air passes through thelarynx and it vibrates. As the air vibrates it creates asound that is then shaped by the other parts of ourbodies. This includes the mouth, tongue, teeth andlastly the lips.

Babies experiment with singing, laughing,screaming, and babbling. This is done to exercise the vocal chords and learn how to control them. The pitch of the voice (how high or how low wespeak) is created by them. Singers must masterfullycontrol the flow of air through the vocal chords inthe larynx. Each sung note is determined by how thechords are controlled. This is why singers have vocalexercises. It is so that they can quickly adjust to thedemands of the music without thinking about it.

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So you want to sing like an

Lyric Soprano Sari Gruber as

Norina in Donizetti’s Don Pasquale.

OperaSinger

Singers must learn how to shape their mouthsto control the sound that comes out of it. Specificsounds are controlled by the size and shape of themouth. Think of the mouth and entire head as beinglike a megaphone. Singers use all open spaces intheir mouths, sinuses, and skull like a megaphone tohelp project their voices. Singers raise the soft palate,located on the roof of your mouth towards the back,to help create the megaphone effect. An indicatorthat enough space has been created is that youruvula, or the little fleshy piece that hangs down inthe back, is raised and it doesn’t dangle.

In opera, singers sing in many languages. Sothat singers are able to effectively communicate|their lines, they often work with language coaches.Different languages demand various ways of expressing text. Each language has its own uniqueway of being enunciated.

Once a singer knows the science of singing,the singer must be careful to understand the musicand the text of the song. Certain emotions can alsodemand certain ways of enunciating the text. In thisway, the singer combines vocal techniques with the emotional context of the music to enhance thewords. This process creates the passionate music we know as opera.

Sound and Active LearningThe vocal chords vibrate and create sounds

that our mouth then forms so that we can talk orsing. Without our mouth we would only be able toexpress a sound similar to a hum. It is the mouththat is the sound shaper that produces our wordsand songs.

Our wind pipe is a tube though which the airis passed over the larynx. After the air picks up avibrating sound from our vocal chords, the mouthenunciates the sound into words and projects thenew text-added sound into the world. We can under-stand both of these as a human instrument.

We can make a model of our human instru-ment. Our model will not be able to shape thesounds into words, but it will express the varioushumming pitches necessary for words to be created.

The place of the vocal chords will be taken bya rubber band. The place of the mouth will be takenby various size paper or plastic cups.

67Experiment1. Place a hole in the bottom of the cups.2. Cut rubber bands so that they become long stretches of rubber.

3. Pull on the rubber band so that it vibrates. How does pitch change? Record your findings.

4. Tie the rubber band to a small object that is larger thanthe hole in the cup. (Paper clip) This object will act as a plugto the hole. Be sure to make a square knot on the object sothat the pressure in the next step does not cause the knot toslip out and the object to be ejected from the cup.

5. Slide the rubber band through the small hole in the cup and pull it through until the object catches on the inside bottom of the cup.

6. Pull on the rubber band again so that it vibrates a second time. Record your findings.

7. In comparing the two sounds, what did you observe happen after the cup was added to the activity?

8. Place different sized cups into your experiment and record your findings.

9. Cover the cup opening with your hand. Pull on the rubber band. Record your findings.

10. See if you can get your cup to make sounds like a baby.

Did you ever wonder what the difference isbetween a soprano and a mezzo-soprano or whatvoice type can sing the highest note and the lowest?Most opera singers fall into a voice type that reflectsthe singer’s vocal range as well as the dramaticrequirements of singing a particular role. Above allthe voice is an instrument - a human one. Opera singersspend much time learning correct singing techniquesthat allow them to sing without amplification. Thereis no grabbing a microphone and belting out arias inopera. All the sound that an opera singer produces isdone through the sheer power of the human voice.

So how does one become a soprano, mezzo-soprano, tenor, baritone, or bass, the five most common types of voices? Some of it has to do withthe size of the vocal chords and the speed at whichthey vibrate. It also has to do with vocal range,which can be defined as the span from the lowestnote to the highest note that a particular singer canproduce. Vocal range is very important in operasinging. Two other things which are taken into consideration when determining a singer’s voice typeare the consistency of timbre (sound quality or colorof the voice) and the ability to project the voice over afull orchestra. Remember, there are no microphonesin opera, and there are small, medium, large and extralarge voices. Soprano Barbara Hendricks compares thedifferences in vocal types to the differences betweena Mack truck and a Maserati. She says “...one canhaul a load, but the other can take the curves.”

Some terms that are used to describe oper-atic voices are:

Coloratura: typically a voice with a very high rangewith the ability to sing complicated passages withgreat agility.

Dramatic: a heavy, powerful voice with a steely timbre.

Lyric: an average size voice, but capable of singinglong beautiful phrases.

Lyric spinto: a somewhat more powerful voice thanthat of a true lyric.

Helden: a German term referring to a powerful voicecapable of singing very demanding roles.

Falsetto: the upper part of a voice, more often used inreference to male voices.

Let’s define a few of the voice types thataudiences generally hear in opera:

For females, the highest voice typeis the soprano. In operatic drama,the soprano is almost always theheroine because she projects

innocence and youth. Within this category, there areother sub-divisions such as, coloratura soprano, lyricsoprano, and dramatic soprano. Each of these voiceshas particular lighter or darker voice qualities as wellas differences in range. Some of the roles sung bythese voice types include: the Queen of the Night inThe Magic Flute (coloratura), Mimi in La bohème(lyric) and Ariadne in Ariadne auf Naxos (dramatic).

