Salieri: Falstaff

Editorial Reviews
Amazon.com
Amadeus, a great movie, made Antonio Salieri a sort of celebrity, but in terms of his value as a composer, it was misleading. This first recording, long overdue and very welcome, should help readjust Salieri's reputation. By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes. --Joe McLellan

Tracks:

Cublai, Gran Kan De' Tartari: Ov in D
Twenty-Six Vars On 'La Folia Di Spagna'
Angiolina, Ossia Il Matrimonio Per Sussuro: Ov in D
Sinf Veneziana in D: I. Allegro Assai
Sinf Veneziana in D: II. Andantino Grazioso -
Sinf Veneziana in D: III. Presto
La Locandiera: Ov in D: I. Allegro Assai -
La Locandiera: Ov in D: II. Andantino -
La Locandiera: Ov in D: III. Presto
Sinf 'Il Giorno Onomastico' in D: I. Allegro, Quasi Presto
Sinf 'Il Giorno Onomastico' in D: II. Larghetto
Sinf 'Il Giorno Onomastico' in D: III. Minuetto: Non Tanto Allegro - Trio
Sinf 'Il Giorno Onomastico' in D: IV. Allegretto E Sempre L'istesso Tempo
Falstaff, Ossia Le Tre Burle: Ov in D

Customer Reviews:

Worthy music.......2005-10-20

It is unfortunate that Antonio Salieri (1750 - 1825) is known now almost exclusively for being the nemesis of Mozart in the Peter Schaffer play and subsequent film 'Amadeus'. Salieri was certainly much more than the thwarted, second-rate composer. Perhaps he was not in Mozart's league so far as composition power goes (although the best of Salieri certainly stands up as worthy in comparison with many of the major composers of his time), but he was a respected composer in his own time, and perhaps more than for his composition, he was respected as a teacher and court musician. Salieri counts among his pupils Beethoven, Schubert, Liszt and even Mozart's second son.

His operas tended to follow a particularly popular formula, with dramatic flairs and stories easily accessible to the people. He drew inspiration from historical works, from mythological and fictional works, as well as works of popular circulation. Salieri even used some libretti from Lorenzo de Ponte, perhaps better known now as a librettist for Mozart.

This disc includes overtures of twelve operas (Salieri wrote nearly 50 operas, several of which were not premiered until the 1990s). They include pieces from his dramatic operas as well as his comic operas. The power in these is certainly evident. Perhaps the best of the lot is 'Cesare in Farmacusa (Tempesta di Mare)' and 'Axur, Re d'Ormus', an opera also involving de Ponte, and reworked from an earlier attempt to do a French opera into an Italian one.

It is a mistake (reinforced by 'Amadeus') to classify Salieri as an Italian composer - he lived most of his life in Vienna, and was criticised by the Empress at one point for being too much of a German composer. Salieri's works such as 'Don Chisciotte alle nozze di Gamace', the overture of which is included here, certainly shows his strength in writing toward the German.

This disc is a fun disc to listen to. There is nothing earth-shattering or new here, but these pieces are good compositions, and the performances by the Czecho-Slovak Radio Symphony Orchestra (Bratislava), under the direction of Michael Dittrich, is exemplary. This is one of those often-overlooked Eastern European orchestras that has incredible performance ability; they have had international touring experience as well as a number of recordings for Naxos, who is to be praised for bringing less popular music to the general public in an affordable way.

My God... You moviegoers ruin everything..........2005-01-13

It's nice to know that you need a movie to awaken you to classical music. If you had been introduced to Salieri in any way other than the Milos Forman film, you would realize the truth. Amadeus is a MOVIE... just like TITANIC is a movie. FICTIONALIZED ACCOUNT OF HISTORICAL FACTS...While adding in elements of fiction to enhance the DRAMA.. Salieri is a good composer. I suggest that you do your research, pal. Do you know that he and Mozart once shared a bill? Now, ANYONE can safely say that had they been enemies, they would not have dreamed of having their operas performed together.. Music is a personal thing for those who create it. But anyway, Salieri deserves to be noticed.

NOT A MURDERER!!!!.......2004-12-07

Salieri was in fact a pioneer of music. It was never proven that he murdered Mozart. Salieri's pupils included Beethoven, Schubert and Liszt. He helped found the Academy of Music in Vienna. The movie Amadeus is probably loosely based on an opera called Mozart i Salieri which dramatized their competition and jealousy. Salieri does not get the credit he deserves for his contribution to classical music as a composer. Salieri is a wonderful addition to anyone's classical music collection.

