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National Oceanic and Atmospheric Administration

The National Oceanic and Atmospheric Administration (abbreviated as NOAA ) is a US scientific and regulatory agency charged with forecasting weather, monitoring oceanic and atmospheric conditions, charting the seas, conducting deep-sea exploration, and managing fishing and protection of marine mammals and endangered species in the US exclusive economic zone. The agency is part of the United States Department of Commerce and is headquartered in Silver Spring, Maryland.

History

NOAA traces its history back to multiple agencies, some of which are among the earliest in the federal government:
 * United States Coast and Geodetic Survey, formed in 1807
 * Weather Bureau of the United States, formed in 1870
 * Bureau of Commercial Fisheries, formed in 1871, research fleet only
 * Coast and Geodetic Survey Corps, formed in 1917

The most direct predecessor of NOAA was the Environmental Science Services Administration (ESSA), into which several existing scientific agencies such as the United States Coast and Geodetic Survey, the Weather Bureau and the uniformed Corps were absorbed in 1965.

NOAA was established within the Department of Commerce via the Reorganization Plan No. 4, and formed on October 3, 1970, after U.S. President Richard Nixon proposed creating a new agency to serve a national need for "better protection of life and property from natural hazards... for a better understanding of the total environment... [and] for exploration and development leading to the intelligent use of our marine resources".

NOAA is a part of the Department of Commerce rather than the Department of Interior, because of a feud between President Nixon and his interior secretary, Wally Hickel, over the Nixon Administration's Vietnam War policy. Nixon did not like Hickel's letter urging Nixon to listen to the Vietnam War demonstrators, and punished Hickel by not putting NOAA in the Interior Department.

In 2007, NOAA celebrated 200 years of service in its role as successor to the U.S. Survey of the Coast.

NOAA was officially formed in 1970. In 2021, NOAA had 11,833 civilian employees. Its research and operations are further supported by 321 uniformed service members, who make up the NOAA Commissioned Corps.

Silver Spring Campus
Since 1993, NOAA's administrative headquarters has been located at the Silver Spring Metro Center office complex in downtown Silver Spring, Maryland. The consolidated 1.2 million SF, four-building campus was constructed in 1993 and is home to over 40 NOAA sub-agencies and offices, including the National Weather Service.

NOAA administrator
Richard (Rick) W. Spinrad is the 11th and current Under Secretary for Oceans and Atmosphere and NOAA Administrator. He was nominated by President Biden, and his nomination was confirmed by the US Senate on June 17, 2021, by voice vote. He was sworn in on June 23, 2021.

From February 25, 2019, to January 20, 2021, Neil Jacobs, Assistant Secretary of Commerce for Environmental Observation and Prediction, served as acting Under Secretary of Commerce for Oceans and Atmosphere at the US Department of Commerce and as NOAA's interim administrator. Jacobs succeeded Timothy Gallaudet, who succeeded Benjamin Friedman. The three served in series as NOAA's interim administrator throughout the Trump Administration. In October 2017, Barry Lee Myers, CEO of AccuWeather, was proposed to be the agency's administrator by the Trump Administration. After two years in the nomination process, on November 21, 2019, Myers withdrew his name from consideration due to health concerns.

Proposal to make NOAA an Independent Agency
NOAA was created by an executive order in 1970 and has never been established in law, despite its critical role. In January 2023, The Washington Post reported that Congressman Frank Lucas, the new chair of the House Science, Space and Technology Committee, had released draft legislation to make NOAA an independent agency, rather than it being part of the Commerce Department. Lucas' push was in response to Republican leaders who had signaled plans to slash funding for agencies and programs that continued to receive annual appropriations, but had not been reauthorized by Congress. "It's been made quite clear in the Republican conference that my friends don't want to fund programs that are not properly authorized," said Lucas. "NOAA is very important, so we need to get it authorized."

NOAA services
NOAA works toward its mission through six major line offices: the National Environmental Satellite, Data, and Information Service (NESDIS), the National Marine Fisheries Service (NMFS), the National Ocean Service (NOS), the National Weather Service (NWS), the Office of Oceanic and Atmospheric Research (OAR) and the Office of Marine and Aviation Operations (OMAO). NOAA has more than a dozen staff offices, including the Office of the Federal Coordinator for Meteorology, the NOAA Central Library, the Office of Program Planning and Integration (PPI).

National Weather Service
The National Weather Service (NWS) is tasked with providing "weather, hydrologic and climate forecasts and warnings for the United States, its territories, adjacent waters and ocean areas, for the protection of life and property and the enhancement of the national economy", according to NOAA. This is done through a collection of national and regional centers, 13 river forecast centers (RFCs), and more than 120 local weather forecast offices (WFOs). They are charged with issuing weather and river forecasts, advisories, watches, and warnings on a daily basis. They issue more than 734,000 weather and 850,000 river forecasts, and more than 45,000 severe weather warnings annually. NOAA data is also relevant to the issues of climate change and ozone depletion.

The NWS operates NEXRAD, a nationwide network of Doppler weather radars which can detect precipitation and their velocities. Many of their products are broadcast on NOAA Weather Radio, a network of radio transmitters that broadcasts weather forecasts, severe weather statements, watches and warnings 24 hours a day.

National Ocean Service
The National Ocean Service (NOS) focuses on ensuring that ocean and coastal areas are safe, healthy, and productive. NOS scientists, natural resource managers, and specialists serve America by ensuring safe and efficient marine transportation, promoting innovative solutions to protect coastal communities, and conserving marine and coastal places.

The National Ocean Service is composed of eight program offices: the Center for Operational Oceanographic Products and Services, the Office for Coastal Management, the National Centers for Coastal Ocean Science, the Office of Coast Survey, the Office of National Geodetic Survey, the Office of National Marine Sanctuaries, the Office of Ocean and Coastal Resource Management, and the Office of Response and Restoration.

There are two NOS programs, the Mussel Watch Contaminant Monitoring Program and the NOAA Integrated Ocean Observing System (IOOS). There are two staff offices, the International Program Office and the Management and Budget Office.

National Environmental Satellite, Data, and Information Service
The National Environmental Satellite, Data, and Information Service (NESDIS) was created by NOAA to operate and manage the US environmental satellite programs, and manage NWS data and those of other government agencies and departments. NESDIS's National Centers for Environmental Information (NCEI) archives data collected by the NOAA, U.S. Navy, U.S. Air Force, the Federal Aviation Administration, and meteorological services around the world. It comprises the Center for Weather and Climate, previously NOAA's National Climatic Data Center, the National Coastal Data Development Center (NCDDC), the National Oceanographic Data Center (NODC), and the National Geophysical Data Center (NGDC)).

In 1960, TIROS-1, NASA's first owned and operated geostationary satellite, was launched. Since 1966, NESDIS has managed polar orbiting satellites (POES). Since 1974, it has operated geosynchronous satellites (GOES). In 1979, NOAA's first polar-orbiting environmental satellite was launched. Current operational satellites include NOAA-15, NOAA-18, NOAA-19, GOES 13, GOES 14, GOES 15, Jason-2 and DSCOVR. In 1983, NOAA assumed operational responsibility for the Landsat satellite system.

Since May 1998, NESDIS has operated the Defense Meteorological Satellite Program (DMSP) satellites on behalf of the Air Force Weather Agency.

New generations of satellites are developed to succeed the current polar orbiting and geosynchronous satellites, the Joint Polar Satellite System, and GOES-R, which launched in November, 2016.

NESDIS runs the Office of Projects, Planning, and Analysis (OPPA) formerly the Office of Systems Development, the Office of Satellite Ground Systems (formerly the Office of Satellite Operations) the Office of Satellite and Project Operations, the Center for Satellite Applications and Research (STAR)], the Joint Polar Satellite System Program Office the GOES-R Program Office, the International & Interagency Affairs Office, the Office of Space Commerce and the Office of System Architecture and Advanced Planning.

National Marine Fisheries Service
The National Marine Fisheries Service (NMFS), also known as NOAA Fisheries, was initiated in 1871 with a primary goal of the research, protection, management, and restoration of commercial and recreational fisheries and their habitat, and protected species. The NMFS operates twelve headquarters offices, five regional offices, six fisheries science centers, and more than 20 laboratories throughout the United States and U.S. territories, which are the sites of research and management of marine resources. The NMFS operates the National Oceanic and Atmospheric Administration Fisheries Office of Law Enforcement in Silver Spring, Maryland, which is the primary site of marine resource law enforcement.

Office of Oceanic and Atmospheric Research
NOAA's research, conducted through the Office of Oceanic and Atmospheric Research (OAR), is the driving force behind NOAA environmental products and services that protect life and property and promote economic growth. Research, conducted in OAR laboratories and by extramural programs, focuses on enhancing our understanding of environmental phenomena such as tornadoes, hurricanes, climate variability, solar flares, changes in the ozone, air pollution transport and dispersion, El Niño/La Niña events, fisheries productivity, ocean currents, deep sea thermal vents, and coastal ecosystem health. NOAA research also develops innovative technologies and observing systems.

The NOAA Research network consists of seven internal research laboratories, extramural research at 30 Sea Grant university and research programs, six undersea research centers, a research grants program through the Climate Program Office, and 13 cooperative institutes with academia. Through NOAA and its academic partners, thousands of scientists, engineers, technicians, and graduate students participate in furthering our knowledge of natural phenomena that affect the lives of us all.

The Air Resources Laboratory (ARL) is one of the laboratories in the Office of Oceanic and Atmospheric Research. It studies processes and develops models relating to climate and air quality, including the transport, dispersion, transformation and removal of pollutants from the ambient atmosphere. The emphasis of the ARL's work is on data interpretation, technology development and transfer. The specific goal of ARL research is to improve and eventually to institutionalize prediction of trends, dispersion of air pollutant plumes, air quality, atmospheric deposition, and related variables.