The mezzo-soprano has a lowerrange than the soprano. Manymezzo-sopranos sing the so-called“trouser” roles, portraying young

boys or men, or they may be the villainesses or perhaps motherly types. This category is also sub-divided into coloratura mezzo, who can singcomplicated fast music through a large range. Thecomedic heroines of Gioachino Rossini’s operas,such as Cinderella, The Barber of Seville, and The Italian Girl in Algiers, are well-suited for thisvoice type. The dramatic mezzo is most often foundsinging the operas of Giuseppe Verdi in roles such asAmneris in Aida, or Princess Eboli in Don Carlo. Oneof the most well known roles for a dramatic mezzo isthe fiery gypsy Carmen in the opera of the same name.

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The Highs and Lows of the

Operatic Voice

69

The contralto or alto is the lowestfemale voice and the darkest intimbre. This voice type is usuallyreserved for specialty roles like theearth goddess Erda in Richard

Wagner’s Nordic fantasy-epic The Ring of theNibelungen. Since this is such a rare voice type, dramatic mezzos often sing roles in this range.Marian Anderson, a Philadelphia native, was one ofthe world’s most famous contraltos ever. (See thestory on Miss Anderson on page 8)

For males, the tenor is generallyconsidered to be the highest malevoice in an opera, and is most oftenthe hero or the love interest of the

story. His particular voice type determines whichroles are best for him to sing. There are many different types of tenor voices. Two of the more common ones are lyric tenors, whose voices havehigh, bright tones, and dramatic tenors whose voices have a darker sound with a ringing quality inthe upper range. Two of the more famous roles fortenors include Rodolfo in La bohème (lyric) andRadames in Aida (dramatic).

A countertenor is able to singeven higher than a tenor. Thisvoice actually falls within afemale’s voice range. Through the

use of a man’s falsetto voice, the voice produces asound that is sometimes described as otherworldly.

A baritone is the most commontype of male voice whose range islies midway between the hightenor voice and the low bass voice.

He can play several types of roles. In comedic operas,he is often the leader of the funny business, but he can also be the hero who sacrifices himself for the tenor or soprano, or sometimes, he is the villain. This voice has a dramatic quality capable ofproducing rich, dark tones. The hunchback courtjester in the title role in Rigoletto (dramatic) and thepopular Toréador Escamillo in Carmen are favoriteroles for baritones.

In general, a bass is the lowest anddarkest of the male voices. Theword bass comes from the Italianword basso, which means low.Some singers in this category are

referred to as bass-baritones because they have voices that range between the bass and the baritonevoice. A bass is ideal for several types of roles.A basso serio or basso profondo portrays characterswho convey wisdom or nobility such as Sarastro in The Magic Flute. In contrast, a basso buffo sings comedic roles such as Dr. Bartolo in The Barberof Seville.

So, no matter what the size, quality or range,a singer’s voice has the ability to thrill an audiencewith its sheer beauty and musicality.

Active LearningLet’s imagine that The Lord of the Rings had been made into an opera. What voice types would you cast in the major rolesand why?

Frodo

Sam

Gandalf

Saruman

Aragorn

Gollum

Sauron

Legolas

Gimli

Arwen

Galandriel

Merry Pippin

Eowyn

Bilbo

I started in music at age 4 with piano lessons.In high school I started voice lessons, and then I went to Glassboro State College (now RowanUniversity) and graduated with degrees in VoicePerformance and Music Education. I still take voicelessons to work on my voice, learn new repertoire,and polish up the old repertoire. A few years ago I won a scholarship to study in Salzburg, Austria ata very famous school called the Mozarteum. (Theschool is named after Wolfgang Amadeus Mozart.) I have also spent the past couple of summers studying in Florence, Italy.

I’ve been singing in the opera chorus for thepast 5 seasons. My first opera with OCP was Porgyand Bess. Over the past 5 years I’ve learned a lotabout opera and how may people it takes to put onan opera. Everyone onstage and backstage worktogether as a team to put on a great show. If any oneperson doesn’t follow through with their job, some-thing could go wrong or someone could get hurt.

To sing in the opera chorus you have to be a good musician, able to sight-read the notes andpronounce the words correctly. Most of the time we sing in a foreign language—Italian, French orGerman. I learned Italian by studying with a privatetutor and also by studying in Italy. When I wasstudying in Austria, I learned a bit of German. I studied French while in college and then practicedon my own with a language tape. We usually get acopy of the translation to the opera so we’ll knowexactly what we (and the soloists) are saying. It’simportant! In addition to our scheduled musicrehearsals, I also practice at home. To help me memorize the words, sometimes I’ll write out thetext on index cards. That comes in very handy duringstaging rehearsals when I need a little “cheat sheet!”

After the music is learned, staging rehearsalsare held in the rehearsal hall. This is where all of thesingers (chorus and soloists) and the supers (extras)meet with the stage director. We’re told when to goonstage, what to do while onstage, and when to exit.We use tape on the floor to mark where the scenerywould be. It takes a lot of time to get the staging correct. Everyone has a specific “character role” thatthey play. I have played a fruit vendor, a gypsy, atownsperson, a mother, and many other characters.After a few staging rehearsals, we go into the theatreto practice on the set with scenery and props. Then,a few days before opening night, we have a dress

rehearsal—this is when we do the whole show, complete with costumes, makeup, wigs, orchestra,sets, lights, and props—the whole thing. Once I getmy costume, wig and makeup on, that helps a lotwith portraying my character.