One of the most underrated composers in History!.......2004-11-17

This CD digs into the ignored music of Antonio Salieri. I am fed up of reviews comparing this composer to Mozart. Calling Salieri a murderer of Mozart is utterly incorrect. Probably, the reviewer who made this statement does not know that 'Amadeus' is a movie based on a myth.

Murderer.......2004-01-11

I don't see how anyone can try to immortalize his works after seeing the movie Amadeus. He was a conniving, evil, egotistal man. I will never buy anything with his name on it. He is the murderer of a musical genius. I love Mozart and any of his true fans will never purchase anything with the salieri stamp on it.

From The Official Barcelona Games Ceremony: Domingo, Carreras, Caballe, With Aragall Berganza Pons

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From The Official Barcelona Games Ceremony: Domingo, Carreras, Caballe, With Aragall Berganza Pons

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003F9V
Release Date: 1992-07-28

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"It reeks of music"
Salieri was no joke
Near worthless!
FALSTAFF: a good recording of Salieri's last operas!...
FALSTAFF: a good recording of Salieri's last operas!...

Salieri: Falstaff

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Cimarosa: L'Italiana in Londra
Farinelli

ASIN: B000005Z6S
Release Date: 1998-03-17

Tracks:

Falstaff: Overture - Allegro di controdanza
Falstaff: Act l - Scene 1 - Introduction (Falstaff, Mrs Ford, Mrs Slender, Slender, Guests) - 'Viva il comune amico' (Falstaff And Guests)
Falstaff: Act l - Scene 1 - 'Sia pur l'ultimo bicchiere' (Falstaff)
Falstaff: Act l - Scene 1 - 'Ma gia l'alba s'avvicina' (Mistress Ford)
Falstaff: Act l - Scene 2 - 'Vedete che capriccio...' (Bardolf)
Falstaff: Act l - Scene 2 - 'Non reggo piu dal sonno...' (Bardolf)
Falstaff: Act l - Scene 3 - 'Mangiar da principe...' (Bardolf) - Duet (Falstaff, Bardolf) - 'Con molta degnazione' (Falstaff)
Falstaff: Act l - Scene 3 - 'Da scrivere...' (Falstaff)
Falstaff: Act l - Scene 4 - 'Li porto o non li porto?...' (Bardolf)
Falstaff: Act l - Scene 5 - 'Vicino a rivedere' (Ford) - 'Di dubitar di lei non ho motive...' (Ford)
Falstaff: Act l - Scene 6 - 'Oh, tinozzo ambulante!...' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Vendetta, si vendetta' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Comare, in questo punto...' (Mistress Slender)
Falstaff: Act l - Scene 6 - Duet (Mistress Ford, Mistress Slender) - 'La stessa, la stessissima' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Ma parlando sul serio...' (Mistress Slender)
Falstaff: Act l - Scene 7 - 'Ho capito, ma spero che non sara poi vero...' (Slender)
Falstaff: Act l - Scene 8 - Quartet (Mistress Ford, Mistress Slender, Ford, Slender) - 'Oh, quanto vogliam ridere' (Mistress Ford)
Falstaff: Act l - Scene 9 - 'Eh! Mia moglie, compare...' (Ford)
Falstaff: Act l - Scene 9 - 'Venga, venga pure il cavaliere' (Slender)
Falstaff: Act l - Scene 10 - 'A un uom della mia sorte...' (Falstaff)
Falstaff: Act l - Scene 11 - 'Guten morgen, mein Herr...'(Mistress Ford)
Falstaff: Act l - Scene 11 - 'Oh, die Manner kenn ich schon' (Mistress Ford)
Falstaff: Act l - Scene 12 - 'E che ti par, Falstaff?...' (Falstaff)
Falstaff: Act l - Scene 12 - 'Nell'impero di Cupido' (Falstaff)
Falstaff: Act l - Scene 12 - 'Ah, vile! Ah seduttore!...' (Ford) - 'Or degli affanni i palpiti' (Ford)
Falstaff: Act l - Scene 13 - 'Restate la vicini...' (Mistress Ford)
Falstaff: Act l - Scene 14 - 'Bricconcella, alfin t'ho colta' (Falstaff)

Tracks:

Falstaff: Act l - Scene 14 - 'Si. Son geloso a torto' (Ford)
Falstaff: Act ll - Scene 1 - 'Sentite pure...' (Betty)
Falstaff: Act ll - Scene 1 - Trio (Betty, Mistress Ford, Mistress Slender) - 'Nell'acqua il buzzone' (Betty) - 'Questa a buon conto...' (Mistress Ford)
Falstaff: Act ll - Scene 2 - 'Ehi! Bardolfo! A chi dico?...' (Falstaff) - Scene 3 - 'Corpo di Satanasso!...' (Falstaff)
Falstaff: Act ll - Scene 4 - 'E preparato?...' (Falstaff) - Duet (Betty, Falstaff) - 'Ah, Signore, se sapesse' (Betty)
Falstaff: Act ll - Scene 4 - 'Si degni almen di legger questo foglio...' (Betty)
Falstaff: Act ll - Scene 4 - Trio (Betty, falstaff, Bardolf) - 'Si mi vedeste il core' (Falstaff)
Falstaff: Act ll - Scene 5 - 'E il nostro Signor Broch...' (Falstaff) - Scene 6 - 'Il Signor Broch vi attende...' (Bardolf)
Falstaff: Act ll - Scene 7 - 'Se un pranzo non vi basta...' (Ford)
Falstaff: Act ll - Scene 7 - 'Che sento!... E quando ei venne...' (Ford) - 'Or dunque quella bestia...' (Falstaff)
Falstaff: Act ll - Scene 7 - Cavatina (Falstaff, Ford) - 'Nella stanza in un cantone' (Falstaff) - 'Or, quando fui nel cesto...' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Io, sotto titolo di roba sudicia' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Signor, son penetrato del piu vivo dolor...' (Ford)
Falstaff: Act ll - Scene 8 - 'Stelle sogno o son desto?...' (Falstaff) - 'Furie che mi agitate' (Falstaff)
Falstaff: Act ll - Scene 9 - 'Presto Betty, che torna gia l'amico...' (Mistress Ford) - Duet (Mistress Ford, Falstaff) - 'Su, mio core, a gioir ti prepara!' (Mistress Ford)
Falstaff: Act ll - Scene 10 - 'Ma siam sicuri?...' (Falstaff) - Scene 11 - 'Ehi, comare presto!...' (Mistress Slender) - Duettino (Mistress Ford, Falstaff) - 'Pre carita, celatevi' (Mistress Ford)
Falstaff: Act ll - Scene 11 - 'Siete sola?...' (Mistress Slender)
Falstaff: Act ll - Scene 11 - Trio (Mistress Ford, Mistress Slender, Falstaff) - 'Primo ancor che Mastro venga' (Falstaff)
Falstaff: Act ll - Scene 11 - 'Ma dunque, care amiche?...' (Falstaff) - Scene 12 - 'Ha, ha! Sarebbe bella se cosi travestito...' (Mistress Ford)
Falstaff: Act ll - Scene 13 - 'Ecco, amici! Ah! Ribaldo!...' (Ford)
Falstaff: Act ll - Scene 13 - Ensemble (Betty, Mistress Ford, Mistress Slender, Ford, Slender, Friends) - 'Che vedo! Oh, me infelice!' (Mrs Ford)
Falstaff: Act ll - Scene 13 - 'Orben, colui che cerco...' (Ford)
Falstaff: Act ll - Scene 13 - Duet (Mistress Ford, Mistress Slender) - 'Benedetto quel bastone' (Tutti)
Falstaff: Act ll - Scene 14 - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 15 - 'Se in Londra si sapessero le mie delusioni...' (Falstaff)
Falstaff: Act ll - Scene 15 - 'La sua fede si gradita' (Ford)
Falstaff: Act ll - Scene 15 - 'Sorte pettegola, meco la vuoi' (Falstaff) - 'Chi dite mai?...' (Ford) - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Che dici?...' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Consolatevi amico...' (Falstaff)
Falstaff: Act ll - Scene 17 - Aria (Slender, Echo) - 'reca in amor la gelosia' (Slender) - 'Zitto: vien qualchedun...' (Slender)
Falstaff: Act ll - Scene 17 - Finale (Mistress Ford, Mistress Slender, Falstaff, Ford, Slender, Spirits) - 'Siete gia qui' (Slender)
Falstaff: Act ll - Scene 17 - 'Fate verdi, turchine e bianche e nere' (Mistress Ford)

Amazon.com

Amadeus, a great movie, made Antonio Salieri a sort of celebrity, but in terms of his value as a composer, it was misleading. This first recording, long overdue and very welcome, should help readjust Salieri's reputation. By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes. --Joe McLellan

