https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=802 Index de Elizabethan lyrics fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=788 Among the dozen settings of Shakespeare’s domestic comedy to music, few have stood the test of time. Only three have remained on the stage and enjoy various degrees of popularity: Otto Nicolai’s Lustigen Weiber von Windsor (1849), a fantasy comic‑opera in three acts on a libretto by Herman Salomon Rosenthal, Giuseppe Verdi’s Falstaff (1893) on a libretto by Arrigo Boito based on the Bard’s comedy and Ralph Vaughan Williams’s SirJohn in Love (1930) on a libretto of his own after Shakespeare’s play. As the study of emblematic scenes of the play set to music indicates, –the basket scene and the forest episode, for example –, each opera apprehends Shakespeare at different times and for different purposes. Nicolai’s singspiel, whoselibretto sticks fairly close to the original, via the A. W. Schlegel and Ludwig Tieck translations, belongs to the Romantic period of Mendelssohn, Weber and Lortzing, vindicates women. Boito’s libretto for Verdi’s opera, which drastically condenses the play in six scenes and incorporates material from Henry IV, derives from Boito’s desire to give the fat knight the more subtle substance of the historical play as a way to claim the Bard as part of Italy’s European culture. Vaughan Williams’s Sir John springs from his experience as musical director to Frank Benson’s 1913 Shakespeare’s company at Stratford which included the Merry Wives and liberally interpolates Elizabethan lyrics and English folksong when needed to emphasize his opera’s love interest and thus paint a « Mermaid Tavern » picture of England’s mythical Golden age, all contributing to the Shakespeare myth. mer., 22 avril 2015 15:30:57 +0200 sam., 28 déc. 2019 14:48:55 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=788