Low winds mirror the foul mood of this opera's protagonist as he pouts about a "thieving world, knavish world, wicked world." In this last act of this opera, a man sings that "a mouth once kissed loses not its future," and his offstage lover adds "rather, it renews itself like the moon." The librettist of this opera invented new words such as "sugliardo" and "falsardo" for Act II, scene II, during which the title character endures sixty-four lines of insults. This opera ends with an explosive grand chorus in which the protagonist proclaims that "Everything in the world is a jest." The protagon
Low winds mirror the foul mood of this opera's protagonist as he pouts about a "thieving world, knavish world, wicked world." In this last act of this opera, a man sings that "a mouth once kissed loses not its future," and his offstage lover adds "rather, it renews itself like the moon." The librettist of this opera invented new words such as "sugliardo" and "falsardo" for Act II, scene II, during which the title character endures sixty-four lines of insults. This opera ends with an explosive grand chorus in which the protagonist proclaims that "Everything in the world is a jest." The protagonist of this opera meets up with a woman strumming a lute and recalls when he was (*) slimmer in his light-hearted aria "Quand'ero paggio," and he had earlier rejoiced about his apparent romantic success with the aria "Va vecchio, John." In this opera, Nanetta and Fenton share an intimate moment while Mistress Quickly and Mistress Ford stuff the title character into a laundry hamper. For 10 points, name this adaptation of Shakespeare's Henry IV and The Merry Wives of Windsor, composed by Verdi
Low winds mirror the foul mood of this opera's protagonist as he pouts about a "thieving world, knavish world, wicked world.
Falstaff