Customer Reviews:

"It reeks of music".......2002-05-03

Salieri's "Falstaff, ossia le tre burli" ("Falstaff, or the three hoaxes"), to a libretto by Carlo Prospero Gianfranceschi, was first performed in Vienna in 1799, making it one of his last operas. It is a "dramma giocoso"..., that is, an opera buffa with some serious elements. This is an interesting time in the history of Italian opera -- Mozart's great operas were almost a decade in the past, and Rossini's about a decade away. Stylistically, though, we are closer to the classical than the bel canto. The various ensembles (including extended finales to each of the two acts) are reminiscent of Mozart -- Salieri obviously learned much from his great contemporary. Some of the numbers, too, have an element of opera seria parody, just as we find, say, in Fiordiligi's aria "Come scoglio" in "Cosi fan tutte".

While it must be admitted that Salieri does not muster the depth of pscyhological insight into character that is a hallmark of Mozart's greatness, nor the effervescent sparkle which enlivens Rossini's comic operas, this is nonetheless a delightful work, which should give pleasure to anyone who enjoys the late classical Viennese style.

If you wish to sample this lovely fare, try the lively Overture, which is a rondo based on a contredanse theme, that makes prominent use of the woodwinds, and ends in a blaze of glory a la Beethoven (who was, of course, Salieri's pupil). Another highglight is Falstaff's Act I aria ("Nell'impero di Cupido"), which is somewhat reminiscent of Bartolo's Act I aria in "Figaro" and even seems to look ahead to some of Rossini's buffo patter songs (I am thinking in particular of Don Magnifico's Act III aria in "Cenerentola").

The performance here, by authentic Italian forces, does justice to the idiomatic character of classical Italian opera buffa. So much of the action takes place in secco recitatives -- those bits of quasi-sung, quasi-spoken dialogue accompanied only by basso continuo -- and it is essential, as here, that the singers impart the nuance of the Italian language to it. The wonderful ensemble is ably supported by Alberto Veronesi and his Milanese forces. (An odd feature I noticed is that the continuo instrument in the recitatives is a fortepiano, whereas in the musical numbers it is a harpsichord. Is this supposed to be an authentic touch? There is no explanation in the notes.)

I wish to single out in particular the brilliant Florentine baritone, Romano Franceschetto, who carries on the great tradition of buffo baritones such as Giuseppe Taddei, Sesto Bruscantini, and more recently Claudio Desderi, who brings an acute, agile, intelligent mind and voice to his musical numbers and who does a beautiful job in the recitatives. In fact listening to the recitatives I almost thought I was listening to Bruscantini or Taddei.

Gluck is supposed to have said of a piece of Salieri's, "Puzza di musica" -- "It reeks of music" -- and if you listen to this recording you will understand why Gluck held his disciple in such esteem. It is worth noting that Salieri held the most important musical job in Europe -- court composer to the Habsburg Imperial court -- and numbered Gluck, Haydn, and Mozart as friends and colleagues, and Beethoven, Schubert, Hummel, and Liszt as pupils. If you want to get an insight into this interesting composer, who lived at such a pivotal time in the history of music and made his small but not trivial contribution to it, forget "Amadeus", try this recording. It will have you asking for more.

Salieri was no joke.......2001-08-13

Despite our compatriot's words to the contrary, Antonio Salieri was a magnificent composer who has composed some of the most moving scenes in all of operatic music. It is unfair to compare any musician to another since each musician has his/her own way of viewing a work and approaching that work. Mozart, obviously, would have taken a different approach to Falstaff just as Handel, Bach, Beethoven, Ligeti, or even Durufle would have taken. Each composer is unique and as true music lovers we must respect this and also respect Salieri's important, yet, unfortunately, mostly forgotten gargantuan comtribution to classical music.

Near worthless!.......2000-05-10

How can one listen to this work without comparing it to those of Mozart? I couldn't, and it's like comparing sewer water to a fine red wine- there is no comparision.

This opera is completely dull, uninspiring, unimaginitve, and just plain boring! I much prefer the classical period to that of the romantic, but i also much prefer Verdi's Falstaff to this one.

While it is true Amadeus exaggerated the rivilary between Mozart and Salieri, Salieri's jealousy was very much real. He did recognize Mozart's devine talent.

