Falstaff, Giuseppe Verdi’s final opera, stands as a triumphant farewell from one of the greatest composers in the history of classical music. Premiered in 1893 when Verdi was nearly 80 years old, this comic opera defied expectations and crowned his career with wit, brilliance, and innovation. Based on Shakespeare’s The Merry Wives of Windsor and scenes from Henry IV, Falstaff reveals a side of Verdi that was rarely seen: light-hearted, humorous, and daringly modern.
A Late-Life Surprise
Giuseppe Verdi was already a towering figure in Italian opera by the time he completed Aida in 1871. After Aida, many believed his compositional career was over. He had hinted at retirement, and aside from revising older works like Don Carlo, he appeared content to leave the stage behind.
But Verdi’s creative spirit had not faded. In the 1880s, encouraged by his friend and collaborator, the poet and composer Arrigo Boito, Verdi surprised the world with Otello (1887), a powerful adaptation of Shakespeare’s tragedy. The opera was a huge success and reignited Verdi’s interest in composition.
Boito, knowing Verdi’s love for Shakespeare, proposed another project: a comic opera based on the character of Sir John Falstaff. Though Verdi had only written one other comedy—Un giorno di regno in 1840, which had failed—he was intrigued. He took on the challenge with fresh enthusiasm.
The Collaboration with Arrigo Boito
The libretto for Falstaff is a masterpiece in itself. Boito’s adaptation distilled the spirit of Shakespeare into tight, poetic Italian, capturing both the humor and humanity of the characters. He skillfully combined elements from The Merry Wives of Windsor and Henry IV, focusing on the lovable yet ridiculous figure of Falstaff—a knight past his prime who fancies himself a romantic hero.
Verdi and Boito worked closely together, and their mutual respect and friendship are evident in the finished work. Verdi composed with energy and joy, reportedly laughing aloud as he wrote some of the comic scenes.
The Music of Falstaff
Unlike the grand tragedies Verdi was famous for, Falstaff is fleet-footed and full of subtle, sophisticated orchestration. Rather than relying on the traditional arias and duets of Italian opera, Verdi crafted a seamless musical narrative—a kind of through-composed comedy with rapid dialogue, complex ensembles, and tightly woven motifs.
The opera is brimming with inventive touches: quicksilver rhythms, sly harmonic shifts, and intricate counterpoint. Falstaff’s monologues, the women’s schemes, and the final fugue (“Tutto nel mondo è burla”—“All the world’s a jest”) show Verdi at his most playful and inventive.
The Premiere and Reception
Falstaff premiered at La Scala in Milan on February 9, 1893. The audience included Italian royalty, composers, critics, and fans from across Europe. It was a triumph. The critics praised its wit, elegance, and originality. Though not an immediate blockbuster like some of Verdi’s earlier works, Falstaff quickly gained a following and came to be regarded as a masterpiece of comic opera.
What made the success even more remarkable was the fact that it came from a composer at an age when most have long since retired. Verdi had defied the conventions of old age and operatic tradition with one final, stunning burst of creativity.
Legacy and Importance
Falstaff occupies a unique place in Verdi’s oeuvre—and in operatic history. It is not only one of the greatest comic operas ever written, but also a profound meditation on aging, vanity, and the joy of life. Sir John Falstaff, with all his flaws, is a deeply human figure, and Verdi treats him with affectionate mockery rather than cruelty.
Today, Falstaff is widely performed in opera houses around the world. Conductors and singers treasure its complexity and charm, and audiences continue to delight in its wit and warmth.
As Verdi’s final bow, Falstaff is not a sunset but a sunrise: bright, bold, and full of laughter. In his twilight years, the master proved once again that he was not merely a man of his time—but a genius for all time.
Comments are closed