The Atlantic Oceanographic and Meteorological Laboratory (AOML), is part of NOAA's Office of Oceanic and Atmospheric Research, located in Miami, Florida. AOML's research spans hurricanes, coastal ecosystems, oceans, and human health, climate studies, global carbon systems, and ocean observations. AOML's organizational structure consists of an Office of the Director and three scientific research divisions, Physical Oceanography, Ocean Chemistry and Ecosystems, and Hurricane Research. The Office of the Director oversees the Laboratory's scientific programs, as well as its financial, administrative, computer, outreach/education, and facility management services.

Research programs are augmented by the Cooperative Institute for Marine and Atmospheric Studies (CIMAS), a joint enterprise with the University of Miami's Rosenstiel School of Marine and Atmospheric Science. CIMAS enables AOML and university scientists to collaborate on research areas of mutual interest and facilitates the participation of students and visiting scientists. AOML is a member of a unique community of marine research and educational institutions located on Virginia Key in Miami, Florida.

In 1977, the Pacific Marine Environmental Laboratory (PMEL) deployed the first successful moored equatorial current meter – the beginning of the Tropical Atmosphere Ocean, TAO, array. In 1984, the Tropical Ocean-Global Atmosphere program (TOGA) program began.

The Arctic Report Card is the annual update charts of the ongoing impact of changing conditions on the environment and community by NOAA. In 2019, it was compiled by 81 scientists from 12 nations.

Office of Marine and Aviation Operations
The Office of Marine and Aviation Operations is responsible for the fleet of NOAA ships, aircraft, and diving operations. It is the largest research fleet in the Federal government. Its personnel is made up of federal civil service employees and NOAA Corps Commissioned Officers. The office is led by a NOAA Corps two-star Rear Admiral, who also commands the NOAA Corps.

National Geodetic Survey
The National Geodetic Survey (NGS) is a major surveying organization in the United States.

National Integrated Drought Information System
The National Integrated Drought Information System is a program within NOAA with an interagency mandate to coordinate and integrate drought research, building upon existing federal, tribal, state, and local partnerships in support of creating a national drought early warning information system.

NOAA Commissioned Officer Corps
The NOAA Commissioned Officer Corps is a uniformed service of men and women who operate NOAA ships and aircraft, and serve in scientific and administrative posts.

Intergovernmental Panel on Climate Change
Since 2001, the organization has hosted the senior staff and recent chair, Susan Solomon, of the Intergovernmental Panel on Climate Change's working group on climate science.

Hurricane Dorian controversy
Hurricane Dorian was an extremely powerful and destructive tropical cyclone that devastated the northwestern Bahamas and caused significant damage to the Southeastern United States and Atlantic Canada in September 2019. By September 1, NOAA had issued a statement saying that the "current forecast path of Dorian does not include Alabama". However, on that date, President Donald Trump tweeted that Alabama, among other states, "will most likely be hit (much) harder than anticipated".

Shortly thereafter, the Birmingham, Alabama office of the National Weather Service issued a tweet that appeared to contradict Trump, saying that Alabama "will NOT see any impacts from Dorian". On September 6, NOAA published a statement from an unidentified spokesperson supporting Trump's September 1 claim. The statement also labelled the Birmingham, Alabama branch of the National Weather Service's contradiction of Trump as incorrect. The New York Times reported that the NOAA September 6 statement was prompted by a threat from U.S. Commerce Secretary Wilbur Ross to fire high-level NOAA staff unless they supported Trump's claim. The Department of Commerce described this report as "false".

Meanwhile, The Washington Post reported that NOAA had twice ordered National Weather Service employees not to provide "any opinion" on Hurricane Dorian and to "only stick with official National Hurricane Center forecasts". The first order came after Trump's September 1 comments and the Birmingham, Alabama National Weather Service's contradiction of Trump. The second order came on September 4 after Trump displayed an August 29 map that was altered with a black marker to show that Hurricane Dorian may hit Alabama.

On September 9, speaking at an Alabama National Weather Service (NWS) meeting the Director of the National Weather Service gave a speech supporting Birmingham NWS and said the team "stopped public panic" and "ensured public safety". He said that when Birmingham issued their instructions they were not aware that the calls they were receiving were a result of Trump's tweet. The acting chief scientist and assistant administrator for the ocean and atmospheric research said he is "pursuing the potential violations" of the agency's scientific integrity policy.

Flag
The NOAA flag is a modification of the flag of one of its predecessor organizations, the United States Coast and Geodetic Survey. The Coast and Geodetic Survey's flag, authorized in 1899 and in use until 1970, was blue, with a white circle centered in it and a red triangle centered within the circle. It symbolized the use of triangulation in surveying, and was flown by ships of the Survey.

When NOAA was established in 1970 and the Coast and Geodetic Survey's assets became a part of NOAA, NOAA based its own flag on that of the Coast and Geodetic Survey. The NOAA flag is, in essence, the Coast and Geodetic Survey flag, with the NOAA logo—a circle divided by the silhouette of a seabird into an upper dark blue and a lower light blue section, but with the "NOAA" legend omitted—centered within the red triangle. NOAA ships in commission display the NOAA flag; those with only one mast fly it immediately beneath the ship's commissioning pennant or the personal flag of a civilian official or flag officer if one is aboard the ship, while multi masted vessels fly it at the masthead of the forwardmost mast. NOAA ships fly the same ensign as United States Navy ships but fly the NOAA flag as a distinguishing mark to differentiate themselves from Navy ships.


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Crocodile

Crocodiles (family Crocodylidae) or true crocodiles are large semiaquatic reptiles that live throughout the tropics in Africa, Asia, the Americas and Australia. The term crocodile is sometimes used even more loosely to include all extant members of the order Crocodilia, which includes the alligators and caimans (family Alligatoridae), the gharial and false gharial (family Gavialidae) among other extinct taxa.

Although they appear similar, crocodiles, alligators and the gharial belong to separate biological families. The gharial, with its narrow snout, is easier to distinguish, while morphological differences are more difficult to spot in crocodiles and alligators. The most obvious external differences are visible in the head, with crocodiles having narrower and longer heads, with a more V-shaped than a U-shaped snout compared to alligators and caimans. Another obvious trait is that the upper and lower jaws of the crocodiles are the same width, and the teeth in the lower jaw fall along the edge or outside the upper jaw when the mouth is closed; therefore, all teeth are visible, unlike an alligator, which possesses in the upper jaw small depressions into which the lower teeth fit. Also, when the crocodile's mouth is closed, the large fourth tooth in the lower jaw fits into a constriction in the upper jaw. For hard-to-distinguish specimens, the protruding tooth is the most reliable feature to define the species' family. Crocodiles have more webbing on the toes of the hind feet and can better tolerate saltwater due to specialized salt glands for filtering out salt, which are present, but non-functioning, in alligators. Another trait that separates crocodiles from other crocodilians is their much higher levels of aggression.

Crocodile size, morphology, behaviour and ecology differ somewhat among species. However, they have many similarities in these areas as well. All crocodiles are semiaquatic and tend to congregate in freshwater habitats such as rivers, lakes, wetlands and sometimes in brackish water and saltwater. They are carnivorous animals, feeding mostly on vertebrates such as fish, reptiles, birds and mammals, and sometimes on invertebrates such as molluscs and crustaceans, depending on species and age. All crocodiles are tropical species that, unlike alligators, are very sensitive to cold. They separated from other crocodilians during the Eocene epoch, about 55 million years ago. Many species are at the risk of extinction, some being classified as critically endangered.

Etymology
The word crocodile comes from the Ancient Greek krokódilos meaning 'lizard', used in the phrase ho krokódilos tou potamoú, "the lizard of the (Nile) river". There are several variant Greek forms of the word attested, including the later form krokódeilos found cited in many English reference works. In the Koine Greek of Roman times, krokodilos and krokodeilos would have been pronounced identically, and either or both may be the source of the Latinized form crocodīlus used by the ancient Romans. It has been suggested, but it is not certain that the word crocodilos or crocodeilos is a compound of krokè ('pebbles'), and drilos/dreilos ('worm'), although drilos is only attested as a colloquial term for 'penis'. It is ascribed to Herodotus, and supposedly describes the basking habits of the Egyptian crocodile.

The form crocodrillus is attested in Medieval Latin. It is not clear whether this is a medieval corruption or derives from alternative Greco-Latin forms (late Greek corcodrillos and corcodrillion are attested). A (further) corrupted form cocodrille is found in Old French and was borrowed into Middle English as cocodril(le). The Modern English form crocodile was adapted directly from the Classical Latin crocodīlus in the 16th century, replacing the earlier form. The use of -y- in the scientific name Crocodylus (and forms derived from it) is a corruption introduced by Laurenti (1768).

Taxonomy and phylogeny
Crocodylidae was named as a family by Georges Cuvier in 1807. It belongs to the larger superfamily Crocodyloidea, which also includes additional extinct crocodile relatives. These all belong to the order Crocodilia, which also includes alligators and gharials.