Every person singing on the stage is important—the soloists and the choristers. Although the audience looks forward to hearing the soloists, thechorus helps to support the soloists and also addsdepth to the staging. Many members of the chorusare solo performers in other theatres and/or singconcerts. Our musical training allows us to adjust tothe performance space, the music we’re singing andthe people that we’re singing with.

When we’re backstage, it’s dark, and some-times it can get very crowded. We also have to bequiet backstage or the sound will carry out into theaudience! That’s hard to do sometimes. We’re oftenhanging around waiting for our next entrance, get-ting our props, or watching the soloists. For me,w h e n e v e r I get a chance to watch the soloists, I do, because itis always an inspiring and learning experience.

A memorable (and funny) thing happenedduring my first season at OCP. We were doingDonizetti’s opera The Elixir of Love and the characterBelcore had a “wardrobe malfunction.” He wasdressed as an army sergeant, and the pants for hiscostume were too tight. As he was singing his firstbig aria, he knelt down and—RIP!! His pants splitright up the middle! Luckily, that happened during a dress rehearsal and not a performance. We all hada good laugh.

Singing in the chorus is work, but it’s also greatfun. I get a chance to do what I love the most—SING!

Julie-Ann prepares to go onstage in Puccini’s La bohème.

70

Life in the Opera Chorus:

Julie-Ann Whitely

71

The Subtle Art of

Costume DesignAs costume director, Richard St. Clair’s job

is to oversee each and every costume in the operaswe perform. Each opera has its own special needs.Sometimes we rent an entire production. This requiresRichard to send out the physical measurements foreach of our principal performers, the chorus membersand any others who may be in the production.

Richard also designs costumes for our productions, and his crew builds them based on hissketches and instructions. This process usually takesat least six months. It begins when he meets with thedirector of the opera to discuss her or his ideas.Richard’s job is to match his creative insights withthe goals of the director. To do this he seeks out visualsthat offer interesting ideas. Many hours are spent atlibraries and at home studying books of costumeillustrations. He also studies art books and magazines.Once he has an idea of a design, he goes to fabricshops in New York and Philadelphia and gathersswatches of interesting fabrics. At this point, he willdo little “thumbnail sketches” to show a director howhe thinks the characters would look. When he meetswith the director, they will discuss the historical settings and the fabrics that he has collected. Theythen talk through the opera scene by scene and character by character as they look at Richard’swork. In this way, Richard learns exactly what thedirector needs and wants.

He then takes all this information, his research,thumbnail sketches, and swatches of fabrics, andmakes the final costume sketches. Each sketch takesanywhere from one to ten hours, depending on theintricacy of the costume. Finally he shows the com-pleted sketches to the director. Once everything isapproved, all of the fabric needed to create the costumes is purchased.

It is at this point that his crew of about six toeight people begins making the costumes. Some ofhis workers have special jobs. Some are gifted atmaking patterns; others are good at making hats,while still others are good at painting fabrics, andstill others sew the fabrics into costumes. Each patternand costume is made one at a time with one personin mind. When they sew a costume they call it“building,” and costumes are much heavier and sturdier than regular clothes. Many of the ladiescostumes have full skirts and petticoats and bonedcorsets. His crew is excellent at historical patternmaking and costume building.

Richard graduated from Pennsylvania StateUniversity in 1980. He received his Mater of FineArts degree from Temple in 1985. He is a member ofUnited Scenic Artists and has been working with theopera since 1986. He has designed costumes forCurtis, Metropolitan Opera Guild, and many others.

Costume Designer Richard St. Clair adjusts baritone TroyCook’s costume for the OCP production of La bohème.

Costume Shop Foreman Elmo Struck works on the final gown worn by Cinderella in Rossini’s opera.

72 Conflicts and Loves in Falstaff

Draw a picture of Falstaff in the middle circle. In the outer circles, draw a picture of those individuals with whom Falstaff has a direct relationship. Then in the boxes pointing toward the middle circle, write how that individual feels about the central character. In the boxes pointing to the outer circles, write how Falstaff feelsabout that individual.

73

The most notable event of the grand opera

season at the Academy of Music took place yesterday

afternoon, when Verdi’s latest work, Falstaff, was

produced for the second time in this country, with

M. Victor Maurel in the title role. The curiosity of

lovers of music had been awakened in more than

ordinary degree by the extraordinary reception which

this work had in Europe, and it may be said with

hardly a reservation that every expectation which had

been raised as to its unique merits, and particularly

as to the remarkable personation of M. Maurel as

Falstaff, was fully satisfied. It is not necessary now

to dwell in detail upon the circumstances of the

construction of this opera or upon its story, for these

have been frequently told in these columns. In

selecting Falstaff as a subject for musical treatment

Verdi originally raised grave doubts among even his

most fervent admirers as to whether this was not an

old man’s foolish caprice. It was not simply that he

had long ago passed the years when the fancy and wit

of the greatest intellect become jaded or exhausted,

but that his genius had been most conspicuous in

serious or tragic compositions. But Verdi has given

us one more illustration of the mental freshness and

vivacity which nature occasionally imparts to the

faculties in the autumn of life, and when grave and

exalted imaginations surprise the world by taking on

a nimbleness and luxuriance of humor. That this

work should have come from Verdi at any time in his

long career would be matter for some surprise; that

it could come from him when on the verge of four-score

is one of the remarkable achievements of the century.

