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- W2089688566 abstract "Before the action of Verdi’s last opera begins, Falstaff’s two untrustworthy companions, Bardolfo and Pistola, have shamelessly picked the pockets of their drinking companion Dr Caius. When the doctor takes them to task in the opening scene for doing such a deed, they mock his oath never again to drink with them in a pompous ceremony borrowed from the church. ‘Amen!’ they exclaim one after the other, in a long rhapsody of ‘A’ sounds (see example 1). In this little phrase not only the word ‘Amen’ makes reference to the church: so does the music. Singing many notes to one syllable, with two equally important melodic lines pitted against each other, was a technique typical of church music; indeed, imitative counterpoint was a hallmark of sacred music in the sixteenth century. The reference to sacred music is not the only one in Falstaff. The church returns in the final scene of the opera, when Falstaff has been tricked into being afraid of a fictitious Black Hunter" @default.
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- W2089688566 date "2005-01-01" @default.
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- W2089688566 title "The Plays of Art Are for a Playful Art: History, Puzzles, and Play in Verdi's Falstaff" @default.
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- W2089688566 doi "https://doi.org/10.1353/utq.2005.0244" @default.
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