Crocodylidae is cladistically defined as a crown group composed of the last common ancestor of the Nile crocodile (Crocodylus niloticus), the Dwarf crocodile (Osteolaemus tetraspis), and all of its descendants. It contains two subfamilies: Crocodylinae and Osteolaeminae. Crocodylinae contains 13-14 living species, as well as 6 extinct species. Osteolaeminae was named by Christopher Brochu in 2003 as a subfamily of Crocodylidae separate from Crocodylinae, and contains the two extant genera Osteolaemus and Mecistops, along with several extinct genera. The number of extant species within Osteolaeminae is currently in question.
 * Subfamily Crocodylinae
 * Genus Crocodylus
 * Crocodylus acutus, American crocodile
 * Crocodylus halli, Hall's New Guinea crocodile found South of the New Guinea Highlands
 * Crocodylus intermedius, Orinoco crocodile
 * Crocodylus johnsoni, freshwater crocodile, or Johnstone's crocodile
 * Crocodylus mindorensis, Philippine crocodile
 * Crocodylus moreletii, Morelet's crocodile or Mexican crocodile
 * Crocodylus niloticus, Nile crocodile or African crocodile (the subspecies found in Madagascar is sometimes called the black crocodile)
 * Crocodylus novaeguineae, New Guinea crocodile found North of the New Guinea Highlands
 * Crocodylus palustris, mugger, marsh or Indian crocodile
 * Crocodylus porosus, saltwater crocodile or estuarine crocodile
 * Crocodylus raninus, the Borneo crocodile, is currently considered to be a synonym of Crocodylus porosus; whether or not it is a distinct species remains unclear.
 * Crocodylus rhombifer, Cuban crocodile
 * Crocodylus siamensis, Siamese crocodile (may be extinct in the wild)
 * Crocodylus suchus, West African crocodile, desert or sacred crocodile
 * Crocodylus anthropophagus
 * Crocodylus checchiai
 * Crocodylus falconensis
 * Crocodylus palaeindicus
 * Crocodylus thorbjarnarsoni
 * Genus Voay
 * Voay robustus (formerly Crocodylus robustus)
 * Subfamily Osteolaeminae
 * Genus Osteolaemus
 * Osteolaemus tetraspis, dwarf crocodile (There has been controversy as to whether or not this is actually two species; recent (2010) DNA analysis indicate three distinct species: O. tetraspis, O. osborni and a third, currently unnamed.)
 * Genus Mecistops
 * Mecistops cataphractus West African slender-snouted crocodile
 * Mecistops leptorhynchus Central African slender-snouted crocodile
 * Genus Brochuchus
 * Brochuchus pigotti (formerly Crocodylus pigotti)
 * Brochuchus parvidens
 * Genus Euthecodon
 * Euthecodon nitriae
 * Euthecodon brumpti
 * Euthecodon arambourgi
 * Genus Rimasuchus
 * Rimasuchus lloydi (formerly Crocodylus lloydi)

Phylogeny
Recent molecular studies using DNA sequencing have shown crocodiles to be more closely related to the gavialids rather than to alligators, contrary to prior theories based on morphological studies alone.

Below is a cladogram showing the relationships of the major extant crocodile groups based on molecular studies, excluding separate extinct taxa:

Below is a more detailed cladogram of Crocodylidae, based on a 2021 study using paleogenomics that extracted DNA from the extinct Voay.

Alternatively, some morphological studies have recovered Mecistops as a basal member of Crocodylinae, more closely related to Crocodylus than to Osteolaemus and the other members of Osteolaeminae, as shown in the cladogram below.

Species

A total of 18 extant species have been recognized. Further genetic study is needed for the confirmation of proposed species under the genus Osteolaemus.

Characteristics
A crocodile's physical traits allow it to be a successful predator. Its external morphology is a sign of its aquatic and predatory lifestyle. Its streamlined body enables it to swim swiftly; it also tucks its feet to the side while swimming, making it faster by decreasing water resistance. Crocodiles have webbed feet which, though not used to propel them through the water, allow them to make fast turns and sudden moves in the water or initiate swimming. Webbed feet are an advantage in shallow water, where the animals sometimes move around by walking. Crocodiles have a palatal flap, a rigid tissue at the back of the mouth that blocks the entry of water. The palate has a special path from the nostril to the glottis that bypasses the mouth. The nostrils are closed during submergence.

Like other archosaurs, crocodilians are diapsid, although their post-temporal fenestrae are reduced. The walls of the braincase are bony but lack supratemporal and postfrontal bones. Their tongues are not free, but held in place by a membrane that limits movement; as a result, crocodiles are unable to stick out their tongues. Crocodiles have smooth skin on their bellies and sides, while their dorsal surfaces are armoured with large osteoderms. The armoured skin has scales and is thick and rugged, providing some protection. They are still able to absorb heat through this armour, as a network of small capillaries allows blood through the scales to absorb heat. The osteoderms are highly vascularised and aid in calcium balance, both to neutralize acids while the animal cannot breathe underwater and to provide calcium for eggshell formation. Crocodilian tegument have pores believed to be sensory in function, analogous to the lateral line in fishes. They are particularly seen on their upper and lower jaws. Another possibility is that they are secretory, as they produce an oily substance which appears to flush mud off.

Size
Size greatly varies among species, from the dwarf crocodile to the saltwater crocodile. Species of the dwarf crocodile Osteolaemus grow to an adult size of just 1.5 to 1.9 m, whereas the saltwater crocodile can grow to sizes over 6 m and weigh over 1000 kg. Several other large species can reach over 5.2 m long and weigh over 900 kg. Crocodilians show pronounced sexual dimorphism, with males growing much larger and more rapidly than females. Despite their large adult sizes, crocodiles start their lives at around 20 cm long. The largest species of crocodile is the saltwater crocodile, found in eastern India, northern Australia, throughout South-east Asia, and in the surrounding waters.

The brain volume of two adult crocodiles was 5.6 cm3 for a spectacled caiman and 8.5 cm3 for a larger Nile crocodile.

The largest crocodile ever held in captivity is a saltwater–Siamese hybrid named Yai (ใหญ่, meaning big; born 10 June 1972) at the Samutprakarn Crocodile Farm and Zoo, Thailand. This animal measures 6 m in length and weighs 1200 kg.

The longest crocodile captured alive was Lolong, a saltwater crocodile which was measured at 6.17 m and weighed at 1075 kg by a National Geographic team in Agusan del Sur Province, Philippines.

Teeth
Crocodiles are polyphyodonts; they are able to replace each of their 80 teeth up to 50 times in their 35- to 75-year lifespan. Next to each full-grown tooth, there is a small replacement tooth and an odontogenic stem cell in the dental lamina in standby that can be activated if required.

Biology and behaviour
Crocodilians are more closely related to birds and dinosaurs than to most animals classified as reptiles, the three families being included in the group Archosauria ('ruling reptiles'). Despite their prehistoric look, crocodiles are among the more biologically complex reptiles. Unlike other reptiles, a crocodile has a cerebral cortex and a four-chambered heart. Crocodilians also have the functional equivalent of a diaphragm by incorporating muscles used for aquatic locomotion into respiration. Salt glands are present in the tongues of crocodiles and they have a pore opening on the surface of the tongue, a trait that separates them from alligators. Salt glands are dysfunctional in Alligatoridae. Their function appears to be similar to that of salt glands in marine turtles. Crocodiles do not have sweat glands and release heat through their mouths. They often sleep with their mouths open and may pant like a dog. Four species of freshwater crocodile climb trees to bask in areas lacking a shoreline.

Senses
Crocodiles have acute senses, an evolutionary advantage that makes them successful predators. The eyes, ears and nostrils are located on top of the head, allowing the crocodile to lie low in the water, almost totally submerged and hidden from prey.

Vision
Crocodiles have very good night vision, and are mostly nocturnal hunters. They use the disadvantage of most prey animals' poor nocturnal vision to their advantage. The light receptors in crocodilians' eyes include cones and numerous rods, so it is assumed all crocodilians can see colours. Crocodiles have vertical-slit shaped pupils, similar to those of domestic cats. One explanation for the evolution of slit pupils is that they exclude light more effectively than a circular pupil, helping to protect the eyes during daylight. On the rear wall of the eye is a tapetum lucidum, which reflects incoming light back onto the retina, thus utilizing the small amount of light available at night to best advantage. In addition to the protection of the upper and lower eyelids, crocodiles have a nictitating membrane (sometimes called a "third eye-lid") that can be drawn over the eye from the inner corner while the lids are open. The eyeball surface is thus protected under the water while a certain degree of vision is still possible.

Olfaction
Crocodilian sense of smell is also very well developed, aiding them to detect prey or animal carcasses that are either on land or in water, from far away. It is possible that crocodiles use olfaction in the egg prior to hatching.

Chemoreception in crocodiles is especially interesting because they hunt in both terrestrial and aquatic surroundings. Crocodiles have only one olfactory chamber and the vomeronasal organ is absent in the adults indicating all olfactory perception is limited to the olfactory system. Behavioural and olfactometer experiments indicate that crocodiles detect both air-borne and water-soluble chemicals and use their olfactory system for hunting. When above water, crocodiles enhance their ability to detect volatile odorants by gular pumping, a rhythmic movement of the floor of the pharynx. Crocodiles close their nostrils when submerged, so olfaction underwater is unlikely. Underwater food detection is presumably gustatory and tactile.

Hearing
Crocodiles can hear well; their tympanic membranes are concealed by flat flaps that may be raised or lowered by muscles.

Touch
The touch sensors, concentrated in crocodile skin, can be thicker than those in human fingerprints. Crocodiles can feel the touch on their skin.

Cranial: The upper and lower jaws are covered with sensory pits, visible as small, black speckles on the skin, the crocodilian version of the lateral line organs seen in fish and many amphibians, though arising from a completely different origin. These pigmented nodules encase bundles of nerve fibers innervated beneath by branches of the trigeminal nerve. They respond to the slightest disturbance in surface water, detecting vibrations and small pressure changes as small as a single drop. This makes it possible for crocodiles to detect prey, danger and intruders, even in total darkness. These sense organs are known as domed pressure receptors (DPRs).

Post-Cranial: While alligators and caimans have DPRs only on their jaws, crocodiles have similar organs on almost every scale on their bodies. The function of the DPRs on the jaws is clear; to catch prey, but it is still not clear what the function is of the organs on the rest of the body. The receptors flatten when exposed to increased osmotic pressure, such as that experienced when swimming in sea water hyperosmotic to the body fluids. When contact between the integument and the surrounding sea water solution is blocked, crocodiles are found to lose their ability to discriminate salinities. It has been proposed that the flattening of the sensory organ in hyperosmotic sea water is sensed by the animal as "touch", but interpreted as chemical information about its surroundings. This might be why in alligators they are absent on the rest of the body.

