Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

Mathis der Maler, Dresden

While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.

The Makropulos Case, Munich

Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

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):