No doubt not a little of the success of Falstaff

is due to the judicious use which Boito, as librettist,

has made of the two plays in which Shakespeare has

depicted this greatest of all his comic characters. He

has selected his material with consummate skill from

the chief scenes of The Merry Wives of Windsor,

together with some of the incidents in Henry IV, in

which Bardolph and Pistol figure, and which serve to

brighten the humor of the piece as well as to provide

an effective background for the fat knight. While

omitting the parts of Page, Slender, Shallow and the

scene with the witch of Brentford, he has preserved

the Shakespearean spirit with notable fidelity in com-

mingling its romantic flavor with the merriment of

the story. We have Falstaff at the Garter with his

boon companions and receiving Mrs. Quickly; Falstaff

making love to the merry wives; Falstaff in the buck

basket – which is made even more comical than in

the original by the device of tumbling him into the

Thames ditch from the window of Ford’s house;

Falstaff reciting the story of the buck basket and

receiving Quickly on her second visit; and Falstaff with

his horns at the midnight meeting under the Windsor

oak. The libretto is a perfect piece of construction –

compact and symmetrical in all its parts – in making

Falstaff the central and predominating figure without

an undue compression of the other characters…

But if Boito has done his full duty to Shakespeare,

what can be said of the skill and ingenuity with which

Verdi has wedded this music to the story? It overflows

with melodic humor, in the very spirit of Shakespearean

comedy, buoyant, sparkling an uniquely expressive.

The musical action is almost as briskly spontaneous

and rapid as if it were spoken dialogue. It flows

straight on in a continuous brilliant current of varied

instrumentation. The vocal score contains no set

arias; there is no overture, and the only chorus is ni

the last act; recitative and declamation have never

been made so prominent in any of Verdi’s work or

managed so ingeniously. The orchestration is full of

odd conceits and whimsicalities; it is, in the main,

the melody of roaring farce and joyous romance,

illustrating with marvelous and unfailing effectiveness

every situation and character.

…Maurel’s creation (of the role of Falstaff for

the opera) is one of the masterpieces of the modern

operatic stage no actor has ever given so picturesque,

true and effective an embodiment of the knight…

Maurel was in find voice, and the audience roared

with laughter over his lyric wit. There was nothing

artificial about it; the real Falstaff was seemingly on

the stage, and the illusion was perfect.

Review of Philadelphia’s First Falstaff

Verdi’s Falstaff a Great Succes

s - The Opera Season

Closes with Two Remarkable Performances.

Philadelphia Review

2006-2007 Season Subscriptions

Review the charts of the Opera Company of Philadelphia’s performance season and prices. Then answer thequestions below.

OPERAA B C D E F

LA BOHEME Sunday SundayWenesday

Nov. 1Friday Saturday Friday

CINDERELLA Sunday Sunday Wednesday Friday Wednesday Friday

PORGY & BESS Sunday Sunday Wednesday Friday Saturday Friday

FALSTAFF Sunday Sunday Wednesday Friday Wednesday Friday

SERIES2006 - 2007 SEASON PERFORMANCE SCHEDULE

Parquet Box/Balcony Box $692.00 $612.00 $195.00 $170.00

Parquet Floor $440.00 $392.00 $128.00 $115.00

Parquet Floor front/sides $384.00 $340.00 $115.00 $100.00

Balcony Loge $384.00 $340.00 $115.00 $100.00

Parquet Circle/Balcony Circle $364.00 $320. $110.00 $95.00

Proscenium Box $248.00 $216.00 $75.00 $70.00

Family Circle $248.00 $216.00 $75.00 $70.00

Family Circle Side $152.00 $136.00 $45.00 $41.00

Amphitheatre $108.00 $96.00 $31.00 $29.00

2006 - 2007 SEASON SUBSCRIPTION PRICE CHARTSUBSCRIPTION PRICES SINGLE TICKET PRICES

SERIES A, B SERIES C, D, E, F SERIES A, B SERIES C, D, E, FSEATING LOCATION

1. Porgy and Bess will be performed on what day, date, and time in the F Series?2. If a new subscriber buys 4 subscriptions for the E Series in the Balcony Loge, what does he/she pay?3. Which performance occurs closest to Halloween? ________________________________________4. How many days will elapse between the performances of La bohème in the C Series and Cinderella in the E Series?

5. What sets of series have the same curtain time?6. In Series A, what is the cost of the subscription for a parquet or balcony box and of an individual ticket?7. How much more does a person pay when buying single tickets to all the operas in the Parquet Floor section in Series C than the person who buys a subscription in the parquet? What is the percentage of savings of a parquet subscription over four individual tickets?

74

Curtain Times:Sunday Performances begin at 2:30 PM; Wednesday Performances begin at 7:30 PMFriday and Saturday Evening Performances begin at 8:00 PM

75Glossary

abhor (ab-hawr) v. to regard with extreme repugnance or aversion; detest utterly; loathe; abominate.

act (akt) n. one of the main divisions of a play or opera.

Acteon (act-ay-on) n. in Greek mythology, hunter who discovered the goddess Diana while bathing. When she discovered him, Diane turns him into a deer and he is pursued and torn apart by his own dogs.

allegro (uh-leg-roh) adv. musical term for fast and lively.

alto (al-toh) n. the lowest female singing voice; also called contralto.

andante (ahn-dahn-tey) adv. a musical term meaning in moderately slow time.

antiphon [an-tuh-fon] n. a verse or song to be chanted or sung in response.

apoplectic (ap-uh-plek-tik) adj. something likened to a blow in its effect, as in causing pain, injury, or death.

aquavitae (a-kwavetay) n. Strong distilled alcohol, especially a strong liquor such as whiskey or brandy.

aria (ahr-ee-uh) n. an operatic song for one voice.

audience (aw-dee-uhns) n. a formal interview with a sovereign, high officer of government, or other high-ranking per-son.

bar (bahr) n. a division of music, marked by two barlines, containing a set number of beats.

baritone (bar-i-tohn) n. the range of the male voice between tenor and bass.

bass (beys) n. the lowest male singing voice.

beat (beet) n. the basic pulse of a piece of music.

beget (bi-get) v. to procreate or generate.

bewitch (bi-wich) v. to enchant; charm; fascinate.

blithesome (blahyth-suhm) adj. lighthearted; merry; cheerful: a blithesome nature.

blunder (bluhn-der) v. a gross, stupid, or careless mistake.

bombard (bom-bahrd) v. to attack or batter with artillery fire.

burgher (bur-ger) n. middle class citizen or townsperson.