Hunting and diet
Crocodiles are ambush predators, waiting for fish or land animals to come close, then rushing out to attack. Crocodiles mostly eat fish, amphibians, crustaceans, molluscs, birds, reptiles, and mammals, and they occasionally cannibalize smaller crocodiles. What a crocodile eats varies greatly with species, size and age. From the mostly fish-eating species, like the slender-snouted and freshwater crocodiles, to the larger species like the Nile crocodile and the saltwater crocodile that prey on large mammals, such as buffalo, deer and wild boar, diet shows great diversity. Diet is also greatly affected by the size and age of the individual within the same species. All young crocodiles hunt mostly invertebrates and small fish, gradually moving on to larger prey. Being ectothermic (cold-blooded) predators, they have a very slow metabolism, so they can survive long periods without food. Despite their appearance of being slow, crocodiles have a very fast strike and are top predators in their environment, and various species have been observed attacking and killing other predators such as sharks and big cats. Crocodiles are also known to be aggressive scavengers who feed upon carrion and steal from other predators. Evidence suggests that crocodiles also feed upon fruits, based on the discovery of seeds in stools and stomachs from many subjects as well as accounts of them feeding.

Crocodiles have the most acidic stomach of any vertebrate. They can easily digest bones, hooves and horns. The BBC TV reported that a Nile crocodile that has lurked a long time underwater to catch prey builds up a large oxygen debt. When it has caught and eaten that prey, it closes its right aortic arch and uses its left aortic arch to flush blood loaded with carbon dioxide from its muscles directly to its stomach; the resulting excess acidity in its blood supply makes it much easier for the stomach lining to secrete more stomach acid to quickly dissolve bulks of swallowed prey flesh and bone. Many large crocodilians swallow stones (called gastroliths or stomach stones), which may act as ballast to balance their bodies or assist in crushing food, similar to grit ingested by birds. Herodotus claimed that Nile crocodiles had a symbiotic relationship with certain birds, such as the Egyptian plover, which enter the crocodile's mouth and pick leeches feeding on the crocodile's blood; with no evidence of this interaction actually occurring in any crocodile species, it is most likely mythical or allegorical fiction.

Bite
Since they feed by grabbing and holding onto their prey, they have evolved sharp teeth for piercing and holding onto flesh, and powerful muscles to close the jaws and hold them shut. The teeth are not well-suited to tearing flesh off of large prey items as are the dentition and claws of many mammalian carnivores, the hooked bills and talons of raptorial birds, or the serrated teeth of sharks. However, this is an advantage rather than a disadvantage to the crocodile since the properties of the teeth allow it to hold onto prey with the least possibility of the prey animal escaping. Cutting teeth, combined with the exceptionally high bite force, would pass through flesh easily enough to leave an escape opportunity for prey. The jaws can bite down with immense force, by far the strongest bite of any animal. The force of a large crocodile's bite is more than 5000 lbf, which was measured in a 5.5 m Nile crocodile, in the field; comparing to 335 lbf for a Rottweiler, 800 lbf for a hyena, 2200 lbf for an American alligator, and 4095 lbf for the largest confirmed great white shark.

A 5.2 m long saltwater crocodile has been confirmed as having the strongest bite force ever recorded for an animal in a laboratory setting. It was able to apply a bite force value of 3700 lbf, and thus surpassed the previous record of 2125 lbf made by a 3.9 m long American alligator. Taking the measurements of several 5.2 m crocodiles as reference, the bite forces of 6-m individuals were estimated at 7700 lbf. The study, led by Dr. Gregory M. Erickson, also shed light on the larger, extinct species of crocodilians. Since crocodile anatomy has changed only slightly over the last 80 million years, current data on modern crocodilians can be used to estimate the bite force of extinct species. An 11 to(-) Deinosuchus would apply a force of 23100 lbf, nearly twice that of the latest, higher bite force estimations of Tyrannosaurus (12814 lbf). The extraordinary bite of crocodilians is a result of their anatomy. The space for the jaw muscle in the skull is very large, which is easily visible from the outside as a bulge at each side. The muscle is so stiff, it is almost as hard as bone to touch, as if it were the continuum of the skull. Another trait is that most of the muscle in a crocodile's jaw is arranged for clamping down. Despite the strong muscles to close the jaw, crocodiles have extremely small and weak muscles to open the jaw. Crocodiles can thus be subdued for study or transport by taping their jaws or holding their jaws shut with large rubber bands cut from automobile inner tubes.

Locomotion
Crocodiles can move quickly over short distances, even out of water. The land speed record for a crocodile is 17 km/h measured in a galloping Australian freshwater crocodile. Maximum speed varies between species. Some species can gallop, including Cuban crocodiles, Johnston's crocodiles, New Guinea crocodiles, African dwarf crocodiles, and even small Nile crocodiles. The fastest means by which most species can move is a "belly run", in which the body moves in a snake-like (sinusoidal) fashion, limbs splayed out to either side paddling away frantically while the tail whips to and fro. Crocodiles can reach speeds of 10 - 11 km/h when they "belly run", and often faster if slipping down muddy riverbanks. When a crocodile walks quickly, it holds its legs in a straighter and more upright position under its body, which is called the "high walk". This walk allows a speed of up to 5 km/h.

Crocodiles may possess a homing instinct. In northern Australia, three rogue saltwater crocodiles were relocated 400 km by helicopter, but returned to their original locations within three weeks, based on data obtained from tracking devices attached to them.

Longevity
Measuring crocodile age is unreliable, although several techniques are used to derive a reasonable guess. The most common method is to measure lamellar growth rings in bones and teeth—each ring corresponds to a change in growth rate which typically occurs once a year between dry and wet seasons. Bearing these inaccuracies in mind, it can be safely said that all crocodile species have an average lifespan of at least 30–40 years, and in the case of larger species an average of 60–70 years. The oldest crocodiles appear to be the largest species. C. porosus is estimated to live around 70 years on average, with limited evidence of some individuals exceeding 100 years.

In captivity, some individuals are claimed to have lived for over a century. A male crocodile lived to an estimated age of 110–115 years in a Russian zoo in Yekaterinburg. Named Kolya, he joined the zoo around 1913 to 1915, fully grown, after touring in an animal show, and lived until 1995. A male freshwater crocodile lived to an estimated age of 120–140 years at the Australia Zoo. Known affectionately as "Mr. Freshie", he was rescued around 1970 by Bob Irwin and Steve Irwin, after being shot twice by hunters and losing an eye as a result, and lived until 2010. Crocworld Conservation Centre, in Scottburgh, South Africa, claims to have a male Nile crocodile that was born in 1900. Named Henry, the crocodile is said to have lived in Botswana along the Okavango River, according to centre director Martin Rodrigues.

Social behaviour and vocalization
Crocodiles are the most social of reptiles. Even though they do not form social groups, many species congregate in certain sections of rivers, tolerating each other at times of feeding and basking. Most species are not highly territorial, with the exception of the saltwater crocodile, which is a highly territorial and aggressive species: a mature, male saltwater crocodile will not tolerate any other males at any time of the year, but most other species are more flexible. There is a certain form of hierarchy in crocodiles: the largest and heaviest males are at the top, having access to the best basking site, while females are priority during a group feeding of a big kill or carcass. A good example of the hierarchy in crocodiles would be the case of the Nile crocodile. This species clearly displays all of these behaviours. Studies in this area are not thorough, however, and many species are yet to be studied in greater detail. Mugger crocodiles are also known to show toleration in group feedings and tend to congregate in certain areas. However, males of all species are aggressive towards each other during mating season, to gain access to females.

Crocodiles are also the most vocal of all reptiles, producing a wide variety of sounds during various situations and conditions, depending on species, age, size and sex. Depending on the context, some species can communicate over 20 different messages through vocalizations alone. Some of these vocalizations are made during social communication, especially during territorial displays towards the same sex and courtship with the opposite sex; the common concern being reproduction. Therefore most conspecific vocalization is made during the breeding season, with the exception being year-round territorial behaviour in some species and quarrels during feeding. Crocodiles also produce different distress calls and in aggressive displays to their own kind and other animals; notably other predators during interspecific predatory confrontations over carcasses and terrestrial kills.

Specific vocalisations include —

 * Chirp: When about to hatch, the young make a "peeping" noise, which encourages the female to excavate the nest. The female then gathers the hatchlings in her mouth and transports them to the water, where they remain in a group for several months, protected by the female
 * Distress call: A high-pitched call used mostly by younger animals to alert other crocodiles to imminent danger or an animal being attacked.
 * Threat call: A hissing sound that has also been described as a coughing noise.
 * Hatching call: Emitted by a female when breeding to alert other crocodiles that she has laid eggs in her nest.
 * Bellowing: Male crocodiles are especially vociferous. Bellowing choruses occur most often in the spring when breeding groups congregate, but can occur at any time of year. To bellow, males noticeably inflate as they raise the tail and head out of water, slowly waving the tail back and forth. They then puff out the throat and with a closed mouth, begin to vibrate air. Just before bellowing, males project an infrasonic signal at about 10 Hz through the water, which vibrates the ground and nearby objects. These low-frequency vibrations travel great distances through both air and water to advertise the male's presence and are so powerful they result in the water's appearing to "dance".

