What is "falstaff"

Falstaff \Falstaff\ prop. n. Sir John Falstaff, a celebrated character in Shakespeare's historical play " Henry IV." (1st and 2d parts), and also in " The Merry Wives of Windsor." He is a very fat, sensual, and witty old knight; a swindler, drunkard, and good-tempered liar; and something of a coward. Falstaff was originally called Sir John Oldcastle. The first actor of the part was John Heminge.

Note: Shakespeare found the name of John Oldcastle in the ... older play of "Henry V."; in the Chronicle he found a John Oldcastle, who was page to the Duke of Norfolk who plays a part in "Richard II."; and this, according to Shakespeare, his Falstaff (Oldcastle) had been in his youth. When the poet wrote his "Henry IV." he knew not who this Oldcastle was, whom he had rendered so distinct with the designation as Norfolk's page; he was a Lord Cobham [Sir John Oldcastle, known as the good lord Cobham], who had perished as a Lollard and Wickliffite in the persecution of the church under Henry V. The Protestants regarded him as a holy martyr, the Catholics as a heretic; the latter seized with eagerness this description of the fat poltroon, and gave it out as a portrait of Lord Cobham, who was indeed physically and mentally his contrast. The family complained of this misuse of a name dear to them, and Shakespeare declared in the epilogue to "Henry IV." that Cobham was in his sight also a martyr, and that "this was not the man." At the same time, he changed the name to Falstaff, but this was of little use; in spite of the express retraction, subsequent Catholic writers on church history still declared Falstaff to be a portrait of the heretic Cobham. But it is a strange circumstance that even now under the name of Falstaff another historical character is again sought for, just as if it were impossible for such a vigorous form not to be a being of reality. It was referred to John Fastolfe, whose cowardice is more stigmatised in "Henry VI." than history justifies; and this too met with public blame, although Shakespeare could have again asserted that he intended Fastolfe as little as Cobham.
--Gervinus, Shakespeare Commentaries (tr. by K E. Bunnett, [ed. 1880), p. 800.

Sir John Falstaff is a fictional character who appears in three plays by William Shakespeare. In the plays Henry IV, Part 1 and Part 2, he is a companion to Prince Hal, the future King Henry V. In The Merry Wives of Windsor, he is the buffoonish suitor of two married women.

Though primarily a comic figure, Falstaff still embodies a kind of depth common to Shakespeare's major characters. A fat, vain, boastful, and cowardly knight, he spends most of his time drinking at the Boar's Head Inn with petty criminals, living on stolen or borrowed money. Falstaff leads the apparently wayward Prince Hal into trouble, and is ultimately repudiated after Hal becomes king.

In Act II, Scene III of Henry V, his death is described by Mistress Quickly in terms that reference Plato's description of the death of Socrates.

Falstaff has since appeared in other media, notably in operas by Giuseppe Verdi, Ralph Vaughan Williams and Otto Nicolai. The operas focus on his role in The Merry Wives of Windsor.

Falstaff is an opera in three acts by the Italian composer Giuseppe Verdi (18131901). The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. The work premiered on 9 February 1893 at La Scala, Milan.

Verdi wrote Falstaff, which was the last of his 28 operas, as he was approaching the age of 80. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight, Sir John Falstaff, to seduce two married women to gain access to their husbands' wealth.

Verdi was concerned about working on a new opera at his advanced age, but he yearned to write a comic work and was pleased with Boito's draft libretto. It took the collaborators three years from mid-1889 to complete. Although the prospect of a new opera from Verdi aroused immense interest in Italy and around the world, Falstaff did not prove to be as popular as earlier works in the composer's canon. After the initial performances in Italy, other European countries and the US, the work was neglected until the conductor Arturo Toscanini insisted on its revival at La Scala and the Metropolitan Opera in New York from the late 1890s into the next century. Some felt that the piece suffered from a lack of the full-blooded melodies of the best of Verdi's previous operas, a view strongly contradicted by Toscanini. Conductors of the generation after Toscanini to champion the work included Herbert von Karajan, Georg Solti and Leonard Bernstein. The work is now part of the regular operatic repertory.

Verdi made numerous changes to the music after the first performance, and editors have found difficulty in agreeing on a definitive score. The work was first recorded in 1932 and has subsequently received many studio and live recordings. Singers closely associated with the title role have included Victor Maurel (the first Falstaff), Mariano Stabile, Giuseppe Valdengo, Tito Gobbi, Geraint Evans and Bryn Terfel.

Falstaff was a British sounding rocket used during the 1970s as part of the Chevaline programme to improve the penetrability of the Polaris nuclear missile. It was the largest UK rocket with a solid booster ever launched.

The work was well received at its première in 1913, but did not inspire the great enthusiasm aroused by some of Elgar's earlier works. The composer thought it his finest orchestral piece, and many Elgar admirers agree, but it has not become a popular favourite. Compared to other Elgar works, it is infrequently played in the concert hall, although it is well represented in the CD catalogues.

Falstaff is a Shakespearean character in the Henry IV plays and in The Merry Wives of Windsor.

Falstaff or Fallstaff may also refer to:

Falstaff, ossia Le tre burle (Falstaff, or The Three Jokes) is a dramma giocoso in two acts by Antonio Salieri, set to a libretto by Carlo Prospero Defranceschi after William Shakespeare's The Merry Wives of Windsor.

One of the earliest operatic versions of Shakespeare's play, Salieri's Falstaff is notable for a general compression and streamlining of the original plot, note the absence of the two young lovers, Fenton and Anne, and the addition of a scene in which Mistress Ford pretends to be German to charm Falstaff (actually two such scenes exist, one in a separate score by Salieri was probably omitted from the original Viennese productions). Defranceschi moves the plot and structure away from Elizabethan drama and closer to the standard conventions of late 18th century opera buffa.

Highlights include the Sinfonia (overture) in the style of contra dances. The entire opera shows the influence of Mozart's Le nozze di Figaro, which was being successfully revived at the time. Among the musical highlights, besides the sinfonia, are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counterpoint; traits that have helped return Falstaff to the playing boards.