Charlatan (shahr-luh-tn) n. a person who pretends to more knowledge or skill than he or she possesses; quack.

chastity (chas-ti-tee) n. one who is pure or virginal.

chord (kawrd) n. a group of notes played at the same time in harmony.

chorus (kawr-uhs) n. 1. a group of singers. 2. a piece of music for these.

chronological (kron-l-oj-i-kuhl) adj. a method of arrangement that puts events in order of occurrence.

coax (kohks) v. to attempt to influence by persuasion or flattery.

comely (kuhm-lee) adj. attractive or pretty.

commence (kuh-mens) v. to begin.

conceal (kuhn-seel) v. to hide, cover or keep from sight.

contralto (kuhn-tral-toh) n. the lowest female singing voice.

contrite (kon-trahyt) adj. caused by or showing sincere remorse.

corrupt (kuh-ruhpt) adj. that which is dishonest, lacking integrity; crooked.

76counsel (koun-suhl) n. advice or opinion.

crinoline (krin-l-in) n. a stiff, coarse cotton material; a hoop skirt.

Croesus (kree-suhs) n. king of Lydia 560–546 noted for his great wealth.

cuckold (kuhk-uhld) n. husband with an unfaithful wife.

cudgel (kuhj-uhl) n. short thick stick used as a weapon.

deck (dek) v. to clothe with finery; adorn.

deign (deyn) v. to condescend to give or grant.

demijohn (dem-i-jon) n. a large bottle having a short, narrow neck, and usually being encased in wickerwork.

distemper (dis-tem-per) n. a psychological or mental disorder.

douse (dous) v. to plunge into water or the like; drench.

dryad (drahy-ad) n. in mythology a wood nymph or goddess.

empurpled (em-pur-puhl) v. to become purplish or flushed.

exeunt (ek-see-uhnt) used as a stage direction to specify that all or certain named characters leave the stage.

feign (feyn) v. to pretend.

flat (b) (flat) adj. a half-step lower than the corresponding note or key of natural pitch.

foetid (fet-id, fee-tid) adj. having a horrid smell or odor.

forbear (fawr-bair) v. to withhold or abstain from.

forte (f) (fawr-tey) adv. a musical term meaning loudly.

fortissimo (ff) (fawr-tis-uh-moh) adv. a musical term for very loud.

fraudulent (fraw-juh-luhnt) adj. given to or using cheating or dishonest methods.

gallant (gal-uhnt) adj. brave, spirited, noble-minded, or chivalrous.

glutton (gluht-n) n. a person with a remarkably great desire or capacity for something.

Golconda (gol-kon-duh) n. a ruined city in S India: capital of a former Muslim kingdom; famous for its diamond cut-ting.

halberd (hal-berd) n. a shafted weapon with an axlike cutting blade.

hyperbolic (hahy-per-bol-ik) adj. having the nature of hyperbole; exaggerated.

imp (imp) n. a little devil or demon; an evil spirit.

importunate (im-pawr-chuh-nit) adj. troublesome; annoying.

incandescent (in-kuhn-des-uhnt) adj. glowing or white with heat.

infamy (in-fuh-mee) n. extremely bad reputation, public reproach.

key (k) n. the basic note of the main scale used in a piece of music. Music in the key of G, for example, has the sound of being based on the note G and often returns to G as a home note.

knave (neyv) n. an untrustworthy, or dishonest person.

largo (lahr-goh) adv. & adj. a musical term meaning in slow time and dignified style.

La Trappe (la trap) n. an abbey in Normandy, France, at which the Trappist order was founded.

lecherous (lech-er-uhs) adj. given to excessive indulgence in lustful activity.

libretto (li-bret-oh) n. the words of an opera or other long musical.

loathsome (lohth-suhm) adj. disgusting; revolting; repulsive.

77lout (lout) adj. an awkward, stupid person; clumsy, ill-mannered boor.

madrigal (mad-ri-guhl) n. a secular a capella song for four to six voices popular in the 16th and 17th centuries.

major (mey-jer) adj. music in a major key uses a major scale, in which the first three notes are the key note followed by intervals of a tone and then another tone (for example, A, B, C). It often has a cheerful, strong sound.

malmsey (mahm-zee) n. a strong, sweet wine originally made in Greece but now made mainly in Madeira.

Mandrake (man-dreyk) n. a narcotic, short-stemmed European plant, having a fleshy, forked root resembling a humanform.

maneuver (muh-noo-ver) v. to scheme; intrigue; to manipulate or manage with skill or adroitness.

masquerade (mas-kuh-reyd) n. a party, dance, at which people wear masks and other disguises.

menacing (men-is) v. to express or serve as a threat.

Menelaus (men-l-ey-uhs) n. Classical Mythology. A king of Sparta, the husband of Helen. Asked his brother Agamemnonfor an army against Troy to rescue Helen from her abductor, Paris.