Reproduction
Crocodiles lay eggs, which are laid in either holes or mound nests, depending on species. A hole nest is usually excavated in sand and a mound nest is usually constructed out of vegetation. Nesting periods range from a few weeks up to six months. Courtship takes place in a series of behavioural interactions that include a variety of snout rubbing and submissive display that can take a long time. Mating always takes place in water, where the pair can be observed mating several times. Females can build or dig several trial nests which appear incomplete and abandoned later. Egg-laying usually takes place at night and about 30–40 minutes. Females are highly protective of their nests and young. The eggs are hard shelled, but translucent at the time of egg-laying. Depending on the species of crocodile, 7 to 95 eggs are laid. Crocodile embryos do not have sex chromosomes, and unlike humans, sex is not determined genetically. Sex is determined by temperature, where at 30 °C or less most hatchlings are females and at 31 °C, offspring are of both sexes. A temperature of 32 to 33 °C gives mostly males whereas above 33 °C in some species continues to give males, but in other species resulting in females, which are sometimes called high-temperature females. Temperature also affects growth and survival rate of the young, which may explain the sexual dimorphism in crocodiles. The average incubation period is around 80 days, and also is dependent on temperature and species that usually ranges from 65 to 95 days. The eggshell structure is very conservative through evolution but there are enough changes to tell different species apart by their eggshell microstructure. Scutes may play a role in calcium storage for eggshell formation.

At the time of hatching, the young start calling within the eggs. They have an egg-tooth at the tip of their snouts, which is developed from the skin, and that helps them pierce out of the shell. Hearing the calls, the female usually excavates the nest and sometimes takes the unhatched eggs in her mouth, slowly rolling the eggs to help the process. The young is usually carried to the water in the mouth. She would then introduce her hatchlings to the water and even feed them. The mother would then take care of her young for over a year before the next mating season. In the absence of the mother crocodile, the father would act in her place to take care of the young. However, even with a sophisticated parental nurturing, young crocodiles have a very high mortality rate due to their vulnerability to predation. A group of hatchlings is called a pod or crèche and may be protected for months.

Cognition
Crocodiles possess some advanced cognitive abilities. They can observe and use patterns of prey behaviour, such as when prey come to the river to drink at the same time each day. Vladimir Dinets of the University of Tennessee, observed that crocodiles use twigs as bait for birds looking for nesting material. They place sticks on their snouts and partly submerge themselves. When the birds swooped in to get the sticks, the crocodiles then catch the birds. Crocodiles only do this in spring nesting seasons of the birds, when there is high demand for sticks to be used for building nests. Vladimir also discovered other similar observations from various scientists, some dating back to the 19th century. Aside from using sticks, crocodiles are also capable of cooperative hunting. Large numbers of crocodiles swim in circles to trap fish and take turns snatching them. In hunting larger prey, crocodiles swarm in, with one holding the prey down as the others rip it apart.

According to a 2015 study, crocodiles engage in all three main types of play behaviour recorded in animals: locomotor play, play with objects and social play. Play with objects is reported most often, but locomotor play such as repeatedly sliding down slopes, and social play such as riding on the backs of other crocodiles is also reported. This behaviour was exhibited with conspecifics and mammals and is apparently not uncommon, though has been difficult to observe and interpret in the past due to obvious dangers of interacting with large carnivores.

Danger to humans
The larger species of crocodiles are very dangerous to humans, mainly because of their ability to strike before the person can react. The saltwater crocodile and Nile crocodile are the most dangerous, killing hundreds of people each year in parts of Southeast Asia and Africa. The mugger crocodile and American crocodile are also dangerous to humans.

Crocodile products
Crocodiles are protected in many parts of the world, but are also farmed commercially. Their hides are tanned and used to make leather goods such as shoes and handbags; crocodile meat is also considered a delicacy. The most commonly farmed species are the saltwater and Nile crocodiles, while a hybrid of the saltwater and the rare Siamese crocodile is also bred in Asian farms. Farming has resulted in an increase in the saltwater crocodile population in Australia, as eggs are usually harvested from the wild, so landowners have an incentive to conserve their habitat. Crocodile leather can be made into goods such as wallets, briefcases, purses, handbags, belts, hats, and shoes. Crocodile oil has been used for various purposes. Crocodiles were eaten by Vietnamese while they were taboo and off limits for Chinese. Vietnamese women who married Chinese men adopted the Chinese taboo.

Crocodile meat is consumed in some countries, such as Australia, Ethiopia, Thailand, South Africa, China, and Cuba (in pickled form). It is also occasionally eaten as an "exotic" delicacy in the western world. Cuts of meat include backstrap and tail fillet.

Due to high demand for crocodile products, TRAFFIC states that 1,418,487 Nile Crocodile skins were exported from Africa between 2006 and 2015.

Crocodile hunting and conservation
Aboriginal Australians harvested eggs and hunted crocodiles in a sustainable way for many thousands of years. The Brinkin people (aka Marrithiyal) of the Daly River in the Northern Territory (NT) used harpoons and bamboo, and even their own hands to capture crocodiles for food. After settlement of northern Australia, in the late-19th and early 20th centuries, non-Indigenous people killed individual crocodiles, mostly by locals to protect the population, or novelty-seeking visitors, or just opportunistically, so numbers were not noticeably reduced. From the 1930s, commercial hunting began, with Aboriginal people often employed to kill the crocodiles using traditional methods. From the 1940s to the 1960s, hunting began on a larger scale using .303 rifles. They were hunted for leather, with the skins shipped to plants in capital cities. Western Australia banned hunting freshwater crocodiles in 1962 and saltwater crocodiles in 1970, while NT bans were brought in 1964 and 1971; Queensland did not pass such legislation. The federal government later banned the export of crocodile skins, which brought commercial hunting to an end in Queensland. They have been a protected species since the 1970s, when numbers were down to approximately 3,000 in the NT at the lowest estimate. In 2021, after several attacks on humans by the "salties" and an estimated population of around 200,000 had been reached, Queensland politician Bob Katter called for the reintroduction of hunting.

In religion and mythology
Crocodiles have appeared in various forms in religions across the world. Ancient Egypt had Sobek, the crocodile-headed god, with his cult-city Crocodilopolis, as well as Taweret, the goddess of childbirth and fertility, with the back and tail of a crocodile. The Jukun shrine in the Wukari Federation, Nigeria is dedicated to crocodiles in thanks for their aid during migration. In Madagascar various peoples such as the Sakalava and Antandroy see crocodiles as ancestor spirits and under local fady often offer them food; in the case of the latter at least a crocodile features prominently as an ancestor deity.

Crocodiles appear in different forms in Hinduism. Varuna, a Vedic and Hindu god, rides a part-crocodile makara; his consort Varuni rides a crocodile. Similarly the goddess personifications of the Ganga and Yamuna rivers are often depicted as riding crocodiles. Also in India, in Goa, crocodile worship is practised, including the annual Mannge Thapnee ceremony.

Sikh warriors known as nihang also have connections with crocodiles. Nihang may come from the Persian word for a mythical sea creature. The term owes its origin to Mughal historians, who compared the ferocity of the Akali with that of crocodiles. The meaning of Akali in Sikhism however, is the immortal army of Akal (god).

In Latin America, Cipactli was the giant earth crocodile of the Aztec and other Nahua peoples. The name of Surabaya,Indonesia, is locally believed to be derived from the words "suro" (shark) and "boyo" (crocodile), two creatures which, in a local myth, fought each other in order to gain the title of "the strongest and most powerful animal" in the area. It was said that the two powerful animals agreed for a truce and set boundaries; that the shark's domain would be in the sea while the crocodile's domain would be on the land. However one day the shark swam into the river estuary to hunt, this angered the crocodile, who declared it his territory. The Shark argued that the river was a water-realm which meant that it was shark territory, while the crocodile argued that the river flowed deep inland, so it was therefore crocodile territory. A ferocious fight resumed as the two animals bit each other. Finally the shark was badly bitten and fled to the open sea, and the crocodile finally ruled the estuarine area that today is the city. Another source alludes to a Jayabaya prophecy—a 12th-century psychic king of Kediri Kingdom—as he foresaw a fight between a giant white shark and a giant white crocodile taking place in the area, which is sometimes interpreted as a foretelling of the Mongol invasion of Java, a major conflict between the forces of the Kublai Khan, Mongol ruler of China, and those of Raden Wijaya's Majapahit in 1293. The two animals are now used as the city's symbol, with the two facing and circling each other, as depicted in a statue appropriately located near the entrance to the city zoo (see photo on the Surabaya page).

In language and as symbols

The term "crocodile tears" (and equivalents in other languages) refers to a false, insincere display of emotion, such as a hypocrite crying fake tears of grief. It is derived from an ancient anecdote that crocodiles weep in order to lure their prey, or that they cry for the victims they are eating, first told in the Bibliotheca by Photios I of Constantinople. The story is repeated in bestiaries such as De bestiis et aliis rebus. This tale was first spread widely in English in the stories of the Travels of Sir John Mandeville in the 14th century, and appears in several of Shakespeare's plays. In fact, crocodiles can and do generate tears, but they do not actually cry.

In the UK, a row of schoolchildren walking in pairs, or two by two is known as "crocodile".

Fashion logos
The French clothing company Lacoste features a crocodile in its logo. The American shoe company Crocs also uses this imagery in its logo.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Crocodile


text:
Falstaff (opera)

Falstaff is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2, by William Shakespeare. The work premiered on 9 February 1893 at La Scala, Milan.

Verdi wrote Falstaff, the last of his 26 operas, as he approached 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 that Toscanini strongly opposed. 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 standard 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, Bryn Terfel and Ambrogio Maestri.

Conception
By 1889 Verdi had been an opera composer for more than fifty years. He had written 27 operas, of which only one was a comedy, his second work, Un giorno di regno, staged unsuccessfully in 1840. His fellow composer Rossini commented that he admired Verdi greatly, but thought him incapable of writing a comedy. Verdi disagreed and said that he longed to write another light-hearted opera, but nobody would give him the chance. He had included moments of comedy even in his tragic operas, for example in Un ballo in maschera and La forza del destino.

