Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Giuseppe Verdi: Falstaff adapted by Tony Britten
17 Aug 2009

Verdi: Falstaff

Those opera lovers prone to rage at the perceived dominance of the director in their beloved art form today may collapse in apoplexy at this first release from the company called SignumVision.

Giuseppe Verdi: Falstaff adapted by Tony Britten

John Falstaff (Ian Jervis); Alice Ford (Jan Hartley); Francis Ford QC (Julian Forsyth); Doctor Cajus (Simon Butteriss); Bardolph: (Daniel Gillingwater); Pistol (Simon Masterton Smith); Mrs Quickly (Marilyn Cutts); Meg Page (Rosamund Shelley); Nanetta Ford (Katie Lovell); Fenton (Andy Morton).

Signum Vision SIGDVD001 [DVD]

$23.49  Click to buy

For this is, according to the booklet, “Falstaff in a new version by Tony Britten,” with the director’s name in huge font and below, barely in letter-size a third as big, “based on the opera by Verdi and Boito.” But Verdi and Boito might not object, as they could fairly claim any success this film version has and shrug off its less worthy aspects. After all, that same Tony Britten not only rewrote the libretto, but reorchestrated the score for a small ensemble, as well as serving, of course, as director.

Again, this is a filmed version, with the singers moving their lips to the pre-recorded soundtrack. Britten has set the action in a suburban (or borderline rural) golf club. Sir John has planted himself at the tiny club bar, with his two “henchmen” Bardolf and Pistol at a table nearby. Fenton is the golf pro, and the housewives are dedicated to the sport. Britten’s skill with the camera and his actors makes the film initially quite entertaining. Characters are well-delineated, and the seedy ambiance of this far-lying, older sport resort suits the action well enough. Even as a librettist, while no Boito, Britten has a fine ear for matching English inflection to Verdi’s rhythm’s, and some of the updating is fairly witty (the merry wives refer to themselves as “desperate housewives”). By the time of Sir John’s first date with the ladies, however, a sort of adolescent, sniggering approach to sexuality, familiar to US viewers through, say, “The Benny Hill Show,” curdles the cream, as it were. Sir John, instead of being dumped in the river, gets dumped in a trash dump. He reappears with a soiled baby diaper stuck to his back, and then pulls the corpse of a furry varmint from his pants. Well, many people found “The Benny Hill Show” uproarious, so…to each his own soiled baby diaper.

Purists will undoubtedly object, but Britten’ reorchestration captures much of the inventive charm of Verdi’s original. A keyboard lays down the basic harmonic fabric, and a small group of chirpy winds supplies the light-hearted thrust of Verdi’s score. Only in the final credits is there a credit for music direction (Jonathan Gill). The singers, whom the director admits were chosen more for their acting ability than vocal prowess, range from decent (Ian Jervis’s Sir John, Jan Hartley’s Alice Ford) or acceptable (Julian Forsyth’s Ford, Andy Morton’s Fenton) to strained (Katie Lovell’s Nanetta, especially at her top) and hooty (Marilyn Cutt’s Miss Quickly). They all get the words across efficiently, which is good, since there are no subtitles in any language offered by the disc. Words do tend tend to blur in ensemble numbers, unsurprisingly.

The booklet has no information on the score or the musicians whatsoever, although it has room for the director to expound on both the opera and his vision of it. A tiresome “making of” documentary adds little to interest to the set.

So, this Falstaff is well-filmed, amusingly acted, and adequately sung for the most part. If Britten hadn’t resorted to the lowbrow humor, his “new version” of Verdi and Boito’s masterwork could have made itself an enjoyable “addendum.” But as said above, to those who have to hold their sides when “Are You Being Served?” comes on the telly, no such objection will interfere with the tittering.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):