Mercury (mur-kyuh-ree) n. the ancient Roman god who was messenger of the gods and the god of commerce, thievery, eloquence, and science.

Milady (mi-ley-dee) n. an English noblewoman (often used as a term of address).

minor (mahy-ner) adj. Music in a minor key uses a minor scale, in which the first three notes are the key note fol-lowed by intervals of a tone and then a semitone ( for example A, B, C). It often has a sad, melancholic sound.

natural (nach-er-uhl) adj. a note that is neither flattened nor sharpened.

octave (ok-tiv) n. a note that sounds twice as high in pitch as another is an octave above the other note, and has the same letter naming it.

opera (op-er-uh) n. a play in which the words are sung to musical accompaniment.

opus (oh-puhs) n. a musical compostion numbered as one of a composer’s works (usually in order of publication).

orchestra (awr-kuh-struh) n. a large body of people playing various musical instruments, including stringed and wind instruments.

mirth (murth) n. amusement or laughter.

nuptials (nuhp-shuhl) n. a wedding or marriage.

ogle (ah-gl) v. to stare at impertinently, flirtatiously, or amorously.

omit (oh-mit) v. to leave out.

overture (oh-ver-cher) n. an orchestral composition forming a prelude to an opera or ballet.

Pandarus (pan-der-uhs) n. Classical Mythology. a Trojan who attempted to assassinate Menelaus, thereby violating a truce between the Greeks and the Trojans and prolonging the Trojan War.

pasturage (pas-cher-ij) n. the activity or business of pasturing livestock.

pedant (ped-nt) n. a person who makes an excessive or inappropriate display of learning.

penitent (pen-i-tuhnt) adj. feeling or expressing sorrow for wrongdoing and disposed to atonement.

perambulation (per-am-byuh-le-shun) v. to walk through, about, or over.

physic (fiz-ik) n. a medicine that purges; cathartic; laxative.

pianissimo (pp) (pee-uh-nis-uh-moh) adv. a musical term meaning very softly.

piano (p) (pee-an-oh) adv. a musical term meaning softly.

plot (plot) n. the sequence of events in an opera, story, novel, etc.

78

pious (pahy-uhs) adj. having or showing a dutiful spirit of reverence for God.

prattle (prat-l) v. to talk in a foolish or simple-minded way; chatter; babble.

prognostic (prog-nos-tik) adj. of or pertaining to the diagnosis of a disease.

proscenium (proh-see-nee-uhm) n. the arch or frame that separates a stage from the auditorium.

presto (pres-toh) adv. a musical term meaning very fast.

protagonist (proh-tag-uh-nist) n. the leading character in an opera, play, story, etc.

quench (kwench) adj. to slake, satisfy, or allay (thirst, desires, passion, etc.).

rake (reyk) n. an immoral and lewd man; a womanizer.

rampart (ram-pahrt) n. a broad elevation or mound of earth raised as a fortification around a place.

refute (ri-fyoot) v. to prove to be false, as an opinion or charge.

resounding (ri-zoun-ding) adj. making an echoing sound.

resourceful (ri-zohrs -fuhl) adj. able to deal skillfully and promptly with new situations, difficulties, etc.

resplendent (ri-splen-duhnt) adj. shining brilliantly; gleaming.

Satyr (sey-ter) n. Classical Mythology. one of a class of woodland deities, attendant on Bacchus, represented as part human, part horse, and sometimes part goat and noted for riotousness and lasciviousness.

scale (skeyl) n. a series of notes arranged in descending or ascending order of pitch.

semitone (sem-ee-tohn) n. a half step or half tone, an interval midway between two whole tones.

sharp (#) (shahrp) n. any note a semitone higher than another note; also, slightly too high in pitch.

Siren (sahy-ruhn) n. Classical Mythology. one of several sea nymphs, part woman and part bird, who lure mariners todestruction by their seductive singing.

sombre (som-ber) adj. gloomily dark; shadowy; dimly lighted.

soprano (suh-pran-oh) n. the highest female or boy’s singing voice.

sot (sot) n. a drunkard.

stage (st j) n. a platform on which an opera, play, etc. are performed for an audience.

staging (stey-jing) n. the presentation or production on the stage.

stout (stout) adj. bulky in figure; stocky.

stratagem (strat-uh-juhm) n. a plan, scheme, or trick for surprising or deceiving an enemy.

swoon (swoon) v. to enter a state of hysterical rapture or ecstasy.

sylph (silf) n. a slender or graceful woman.

symphony (sim-fuh-nee) n. a long elaborate musical composition (usually in several parts) for a full orchestra.

synopsis (si-nop-sis) n. a summary, a brief general survey.

tactic (tak-tik) n. a plan, procedure for promoting a desired end or result.

talisman (tal-is-muhn) n. a stone, ring, or other object supposed to possess occult powers and worn as a charm.

tenor (ten-er) n. the highest male singing voice.

tone (tohn) n. 1. an interval equal to two semitones. 2. the sound quality of an instrument or voice.

vanquish (vang-kwish) v. to conquer or subdue by superior force.

voracious (voh-rey-shuhs) adj. craving or consuming large quantities of food.

verismo (vuh-riz-moh) n. realism in opera.