For a comic subject Verdi considered Cervantes' Don Quixote and plays by Goldoni, Molière and Labiche, but found none of them wholly suitable. The singer Victor Maurel sent him a French libretto based on Shakespeare's The Taming of the Shrew. Verdi liked it, but replied that "to deal with it properly you need a Rossini or a Donizetti". Following the success of Otello in 1887 he commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little." He confided his ambition to the librettist of Otello, Arrigo Boito. Boito said nothing at the time, but he secretly began work on a libretto based on The Merry Wives of Windsor with additional material taken from Henry IV, parts 1 and 2. Many composers had set the play to music, with little success, among them Carl Ditters von Dittersdorf (1796), Antonio Salieri (1799), Michael William Balfe (1835) and Adolphe Adam (1856). The first version to secure a place in the operatic repertoire was Otto Nicolai's The Merry Wives of Windsor in 1849, but its success was largely confined to German opera houses.

Boito was doubly pleased with The Merry Wives as a plot. Not only was it Shakespearian, it was based in part on Trecento Italian works – Il Pecorone by Ser Giovanni Fiorentino, and Boccaccio's Decameron. Boito adopted a deliberately archaic form of Italian to "lead Shakespeare's farce back to its clear Tuscan source", as he put it. He trimmed the plot, halved the number of characters in the play, and gave the character of Falstaff more depth by incorporating dozens of passages from Henry IV.

Verdi received the draft libretto a few weeks later, by early July 1889, at a time when his interest had been piqued by reading Shakespeare's play: "Benissimo! Benissimo! ... No one could have done better than you", he wrote back. Like Boito, Verdi loved and revered Shakespeare. The composer did not speak English, but he owned and frequently re-read Shakespeare's plays in Italian translations by Carlo Rusconi and Giulio Carcano, which he kept by his bedside. He had earlier set operatic adaptations of Shakespeare's Macbeth (in 1847) and Othello (in 1887) and had considered King Lear as a subject; Boito had suggested Antony and Cleopatra.

Verdi still had doubts, and on the next day sent another letter to Boito expressing his concerns. He wrote of "the large number of years" in his age, his health (which he admitted was still good) and his ability to complete the project: "if I were not to finish the music?" He said that the project could all be a waste of the younger man's time and distract Boito from completing his own new opera (which became Nerone). Yet, as his biographer Mary Jane Phillips-Matz notes, "Verdi could not hide his delight at the idea of writing another opera". On 10 July 1889 he wrote again: "Amen; so be it! So let's do Falstaff! For now, let's not think of obstacles, of age, of illnesses! I also want to keep the deepest secrecy: a word that I underline three times to you that no one must know anything about it! [He notes that his wife will know about it, but assures Boito that she can keep a secret.] Anyway, if you are in the mood, then start to write."

Composition
Boito's original sketch is lost, but surviving correspondence shows that the finished opera is not greatly different from his first thoughts. The major differences were that an act 2 monologue for Ford was moved from scene 2 to scene 1, and that the last act originally ended with the marriage of the lovers rather than with the lively vocal and orchestral fugue, which was Verdi's idea. He wrote to Boito in August 1889 telling him that he was writing a fugue: "Yes, Sir! A fugue... and a buffa fugue", which "could probably be fitted in".

Verdi accepted the need to trim Shakespeare's plot to keep the opera within an acceptable length. He was sorry, nonetheless, to see the loss of Falstaff's second humiliation, dressed up as the Wise Woman of Brentford to escape from Ford. He wrote of his desire to do justice to Shakespeare: "To sketch the characters in a few strokes, to weave the plot, to extract all the juice from that enormous Shakespearian orange". Shortly after the premiere an English critic, R A Streatfeild, remarked on how Verdi succeeded: "The leading note of [Falstaff]'s character is sublime self-conceit. If his belief in himself were shattered, he would be merely a vulgar sensualist and debauchee. As it is, he is a hero. For one terrible moment in the last act his self-satisfaction wavers. He looks round and sees every one laughing at him. Can it be that he has been made a fool of? But no, he puts the horrible suggestion from him, and in a flash is himself again. 'Son io,' he exclaims with a triumphant inspiration, 'che vi fa scaltri. L'arguzia mia crea l'arguzia degli altri.' ['I am not only witty in myself, but the cause that wit is in other men', a line from Henry IV part 2.] Verdi has caught this touch and indeed a hundred others throughout the opera with astonishing truth and delicacy."

In November Boito took the completed first act to Verdi at Sant'Agata, along with the second act, which was still under construction: "That act has the devil on its back; and when you touch it, it burns", Boito complained. They worked on the opera for a week, then Verdi and his wife Giuseppina Strepponi went to Genoa. No more work was done for some time.

The writer Russ McDonald observes that a letter from Boito to Verdi touches on the musical techniques used in the opera – he wrote of how to portray the characters Nannetta and Fenton: "I can't quite explain it: I would like as one sprinkles sugar on a tart to sprinkle the whole comedy with that happy love without concentrating it at any one point."

The first act was completed by March 1890; the rest of the opera was not composed in chronological order, as had been Verdi's usual practice. The musicologist Roger Parker comments that this piecemeal approach may have been "an indication of the relative independence of individual scenes". Progress was slow, with composition "carried out in short bursts of activity interspersed with long fallow periods" partly caused by the composer's depression. Verdi was weighed down by the fear of being unable to complete the score, and also by the deaths and impending deaths of close friends, including the conductors Franco Faccio and Emanuele Muzio. There was no pressure on the composer to hurry. As he observed at the time, he was not working on a commission from a particular opera house, as he had in the past, but was composing for his own pleasure: "in writing Falstaff, I haven't thought about either theatres or singers". He reiterated this idea in December 1890, a time when his spirits were very low after Muzio's death that November: "Will I finish it [Falstaff]? Or will I not finish it? Who knows! I am writing without any aim, without a goal, just to pass a few hours of the day". By early 1891 he was declaring that he could not finish the work that year, but in May he expressed some small optimism, which by mid-June, had turned into: "The Big Belly ['pancione', the name given to the opera before the composition of Falstaff became public knowledge] is on the road to madness. There are some days when he does not move, he sleeps, and is in a bad humour. At other times he shouts, runs, jumps, and tears the place apart; I let him act up a bit, but if he goes on like this, I will put him in a muzzle and straitjacket."

Boito was overjoyed, and Verdi reported that he was still working on the opera. The two men met in October or November 1891, after which the Verdis were in Genoa for the winter. They were both taken ill there, and two months of work were lost. By mid-April 1892 the scoring of the first act was complete and by June–July Verdi was considering potential singers for roles in Falstaff. For the title role he wanted Victor Maurel, the baritone who had sung Iago in Otello, but at first the singer sought contractual terms that Verdi found unacceptable: "His demands were so outrageous, exorbitant, [and] incredible that there was nothing else to do but stop the entire project". Eventually they reached agreement and Maurel was cast.

By September Verdi had agreed in a letter to his publisher Casa Ricordi that La Scala could present the premiere during the 1892–93 season, but that he would retain control over every aspect of the production. An early February date was mentioned along with the demand that the house would be available exclusively after 2 January 1893 and that, even after the dress rehearsal, he could withdraw the opera: "I will leave the theatre, and [Ricordi] will have to take the score away". The public learned of the new opera towards the end of 1892, and intense interest was aroused, increased rather than diminished by the secrecy with which Verdi surrounded the preparations; rehearsals were in private, and the press was kept at arm's length. Apart from Verdi's outrage at the way that La Scala announced the season's programme on 7 December – "either a revival of Tannhäuser or Falstaff" – things went smoothly in January 1893 up to the premiere performance on 9 February.

Premieres
The first performance of Falstaff was at La Scala in Milan on 9 February 1893, nearly six years after Verdi's previous premiere. For the first night, official ticket prices were thirty times greater than usual. Royalty, aristocracy, critics and leading figures from the arts all over Europe were present. The performance was a huge success under the baton of Edoardo Mascheroni; numbers were encored, and at the end the applause for Verdi and the cast lasted an hour. That was followed by a tumultuous welcome when the composer, his wife and Boito arrived at the Grand Hotel de Milan.

Over the next two months the work was given twenty-two performances in Milan and then taken by the original company, led by Maurel, to Genoa, Rome, Venice, Trieste, Vienna and, without Maurel, to Berlin. Verdi and his wife left Milan on 2 March; Ricordi encouraged the composer to go to the planned Rome performance of 14 April, to maintain the momentum and excitement that the opera had generated. The Verdis, along with Boito and Giulio Ricordi, attended together with King Umberto I and other major royal and political figures of the day. The king introduced Verdi to the audience from the Royal Box to great acclaim, "a national recognition and apotheosis of Verdi that had never been tendered him before", notes Phillips-Matz. During these early performances Verdi made substantial changes to the score. For some of these he altered his manuscript, but for others musicologists have had to rely on the numerous full and piano scores put out by Ricordi. Further changes were made for the Paris premiere in 1894, which are also inadequately documented. Ricordi attempted to keep up with the changes, issuing new edition after new edition, but the orchestral and piano scores were often mutually contradictory. The Verdi scholar James Hepokoski considers that a definitive score of the opera is impossible, leaving companies and conductors to choose between a variety of options. In a 2013 study Philip Gossett disagrees, believing that the autograph is essentially a reliable source, augmented by contemporary Ricordi editions for the few passages that Verdi omitted to amend in his own score.

