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Everything in the world is fun

[Ruggero Raimondi as Falstaff]

Released in 1871 in Cairo, Aida might look for completion time of Verdi's opera career, but the master of Le Roncole he had yet to burn some crucial stages. A new version of Simon Boccanegra in 1881 and especially the masterly Otello of 1883 represented a step forward in the conception of musical drama. Overcome the Wagner lesson this time it seemed that the composer considered closed his career in the tables, and suddenly, in 1893, on the verge of becoming an octogenarian, the surprise of a comedy, a genre that had grown since ancient times of Un giorno di regno half a century ago. Arrigo Boito was his librettist in Otello, who persuaded him to return to the world of Shakespeare, this time to treat the character of Falstaff, the arrogant, ridiculous, lewd and lovely chubby who is mocked by the Wives of Windsor .

Old Verdi created around him a character farce absolutely incomparable coral. Although formally the work is still divided in round numbers, which mark the entrances and exits of the characters, the musical flow is continuous and comic timing is trapped in a marvelous way to that famous final fugue ("Tutto nel mondo è mockery "), unexpected and glorious glorious climax to the career of a unique musician.
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This assembly was seen at Jerez few months before the representations of Liege has picked up the DVD of Dynamic, Stefano Poda starts giving the main characteristic feature of the protagonist, his huge belly ("Questo è il mio regno, it ingrandire ") to raise a vision that is used to relief game play within a play: it is as if a company of acrobats represent Shakespeare by the time of the composition of the opera. The stage, in which a few elements of props intended to give the image of a preindustrial society, is full of changing lights and incessant projections, which together with a unique and symbolic dress in white (with hints of black) end to give a sense of play dream, fantasy, referring to the universe Shakespeare poetically.

Musically, Paolo Arrivabeni provides sparkle and clarity that the work required. The great figure of the duties was undoubtedly the low Ruggero Raimondi, who at 68 years shows a precise knowledge of every corner of the main character voice and means safe, especially in a strong midrange. The rest of the cast has the consistency required by the type of writing Verdi and reliability necessary to defend their roles, although it seems fair to point out to the soprano Virginia Tola Argentina in their delicate design of Alice or Tiberius Simu Romanian tenor, an elegant Fenton, which gives an adequate reply, the young Sabina Puértolas Navarre.
[ Diario de Sevilla. 02/12/2011 ]

GIUSEPPE VERDI (1813-1901): FALSTAFF
commedia lirica in three acts with libretto by Arrigo Boito based on The Merry Wives of Windsor Shakespeare

Ruggero Raimondi, baritone (Sir John Falstaff)
Salsi Luca, baritone (Ford),
Virginia Tola, soprano (Alice)
Puértolas Sabina, soprano (Nannetta)
Cinzia de Mola, mezzo (Mrs Quickly)
Liliana Mattei, mezzo (Mrs Meg Page)
Tiberius Simu, tenor (Fenton)
Bonfatti Gregory, tenor (Doctor Cajus)
Pietro Picone, tenor (Bardolph)
Luciano Montanaro low (Gun)

Orchestra and Chorus of the Royal Opera of Wallonia
Music Director: Paolo Arrivabeni

Producer, scenery, costumes and lighting: Stefano Poda

video Director: Matteo Ricchatti

Subtitles in Italian, English , German, French and English DVD
DYNAMIC
---------- 33,649 ( Diverdi ) [c.129 ']
Recording: November 2009