{'fraction_non_alphanumeric': 0.031578947368421054, 'fraction_numerical': 0.0406015037593985, 'mean_word_length': 4.328, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Der Scherz des Falstaff war nicht sein letztes Wort

The entire production of Verdi's sacred music within his forward and backward-looking work history is summarized and commented on. The focus is on his Messa da Requiem (1874) and his Tre pezzi sacri (the late 1890s). Also addressed are his early works, such as Messa di Gloria (1833–35) and a Tantum Ergo (1836), as well as his contributions in the form of interludes in his operas and his first version of Libera me from the Requiem for Rossini (1869), the three Ave Marias from the 1880s (including one in the 4th act of the opera Otello) as well as a Pater Noster and a late sacred song for soprano and piano.