The first performances outside the Kingdom of Italy were in Trieste and Vienna, in May 1893. The work was given in the Americas and across Europe. The Berlin premiere of 1893 so excited Ferruccio Busoni that he drafted a letter to Verdi, in which he addressed him as "Italy's leading composer" and "one of the noblest persons of our time", and in which he explained that "Falstaff provoked in me such a revolution of spirit that I can ... date [to the experience] the beginning of a new epoch in my artistic life." Antonio Scotti played the title role in Buenos Aires in July 1893; Gustav Mahler conducted the opera in Hamburg in January 1894; a Russian translation was presented in St Petersburg in the same month. Paris was regarded by many as the operatic capital of Europe, and for the production there in April 1894 Boito, who was fluent in French, made his own translation with the help of the Parisian poet Paul Solanges. This translation, approved by Verdi, is quite free in its rendering of Boito's original Italian text. Boito was content to delegate the English and German translations to William Beatty-Kingston and Max Kalbeck respectively. The London premiere, sung in Italian, was at Covent Garden on 19 May 1894. The conductor was Luigi Mancinelli, and Zilli and Pini Corsi repeated their original roles. Falstaff was sung by Arturo Pessina; Maurel played the role at Covent Garden the following season. On 4 February 1895 the work was first presented at the Metropolitan Opera, New York; Mancinelli conducted and the cast included Maurel as Falstaff, Emma Eames as Alice, Zélie de Lussan as Nannetta and Sofia Scalchi as Mistress Quickly.

Neglect
After the initial excitement, audiences quickly diminished. Operagoers were nonplussed by the absence of big traditional arias and choruses. A contemporary critic summed it up: "'Is this our Verdi?' they asked themselves. 'But where is the motive; where are the broad melodies ... where are the usual ensembles; the finales?'" By the time of Verdi's death in 1901 the work had fallen out of the international repertoire, though Gustav Mahler, an admirer of Verdi, led a production of "exceptional quality" in 1904 at the Vienna Court Opera. The rising young conductor Arturo Toscanini was a strong advocate of the work, and did much to save it from neglect. As musical director of La Scala (from 1898) and the Metropolitan Opera (from 1908), he programmed Falstaff from the start of his tenure. Richard Aldrich, music critic of The New York Times, wrote that Toscanini's revival "ought to be marked in red letters in the record of the season. Falstaff, which was first produced here on February 4, 1895, has not been given since the following season, and was heard in these two seasons only half a dozen times in all." Aldrich added that though the general public might have had difficulty with the work, "to connoisseurs it was an unending delight".

In Britain, as in continental Europe and the US, the work fell out of the repertoire. Sir Thomas Beecham revived it in 1919, and recalling in his memoirs that the public had stayed away he commented: "I have often been asked why I think Falstaff is not more of a box-office attraction, and I do not think the answer is far to seek. Let it be admitted that there are fragments of melody as exquisite and haunting as anything that Verdi has written elsewhere, such as the duet of Nanetta and Fenton in the first act and the song of Fenton at the beginning of the final scene, which have something of the lingering beauty of an Indian summer. But in comparison with every other work of the composer, it is wanting in tunes of a broad and impressive character, and one or two of the type of 'O Mia Regina', 'Ritorna Vincitor', or 'Ora per sempre addio' might have helped the situation."

Toscanini recognised that this was the view of many, but he believed the work to be Verdi's greatest opera; he said, "I believe it will take years and years before the general public understand this masterpiece, but when they really know it they will run to hear it like they do now for Rigoletto and La traviata."

Re-emergence
Toscanini returned to La Scala in 1921 and remained in charge there until 1929, presenting Falstaff in every season. He took the work to Germany and Austria in the late 1920s and the 1930s, conducting it in Vienna, Berlin and at three successive Salzburg Festivals. Among those inspired by Toscanini's performances were Herbert von Karajan and Georg Solti, who were among his répétiteurs at Salzburg. Toscanini's younger colleague Tullio Serafin continued to present the work in Germany and Austria after Toscanini refused to perform there because of his loathing of the Nazi regime.

When Karajan was in a position to do so he added Falstaff to the repertoire of his opera company at Aachen in 1941, and he remained a proponent of the work for the rest of his career, presenting it frequently in Vienna, Salzburg and elsewhere, and making audio and video recordings of it. Solti also became closely associated with Falstaff, as did Carlo Maria Giulini; they both conducted many performances of the work in mainland Europe, Britain and the US and made several recordings. Leonard Bernstein conducted the work at the Met and the Vienna State Opera, and on record. The advocacy of these and later conductors has given the work an assured place in the modern repertoire.

Among revivals in the 1950s and later, Hepokoski singles out as particularly notable the Glyndebourne productions with Fernando Corena and later Geraint Evans in the title role; three different stagings by Franco Zeffirelli, for the Holland Festival (1956), Covent Garden (1961) and the Metropolitan Opera (1964); and Luchino Visconti's 1966 version in Vienna. A 1982 production by Ronald Eyre, more reflective and melancholy than usual, was staged in Los Angeles, London and Florence; Renato Bruson was Falstaff and Giulini conducted. Among more recent players of the title role Bryn Terfel has taken the part at Covent Garden in 1999, in a production by Graham Vick, conducted by Bernard Haitink. and at the Metropolitan Opera in a revival of the Zeffirelli production, conducted by James Levine in 2006.

Although Falstaff has become a regular repertoire work there nonetheless remains a view expressed by John von Rhein in the Chicago Tribune in 1985: "Falstaff probably always will fall into the category of 'connoisseur's opera' rather than taking its place as a popular favorite on the order of La traviata or Aida."

Synopsis

 * Time: The reign of Henry IV, 1399 to 1413

 * Place: Windsor, England

Act 1
A room at the Garter Inn

Falstaff and his servants, Bardolfo and Pistola, are drinking at the inn. Dr Caius bursts in and accuses Falstaff of burgling his house and Bardolfo of picking his pocket. Falstaff laughs at him; he leaves, vowing only to go drinking with honest, sober companions in future. When the innkeeper presents a bill for the wine, Falstaff tells Bardolfo and Pistola that he needs more money, and plans to obtain it by seducing the wives of two rich men, one of whom is Ford. Falstaff hands Bardolfo a love-letter to one of the wives (Alice Ford), and hands Pistola an identical letter addressed to the other (Meg). Bardolfo and Pistola refuse to deliver the letters, claiming that honour prevents them from obeying him. Falstaff loses his temper and rants at them, saying that "honour" is nothing but a word, with no meaning (Monologue: "L'onore! Ladri ... !" / "Honour! You rogues ... !") Brandishing a broom, he chases them out of his sight.

Ford's garden

Alice and Meg have received Falstaff's letters. They compare them, see that they are identical and, together with Mistress Quickly and Nannetta Ford, resolve to punish Falstaff. Meanwhile, Bardolfo and Pistola warn Ford of Falstaff's plan. Ford resolves to disguise himself and visit Falstaff and set a trap for him.

A young, handsome fellow called Fenton is in love with Ford's daughter Nannetta, but Ford wants her to marry Dr. Caius, who is wealthy and respected. Fenton and Nannetta enjoy a moment of privacy, but are interrupted by the return of Alice, Meg and Mistress Quickly. The act ends with an ensemble in which the women and the men separately plan revenge on Falstaff, the women gleefully anticipating an enjoyable prank, while the men angrily mutter dire threats.

Act 2
A room at the Garter Inn

Falstaff is alone at the inn. Bardolfo and Pistola, now in the pay of Ford, enter and beg Falstaff to allow them to re-enter his service, secretly planning to spy on him for Ford. Mistress Quickly enters and tells him that Alice is in love with him and will be alone in Ford's home that afternoon, from two o'clock until three o'clock, just time for an amorous dalliance. Falstaff celebrates his potential success ("Va, vecchio John" / "Go, old Jack, go your own way").

Ford arrives, masquerading as a wealthy stranger, using the false name "Signor Fontana". He tells Falstaff that he is in love with Alice, but she is too virtuous to entertain him. He offers to pay Falstaff to use his impressive title and (alleged) charms to seduce her away from her virtuous convictions, after which he ("Fontana") might have a better chance of seducing her himself. Falstaff, delighted at the prospect of being paid to seduce the wealthy and beautiful woman, agrees, and reveals that he already has a rendezvous arranged with Alice for two o'clock – the hour when Ford is always absent from home. Ford is consumed with jealousy, but conceals his feelings. Falstaff withdraws to a private room to change into his finest clothes, and Ford, left alone, reflects on the evil of an uncertain marriage and vows to have revenge ("È sogno o realtà?" / "Is it a dream or reality?"). When Falstaff returns in his finery, they leave together with elaborate displays of mutual courtesy.

A room in Ford's house

The three women plot their strategy ("Gaie Comari di Windsor" / "Merry wives of Windsor, the time has come!"). Alice notices that Nannetta is too unhappy and anxious to share their gleeful anticipation. This is because Ford plans to marry her to Dr Caius, a man old enough to be her grandfather; the women reassure her that they will prevent it. Mistress Quickly announces Falstaff's arrival, and Mistress Ford has a large laundry basket and a screen placed in readiness. Falstaff attempts to seduce Alice with tales of his past youth and glory ("Quand'ero paggio del Duca di Norfolk" / "When I was page to the Duke of Norfolk I was slender"). Mistress Quickly rushes in, shouting that Ford has returned home unexpectedly with a retinue of henchmen to catch his wife's lover. Falstaff hides first behind the screen, but realizes that Ford will likely look for him there. The women urge him to hide in the laundry basket, which he does. In the meantime Fenton and Nannetta hide behind the screen for another moment of privacy. Ford and his men storm in and search for Falstaff, and hear the sound of Fenton and Nannetta kissing behind the screen. They assume it is Falstaff with Alice, but instead they find the young lovers. Ford orders Fenton to leave. Badly cramped and almost suffocating in the laundry hamper, Falstaff moans with discomfort while the men resume the search of the house. Alice orders her servants to throw the laundry basket through the window into the River Thames, where Falstaff endures the jeers of the crowd. Ford, seeing that Alice had never intended to betray him, smiles happily.

