Falstaff is Verdi's last opera, and what a last opera it is. While not among Verdi's very finest, it is very funny- often hysterically so- and enchanting and the music is fantastic. For a more ideal Falstaff production look to Ambrogio Maestri's, Paul Plishka's or Giuseppe Taddei's. If you are just looking for a production to entertain you, this fits the bill nicely. It has problems sure. The production is an updated one, so there is stage business and verbal detail that is at odds with Boito's very specific libretto. The army of servants was also another somewhat anachronistic touch and not always necessary. The final scene sadly is cluttered and completely lacking in magic. However, the production is actually one of the better-looking updated productions I've seen recently. The costumes are fitting for the characters, true Falstaff's were ridiculous but I imagine that was the point, while the dingy pub and ornate Ford household settings contrasted very well with one another. The staging from Richard Jones has its problems but is mostly coherent and a lot of fun. The scenes between Ford and Mistress Quickly were masterpieces of comic timing, Falstaff's attempt to seduce Alice had a real edge to it and Vladimir Jurowski's joining the principals in a drink before the final ensemble's fugue was a genius gesture. (that was nice for me after really disliking his Met Hansel and Gretel so I was dubious admittedly) The orchestra play truly alluringly with lots of verve and beautiful pianissimos, and the chorus are similarly rousing. Jurowski clearly knows the score well and loves it, what he does is incredibly musical, accommodating and controlled.
The cast are also extremely good, I actually can't think of anybody truly problematic. Christopher Purves is magnetic whenever he's on stage. His rather dry sound mayn't be for all tastes, but his personality and comic timing are spot on and he doesn't abandon the more nuanced parts of the role either. Tassis Christoyannis has a firm voice and gives the right amounts of jealousy and authority. Not all his singing in ensembles sound one-hundred-percent certain, but he really sells himself in the jealousy aria. Dina Kuznetsova has the notes and style for Alice, and brings a healthily produced voice that doesn't seem taxed by the role. There are some histrionics, not inappropriate for Alice actually, but never done in an over-the-top way. Jennifer Holloway sings Meg Page with firm but never forced chest tone and elegant phrasing, and acts with charm, dignity and a sympathetic air. Adriana Kucerova has a silvery purity that is perfect for Nanetta and the Fairy song, while Bulent Beduz's Fenton is sweet-toned and charming with elegant lyricism to his singing. Marie-Nicole Lemieux, made up to look remarkably like Hattie Jacques, is wickedly funny and conniving, as well as a chest voice that thrillingly booms she does have an artistry that is most expressive. I also loved that the roles of Caius, Bardolfo and Pistola were performed with equal amount of vitality, which made them very memorable(these three characters are not always when Falstaff is performed I find), their first scene was full of brio.
Overall, updated Falstaff but it works. 7/10 Bethany Cox
The cast are also extremely good, I actually can't think of anybody truly problematic. Christopher Purves is magnetic whenever he's on stage. His rather dry sound mayn't be for all tastes, but his personality and comic timing are spot on and he doesn't abandon the more nuanced parts of the role either. Tassis Christoyannis has a firm voice and gives the right amounts of jealousy and authority. Not all his singing in ensembles sound one-hundred-percent certain, but he really sells himself in the jealousy aria. Dina Kuznetsova has the notes and style for Alice, and brings a healthily produced voice that doesn't seem taxed by the role. There are some histrionics, not inappropriate for Alice actually, but never done in an over-the-top way. Jennifer Holloway sings Meg Page with firm but never forced chest tone and elegant phrasing, and acts with charm, dignity and a sympathetic air. Adriana Kucerova has a silvery purity that is perfect for Nanetta and the Fairy song, while Bulent Beduz's Fenton is sweet-toned and charming with elegant lyricism to his singing. Marie-Nicole Lemieux, made up to look remarkably like Hattie Jacques, is wickedly funny and conniving, as well as a chest voice that thrillingly booms she does have an artistry that is most expressive. I also loved that the roles of Caius, Bardolfo and Pistola were performed with equal amount of vitality, which made them very memorable(these three characters are not always when Falstaff is performed I find), their first scene was full of brio.
Overall, updated Falstaff but it works. 7/10 Bethany Cox