Pennsylvania’s public schools shall teach, challenge and support every student to realize his orher maximum potential and to acquire the knowledge and skills needed to:

Academic Standards for Reading, Writing, Speaking and Listening 1.1. Learning to Read Independently GRADE 5 D.Identify the basic ideas and facts in text using strategies (e.g., prior knowledge, illustrations and headings) and information fromother sources to make predictions about text. 1.1.8. GRADE 8 E. Expand a reading vocabulary by identifying and correctly usingidioms and words with literal and figurative meanings. Use a dictionary or related reference. 1.1.11. GRADE 11 H. Demonstratefluency and comprehension in reading. Read a variety of genres and types of text. Demonstrate comprehension. 1.2. ReadingCritically in All Content Areas GRADES 5, 8, 11. A. Read and understand essential content of informational texts and docu-ments in all academic areas. 1.3. Reading, Analyzing and Interpreting Literature GRADE 5 E. Analyze drama as informa-tion source, entertainment, persuasion or transmitter of culture. 1.3.8. GRADE 8 E. Analyze drama to determine the reasons for a character’sactions, taking into account the situation and basic motivation of the character. 1.3.11. GRADE 11 E. Analyze how a scriptwriter’suse of words creates tone and mood, and how choice of words advances the theme or purpose of the work. 1.4. Types of WritingGRADES 5, 8, 11. GRADE 5 A. Write poems, plays and multi-paragraph stories (GRADES 8 & 11 - and short stories). 1.4.5, 8,11. C. Write persuasive pieces (Review of Opera Experience, p. 78). 1.5. Quality of Writing GRADES 5, 8, 11 A. Write witha sharp, distinct focus. 1.6. Speaking and Listening GRADES 5, 8, 11. B. Listen to selections of literature (fiction and/or non-f i c t i o n ) .C. Speak using skills appropriate to formal speech situations. E. Participate in small and large group discussions and presentations.F. Use media for learning purposes. 1.8. Research GRADES 5, 8, 11. A. Select and refine a topic for research. B. Locate information using appropriate sources and strategies. C. Organize, summarize and present the main ideas from research.

Academic Standards for Mathematics 2.1. Numbers, Number Systems and Number Relationships 2.1.8. GRADE 8 A.Represent and use numbers in equivalent forms (e.g., integers, fractions, decimals, percents, exponents, scientific notation, squarer o o t s ) . 2.2. Computation and Estimation 2.2.5. GRADE 5 A. Create and solve word problems involving addition, subtraction, multiplica-tion and division of whole numbers. 2.5 Mathematical Problem Solving and Communication 2.5.11. GRADE 11 A. Selectand use appropriate mathematical concepts and techniques from different areas of mathematics and apply them to solving non-routine and multi-step problems.

Academic Standards for Science and Technology 3.1. Unifying Themes 3.1.10. GRADE 10 E. Describe patterns of change innature, physical and man made systems. •Describe how fundamental science and technology concepts are used to solve practicalproblems (e. g., momentum, Newton’s laws of universal gravitation, tectonics, conservation of mass and energy, cell theory, theoryof evolution, atomic theory, theory of relativity, Pasteur’s germ theory, relativity, heliocentric theory, gas laws, feedback systems).3.2. Inquiry and Design GRADE 7 Apply process knowledge to make and interpret observations. GRADE 10 Apply processknowledge and organize scientific and technological phenomena in varied ways. GRADE 12 Evaluate experimental informationfor appropriateness and adherence to relevant science processes. 3.3. Biological Sciences 3.3.10. GRADE 10 D. Explain the mechanisms of the theory of evolution. 3.7. Technological Devices 3.7.7. GRADE 7 E. Explain basic computer communicationssystems. Describe the organization and functions of the basic parts that make up the World Wide Web. (Check operaphilly.com tosee photos of the rehearsals and sets.) See Teacher’s Guide for additional science lessons.

Academic Standards for Civics and Government 5.2. Rights and Responsibilities of Citizenship 5.2.12. GRADE 12 C.Interpret the causes of conflict in society and analyze techniques to resolve those conflicts.

Academic Standards for Geography 7.1. Basic Geographic Literacy 7.1.6. GRADE 6 A. Describe geographic tools and theiruses. •Basis on which maps, graphs and diagrams are created. 7.3. The Human Characteristics of Places and Regions 7.3.6.GRADE 6 B. Explain the human characteristics of places and regions by their cultural characteristics.

Academic Standards for History 8.2. Pennsylvania History 8.2.9. GRADE 9 8.2.12. GRADE 12 Pennsylvania’s public schoolsshall teach, challenge and support every student... skills needed to analyze the interaction of cultural, economic, geographic, political and social relations to. A. Analyze the... cultural contributions of individuals... to Pennsylvania history from 1787 to 1914.• Cultural and Commercial Leaders (e.g., Academy of Music architects Napoleon Le Brun & Gustav Rungé, opera star MarianAnderson). 8.3. U.S. History 8.3.9 GRADE 9 B. Identify and analyze primary documents, material artifacts and historic sitesimportant in United States history from 1787 to 1914. • Historic Places (e. g., Academy of Music). 8.4. World History 8.4.6 GRADE6 A. Identify and explain how individuals and groups made significant political and cultural contributions to world history. 8.4.12.GRADE 12 C. Evaluate how continuity and change throughout history has impacted belief systems and religions since 1450 C.E.

Academic Standards for the Arts and Humanities 9.1. Production, Performance and Exhibition of Dance, Music,Theatreand Visual Arts A. Know and use the elements and principles of each art form to create works in the arts and humanities. I.Know where arts events, performances and exhibitions occur and how to gain admission. 9.2. Historical and Cultural ContextsC. Relate works in the arts to varying styles and genre and to the periods in which they were created (e.g., Renaissance, Classical,Modern, Post-Modern, Contemporary...). D. Analyze a work of art from its historical and cultural perspective. E. Analyze how his-torical events and culture impact forms, techniques and purposes of works in the arts. F. Know and apply appropriate vocabularyused between social studies and the arts and humanities.

