המתת השור

00:49 11/05/07

a state, and the men and womenmerely " player" makes a perfect end of the opea/
these is much to damire in Fastaff, a score whose wit and wisdom are equalled only by Mozqrt's three great italian operas : scroting chamber music delicacy allied to a wide beethovenian range of orchestratal expression, the magical evocation of forest and fancy in the last scene and the fanstatic pace of the entire opera which seems to last no longer than one sudden flash of inspiratioon.

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at his premiere, Falstaff escaped being called wagnerian , yet it is today oten spoken of it in the same breath as that considerable heavier and longer comedy DieMeisteringer. A more propoer comparaison would be with \parsifal, the last opera of that other genius born in the same yeas as Verdi. The temperemental constrat is immense : one the ons hand, fin de siecle sickliness and piety and sentimental homerotic religious yearning, on the other, the tieless gaiety, silvery coldness of golden warmth of old age, and the ironic laughter. Both Parsifak and Falstaff are works of genious but the wolrd could easily afford to lose the five hours of |Parsifal than the less than two hours of Flstaff

" thecomplete operas of Verdi '
charles Osborne
pp448\9

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