Furthermore, Salieri was not the incompetent composer Amadeus made him out to be. In fact, for that time period he was very compentent and as good as almost all the other composers of his day. The problem? Mozart far exceeded anything composers of that day, or since could put out! It always amazing me that Salieri and many composers were paid twice as much as Mozart for turning out work that was half as genious, half as brilliant, have as imaginative, and have as miraculous as Mozart's music was. Furthermore, Mozart was offered commissions (many) only after Salieri first turned them down.

The Marriage of Figaro and Don Giovanni - arguably the two greatest operas ever composeed, failed in Vienna- while the operas of Salieri were smash hits! The "musical capital" of the world was totally inept when it came to recognizing great music! Most people don't know it, but the premiere of Figaro in Prague was one of the greatest triumphs in operatic history. Mozart was thrilled and wrote in symphony in honor of the people of Prague. That led to the commission of Don Giovanni, which was a triumph as well in Prague, but failed in Vienna upon it's transfer there prompting Mozart to declare, "My Praguers, they understand me."

There is a reason why Mozart is regarded as the greatest. Mozart is simply stunning beauty and perfection with no equal.

This opera is near garbage. Salieri's Axur is quite nice- but still far from the level of Mozart.

Salieri was envious of Mozart- and with good reason. And for that reason- Salieri was a smart man. In a time when Vienna tossed their great musical gift (Mozart) by the wayside, Salieri recognized it.

If you don't have all Mozart operas- get them first!

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

A worthwhile issue of an opera composer whose dozens of works (i.e. Axur, re d'Ormus, Les Danaides, La Locandiera, etc.) are still little-known. A good recording of the Salieri's comedy, I enjoyed it. The arias are few, the ensembles many with complicated finales. However, I loved this recording wich embraces a remarkable teamwork, and is full of life and fun. It is very much an 18th-century opera buffa which takes liberties with Shakespeare's original (no Anne and Fenton; Mrs. Ford visits Falstaff disguised as a German woman - an excuse for comic mixture of German and Italian dialogue; only the Fords run any risk of marital separation) but which offers several enjoyable parodies of opera seria conventions. Falstaff, is one of Salieri's last operas (Vienna, 1799), and one of the first to derive its plot from Shakespeare's The Merry Wives of Windsor (later composers like Adolphe-Charles Adam, and Guisseppe Verdi composed operas on the same subject during the 19th century). The music of Salieri has remained forgotten (besides the fictional treatment of Salieri's supposed rivalry with Mozart in Peter Shaffer's study of jealousy, Amadeus), his name a foot-note in the lives of his pupils Beethoven and Schubert.

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

Average customer rating:

Salieri: Falstaff

Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009HXQ
Release Date: 1994-04-18

Antonio Salieri. Falstaff. Jozsef Gregor. Maria Zempleni

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Antonio Salieri. Falstaff. Jozsef Gregor. Maria Zempleni

Manufacturer: Hungaroton
ProductGroup: Classical
Binding: Audio CD
ASIN: B000K6MVQA

Product Description

Antonio Salieri. Falstaff. Jozsef Gregor. Maria Zempleni. Salieri Chamber Chorus, Salieri Chamber Orchestra/Tamas Pal.

Average customer rating:

Salieri: Falstaff
Pierre-Yves Pruvot , Salomé Haller , Simon Edwards , Nighel Smith , Hjördis Thébault , Jean-Claude Malgoire , and Antonio Salieri
Manufacturer: Dynamic Italy
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music
ASIN: B00008ZL6R
Release Date: 2003-04-22

Amazon.com

Salieri's Falstaff is nothing like Verdi's. The whole feel is lighter and more operetta-like; there are many arias and ensembles, most of them brief. The period instrument ensemble under Jean-Claude Malgoire plays the pure classical score with verve (this was recorded on stage), highlighting the tangy wind writing. The characterizations are to the point, with an aria of rage for Mr. Ford (here, a tenor, the on-the-money Simon Edwards); a cute, telling duet for Mrs. Ford and Mrs. Slender (Salomé Heller and Hjördis Thébault, respectively [Slender is the Meg Page character in Verdi]) when they receive the identical love letters from Falstaff; and flavorful music for Bardolf, Falstaff's servant, which is a bigger role than in Verdi--nicely sung by Raimonds Spogis. Baritone Pierre-Yves Pruvot as Falstaff manages to avoid mugging while at the same time finding all the absurdity in the character. It's a charming evening's entertainment, occasionally quite funny; the action moves quickly and pointedly, the dry recitatives are frequent but never too long, and when they do go on, the cast here is clever and involved enough to make them dramatically viable. A charmer, in short. --Robert Levine

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