79Pennsylvania Department of Education Academic Standards

80

State Standards met in Falstaff Sounds of Learning™ Lessons:

Opera 101: Getting Ready for the OperaA Brief History of Western Opera 1.1, 1.2, 1.3, 7.3, 8.4, 9.2

Philadelphia’s Academy of Music 1.1, 1.2, 1.3, 7.3, 8.2, 8.3, 9.1, 9.2

Broad Street: Avenue of the Arts 1.1, 7.1, 7.3, 8.2, 9.1, 9.2

Opera Etiquette 101 1.1, 1.2, 1.3, 9.1, 9.2

Why I Like Opera by Taylor Baggs 1.1, 1.2, 1.3, 8.2, 9.1

Relating Opera to History: The Culture ConnectionGiuseppe Verdi: Hero of Italy 1.1, 1.2, 1.3, 1.8, 8.2, 8.3, 8.4, 9.2

Verdi Timeline 1.1, 1.2, 1.8, 8.3, 8.4, 9.2

Make Your Own Timeline 1.1, 1.2, 1.8, 8.3, 8.4, 9.2

Game: Falstaff Crossword Puzzle 1.1, 9.2

Bard of Stratford - Williams Shakespeare 1.1, 1.2, 1.3, 1.5, 8.2, 8.4, 9.2

All the World’s a Stage: The Globe Theatre 1.1, 1.2, 7.1, 8.2, 8.4, 9.1, 9.2

Falstaff: Libretto and Production InformationFalstaff: Synopsis 1.1, 1.2, 1.3, 9.2

Meet the Artists 1.1, 1.2, 1.3, 9.2

Introducing Soprano Christine Goerke 1.1, 1.2, 1.3, 6.1, 6.4, 7.1, 7.3, 9.2

Falstaff LIBRETTO 1.1, 1.2, 1.3, 1.6, 8.4, 9.2

Behind the Scenes: Careers in the ArtsGame: Connect the Opera Terms 1.1, 9.2

So You Want to Sing Like an Opera Singer! 1.1, 1.2, 1.3, 1.8, 3.1, 3.2, 9.1, 9.2

The Highs and Lows of the Operatic Voice 1.1, 1.2, 1.3, 1.8, 3.1, 3.2, 9.1, 9.2

Life in the Opera Chorus: Julie-Ann Whitely 1.1, 1.2, 1.3, 6.1, 6.4, 7.1, 7.3, 9.2

The Subtle Art of Costume Design 1.1, 1.2, 1.3, 6.1, 6.4, 7.1, 7.3, 9.2

LessonsConflicts and Loves in Falstaff 1.1, 1.2, 1.3, 8.2, 9.1

Review of Philadelphia’s First Falstaff 1.2, 1.3, 1.4, 1.5, 1.8, 9.1, 9.2

2006-2007 Season Subscriptions 1.1, 1.2, 2.1, 2.2, 2.5, 6.1, 9.1

Glossary 1.1, 9.2

State Standards Met

The School District of PhiladelphiaSchool Reform Commission

James E. Nevels, Chairman

Martin G. Bednarek, member

Sandra Dungee Glenn, member

James P. Gallagher, Ph.D, member

Daniel J. Whelan, member

Paul VallasChief Executive Officer

Gregory ThorntonChief Academic Officer

Dennis W. Creedon, Ed.D.Administrator, Office of Creative

and Performing Arts

Opera Company of Philadelphia

Robert B. DriverGeneral and Artistic Director

Corrado RovarisMusic Director

David B. DevanManaging Director

Michael BoltonCommunity Programs Manager

Sounds of Learning™ was established by a generous grant from The Annenberg Foundation.

Dedicated funding for the Sounds of Learning™ program has been provided by:

$50,000 and above

U.S. Department of Education

$20,000 to $49,999

Connelly Foundation

Glenmede

Lincoln Financial Group Foundation

$10,000 to $19,999

ARAMARK Charitable Fund

Ethel Sergeant Clark Smith Memorial Fund

GlaxoSmithKline

Hamilton Family Foundation

Hirsig Family Fund

Merck & Co., Inc

PNC Bank

Presser Foundation

Universal Health Services

$5,000 to $9,999

Alpin J. & Alpin W. Cameron Memorial Trust

Bank of America Foundation

Barra Foundation

McLean Contributionship

Morgan Stanley Foundation

Samuel S. Fels Fund

Sheila Fortune Foundation

Warwick Foundation

Wachovia Foundation

$1,000 to $4,999

Louis N. Cassett Foundation

The Opera Company ofPhiladelphia is supported by major

grants from The William PennFoundation, The Pew Charitable

Trusts, and The Lenfest Foundation.

Additional support is provided by the Independence Foundation

and the Horace W. GoldsmithFoundation.

The Opera Company ofPhiladelphia receives state arts

funding support through a grantfrom the Pennsylvania Council

on the Arts, a state agency funded by the Commonwealth

of Pennsylvania.

2006-07season

1420 Locust StreetSuite 210Philadelphia, PA 19102

T (215) 893-3600F (215) 893-7801

www.operaphilly.com

2006October 27, 29m,November 1, 3, 5m &11

2006November 8, 10, 12m,15, 17 & 19m

2007February 9, 11m, 14, 16,18m & 24

2007May 2, 4, 6m, 9, 11 & 13m