Statements (162)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:opera
gptkb:play |
| gptkbp:action |
three acts
|
| gptkbp:adaptation |
gptkb:film_adaptation
gptkb:musical gptkb:opera gptkb:The_Merry_Wives_of_Windsor_(film) gptkb:film The Merry Wives of Windsor (opera) various adaptations in different languages |
| gptkbp:based_on |
The Merry Wives of Windsor by William Shakespeare
|
| gptkbp:character |
gptkb:Dr._Caius
gptkb:Fenton gptkb:Mistress_Quickly gptkb:Sir_Hugh_Evans gptkb:Anne_Page gptkb:Bardolph gptkb:weapons Nym |
| gptkbp:character_relationships |
gptkb:Falstaff_and_the_Merry_Wives
Anne Page and her suitors Dr. Caius and Anne Page Falstaff and Mistress Ford Falstaff and Mistress Page Falstaff and the men of Windsor Fenton and Anne Page Mistress Ford and Mistress Page Mistress Ford and her husband Mistress Page and her husband Slender and Anne Page the Welshman and the Englishmen the servants and their masters Falstaff and Ford Mistress Page and Mistress Ford Page and Ford |
| gptkbp:composer |
gptkb:Otto_Nicolai
|
| gptkbp:critical_reception |
generally positive
mixed reviews upon release appreciated for its humor celebrated for its character development analyzed for its themes of gender roles regarded as one of Shakespeare's lighter works |
| gptkbp:cultural_impact |
performed worldwide
inspired adaptations influenced modern comedy influenced modern comedies studied in literature courses featured in literary discussions reference in popular culture studied in schools influenced other playwrights adapted into musicals inspired parodies and adaptations inspired scholarly analysis performed in various theaters worldwide subject of critical essays adapted into television productions included in academic curricula performed at Shakespeare festivals |
| gptkbp:famous_for |
its humor
its strong female characters its clever dialogue its exploration of social norms |
| gptkbp:features_character |
gptkb:Anne_Page
|
| gptkbp:first_performance |
gptkb:Berlin
1602 |
| gptkbp:genre |
gptkb:comedy
comic opera |
| https://www.w3.org/2000/01/rdf-schema#label |
The Merry Wives of Windsor
|
| gptkbp:influence |
gptkb:theater
gptkb:literature inspired adaptations in various media inspired other operas inspired other comedies |
| gptkbp:influenced |
subsequent comedies
|
| gptkbp:influenced_by |
gptkb:Italian_Commedia_dell'arte
|
| gptkbp:inspiration |
inspired literature
inspired adaptations in various media inspired music inspired theatrical performances |
| gptkbp:language |
gptkb:German
Early Modern English English |
| gptkbp:legacy |
influenced comedic storytelling
part of the Shakespearean canon remains popular in modern theatre |
| gptkbp:length |
approximately 2 hours
|
| gptkbp:libretto |
gptkb:Salomon_Hermann_Mosenthal
|
| gptkbp:main_character |
gptkb:Falstaff
gptkb:Mistress_Ford gptkb:Mistress_Page |
| gptkbp:notable_aria |
' Mein lieber Freund'
|
| gptkbp:notable_character |
gptkb:Falstaff
gptkb:Mistress_Ford gptkb:Mistress_Page |
| gptkbp:notable_performance |
gptkb:Berlin_State_Opera
gptkb:Royal_Opera_House gptkb:Vienna_State_Opera |
| gptkbp:notable_quote |
“ I do suspect the lusty Moor hath leaped into my seat.”
“ I’ll be revenged on the whole pack of you.” “ I am glad to see you.” “ The better part of Valour, is Discretion.” “ Why, then the world’s mine oyster.” “ I do suspect there’s more to this than meets the eye.” “ I am glad to see you well.” “ I will not be a mistress to you.” “ I’ll not be a mistress to a man.” “ Why then the world’s mine oyster.” “ I do suspect there’s more than truth in this.” |
| gptkbp:notable_themes |
gptkb:marriage
gptkb:revenge gptkb:social_class gptkb:deception gptkb:friendship |
| gptkbp:orchestration |
gptkb:orchestra
|
| gptkbp:original_language |
Early Modern English
|
| gptkbp:performance_tradition |
performed in modern adaptations
performed at the Globe Theatre performed at the Royal Shakespeare Company performed in educational settings performed in festivals performed in various adaptations |
| gptkbp:plot |
the importance of community
the theme of love the theme of loyalty the theme of revenge the resolution of misunderstandings the role of social class Falstaff's attempts to woo two married women the wives' schemes to outsmart Falstaff Falstaff's schemes to woo two married women the comedic elements of disguise the theme of love and fidelity the use of humor to address serious themes the wives' clever retaliation |
| gptkbp:premiere |
1849
|
| gptkbp:published |
1623
|
| gptkbp:published_in |
gptkb:First_Folio
1623 Quarto |
| gptkbp:published_year |
1602
|
| gptkbp:recordings |
available on CD
|
| gptkbp:set_in |
gptkb:Windsor,_England
|
| gptkbp:setting |
gptkb:Windsor,_England
Elizabethan England |
| gptkbp:sung_in |
gptkb:German
|
| gptkbp:thematic_element |
gptkb:marriage
gptkb:deception love |
| gptkbp:theme |
gptkb:marriage
gptkb:deception gptkb:friendship |
| gptkbp:themes |
gptkb:marriage
gptkb:social_class gptkb:deception |
| gptkbp:written_by |
gptkb:William_Shakespeare
|
| gptkbp:bfsParent |
gptkb:Shakespeare
gptkb:Ford gptkb:William_Shakespeare gptkb:Dame_Judi_Dench gptkb:Falstaff |
| gptkbp:bfsLayer |
4
|