Act 3
Before the inn

Falstaff, cold and discouraged, glumly curses the sorry state of the world. Some mulled wine soon improves his mood. Mistress Quickly arrives and delivers another invitation to meet Alice. Falstaff at first wants nothing to do with it, but she persuades him. He is to meet Alice at midnight at Herne's Oak in Windsor Great Park dressed up as the ghost of Herne the Hunter who, according to local superstition, haunts the area near the tree, and appears there at midnight with a band of supernatural spirits. He and Mistress Quickly go inside the inn. Ford has realized his error in suspecting his wife, and they and their allies have been watching secretly. They now concoct a plan for Falstaff's punishment: dressed as supernatural creatures, they will ambush and torment him at midnight. Ford draws Dr. Caius aside and privately proposes a separate plot to marry him to Nannetta: Nannetta will be disguised as Queen of the Fairies, Caius will wear a monk's costume, and Ford will join the two of them with a nuptial blessing. Mistress Quickly overhears and quietly vows to thwart Ford's scheme.

Herne's Oak in Windsor Park on a moonlit midnight

Fenton arrives at the oak tree and sings of his happiness ("Dal labbro il canto estasiato vola" / "From my lips, a song of ecstasy flies") ending with "Lips that are kissed lose none of their allure." Nannetta enters to finish the line with "Indeed, they renew it, like the moon." The women arrive and disguise Fenton as a monk, telling him that they have arranged to spoil Ford's and Caius's plans. Nannetta, as the Fairy Queen, instructs her helpers ("Sul fil d'un soffio etesio" / "On the breath of a fragrant breeze, fly, nimble spirits") before all the characters arrive on the scene. Falstaff's attempted love scene with Alice is interrupted by the announcement that witches are approaching, and the men, disguised as elves and fairies, soundly thrash Falstaff. In the middle of the beating, he recognizes Bardolfo in disguise. The joke is over, and Falstaff acknowledges that he has received his due. Ford announces that a wedding will ensue. Caius and the Queen of the Fairies enter. A second couple, also in masquerade, ask Ford to deliver the same blessing for them as well. Ford conducts the double ceremony. Caius finds that instead of Nannetta, his bride is the disguised Bardolfo, and Ford has unwittingly blessed the marriage of Fenton and Nannetta. Ford accepts the fait accompli with good grace. Falstaff, pleased to find himself not the only dupe, proclaims that all the world is folly, and all are figures of fun ("Tutto nel mondo è burla ... Tutti gabbati!...Ma ride ben chi ride La risata final." / "Everything in the world is a jest ... but he laughs well who laughs the final laugh"). The entire company repeats his proclamation in an exuberant ten-voice fugue.

Music and drama
Verdi scored Falstaff for three flutes (third doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, cimbasso, timpani, percussion (triangle, cymbals, bass drum), harp, and strings. In addition, a guitar, natural horn, and bell are heard from offstage. Unlike most of Verdi's earlier operatic scores, Falstaff is through-composed. No list of numbers is printed in the published full score. The score differs from much of Verdi's earlier work by having no overture: there are seven bars for the orchestra before the first voice (Dr Caius) enters. The critic Rodney Milnes comments that "enjoyment... shines from every bar in its irresistible forward impulse, its effortless melody, its rhythmic vitality, and sureness of dramatic pace and construction." In The New Grove Dictionary of Opera, Roger Parker writes that: "the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession."

The opera was described by its creators as a commedia lirica. McDonald commented in 2009 that Falstaff is very different – a stylistic departure – from Verdi's earlier work. In McDonald's view most of the musical expression is in the dialogue, and there is only one traditional aria. The result is that "such stylistic economy – more sophisticated, more challenging than he had employed before – is the keynote of the work." McDonald argues that consciously or unconsciously, Verdi was developing the idiom that would come to dominate the music of the 20th century: "the lyricism is abbreviated, glanced at rather than indulged. Melodies bloom suddenly and then vanish, replaced by contrasting tempo or an unexpected phrase that introduces another character or idea". In McDonald's view the orchestral writing acts as a sophisticated commentator on the action. It has influenced at least one of Verdi's operatic successors: in 1952 Imogen Holst, musical assistant to Benjamin Britten, wrote, after a performance of Falstaff, "I realised for the first time how much Ben owes to [Verdi]. There are orchestral bits which are just as funny to listen to as the comic instrumental bits in A. Herring!"

The extent to which Falstaff is a "Shakespearian" opera has often been debated by critics. Although the action is taken from The Merry Wives of Windsor, some commentators feel that Boito and Verdi have transmuted Shakespeare's play into a wholly Italian work. The soprano Elisabeth Schwarzkopf believed there was nothing English or Shakespearian about the comedy: "it was all done through the music". In 1961 Peter Heyworth wrote in The Observer, "Because of Shakespeare we like to think of Falstaff as a work that has a certain Englishness. In fact the opera is no more English than Aida is Egyptian. Boito and Verdi between them transformed the fat knight into one of the archetypes of opera buffa." Verdi himself, however, felt that the Falstaff of the opera is not a conventional Italian buffo character, but portrays Shakespeare's fuller, more ambiguous Falstaff of the Henry IV plays: "My Falstaff is not merely the hero of The Merry Wives of Windsor, who is simply a buffoon, and allows himself to be tricked by the women, but also the Falstaff of the two parts of Henry IV. Boito has written the libretto in accordance." A contemporary critic argued that the text "imitated with marvellous accuracy the metre and rhythm of Shakespeare's verse", but Hepokoski notes Boito's use of traditional Italian metric conventions.

Another recurrent question is how much, if at all, Verdi was influenced by Wagner's comic opera Die Meistersinger. At the time of the premiere this was a sensitive subject; many Italians were suspicious of or hostile to Wagner's music, and were protective in a nationalistic way of Verdi's reputation. Nevertheless, Verdi's new style was markedly different from that of his popular works of the 1850s and 1860s, and it seemed to some to have Wagnerian echoes. In 1999 the critic Andrew Porter wrote, "That Falstaff was Verdi's and Boito's answer to Wagner's Meistersinger seems evident now. But the Italian Falstaff moves more quickly." Toscanini, who did more than anyone else to bring Falstaff into the regular operatic repertoire, commented: "the difference between Falstaff, which is the absolute masterpiece, and Die Meistersinger, which is an outstanding Wagnerian opera. Just think for a moment how many musical means – beautiful ones, certainly – Wagner must make use of to describe the Nuremberg night. And look how Verdi gets a similarly startling effect at a similar moment with three notes."

Verdi scholars including Julian Budden have analysed the music in symphonic terms – the opening section "a perfect little sonata movement", the second act concluding with a variant of the classic slow concertante ensemble leading to a fast stretto, and the whole opera ending with "the most academic of musical forms", a fugue. Milnes suggests that this shows "a wise old conservative's warning about the excesses of the verismo school of Italian opera" already on the rise by the 1890s. Among the solo numbers woven into the continuous score are Falstaff's "honour" monologue, which concludes the first scene, and his reminiscent arietta ("Quand'ero paggio") about himself as a young page. The young lovers, Nannetta and Fenton, are given a lyrical and playful duet ("Labbra di foco") in act 1; in act 3, Fenton's impassioned love song, "Dal labbro il canto estasiato vola" briefly becomes a duet when Nannetta joins him. She then has the last substantial solo section of the score, the "fairy" aria, "Sul fil d'un soffio etesio", described by Parker as "yet another aria suffused with the soft orchestral colours that characterize this scene".

The score is seen by the critic Richard Osborne as rich in self-parody, with sinister themes from Rigoletto and Un ballo in maschera transmuted into comedy. For Osborne the nocturnal music of act 3 draws on the examples of Weber, Berlioz and Mendelssohn, creating a mood akin to that of Shakespeare's A Midsummer Night's Dream. Osborne views the whole opera as an ensemble piece, and he comments that grand soliloquy in the old Verdian style is reserved for Ford's "jealousy" aria in act 2, which is almost tragic in style but comic in effect, making Ford "a figure to be laughed at." Osborne concludes his analysis, "Falstaff is comedy's musical apogee: the finest opera, inspired by the finest dramatist, by the finest opera composer the world has known".

Recordings
There are two early recordings of Falstaff's short arietta "Quand'ero paggio". Pini Corsi, the original Ford, recorded it in 1904, and Maurel followed in 1907. The first recording of the complete opera was made by Italian Columbia in March and April 1932. It was conducted by Lorenzo Molajoli with the chorus and orchestra of La Scala, and a cast including Giacomo Rimini as Falstaff and Pia Tassinari as Alice. Some live stage performances were recorded in the 1930s, but the next studio recording was that conducted by Arturo Toscanini for the 1950 NBC radio broadcast released on disc by RCA Victor. The first stereophonic recording was conducted by Herbert von Karajan for EMI in 1956.

Among the singers whose performances of the title role are on live or studio recordings, Italians include Renato Bruson, Tito Gobbi, Rolando Panerai, Ruggero Raimondi, Mariano Stabile, Giuseppe Taddei and Giuseppe Valdengo; Francophone singers include Gabriel Bacquier, Jean-Philippe Lafont and José van Dam; Germans include Walter Berry, Dietrich Fischer-Dieskau and Hans Hotter; and UK and US singers include Geraint Evans, Donald Gramm, Bryn Terfel, Leonard Warren and Willard White.

Notes, references and sources
Notes

References

Sources

 * Beaumont, Antony, ed. (1987). Busoni: Selected Letters. New York: Columbia University Press. ISBN 0-231-06460-8
 * Beaumont, Antony, ed. (1987). Busoni: Selected Letters. New York: Columbia University Press. ISBN 0-231-06460-8

title: Falstaff (opera)


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User:Mirwin

Valedictorian, Coquille H.S., 1979. B.S. Engineering Physics, Oregon State University, 1984.

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