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 Performances

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.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Laurent Naouri in Falstaff, Festival 2013. Photo Tristram Kenton
22 May 2013

Verdi’s Falstaff at Glyndebourne

Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.

Verdi’s Falstaff at Glyndebourne

A review by Claire Seymour

Above: Laurent Naouri

Photos by Tristram Kenton courtesy of Glyndebourne Festival

 

In Ultz’s recreation of post-war Windsor — a fitting setting for a year in which we celebrate the 60th anniversary of Queen Elizabeth II’s coronation — suburban mock-Tudor has replaced the genuine article but it’s a familiar world populated, much as in the historic past, by down-on-their-luck aristocrats and aspiring social climbers. There are nods forwards as well as backwards: the regimented cabbage plots amid the middle-class semis call to mind that prior ‘age of austerity’, when the ‘Dig For Victory’ mentality was as common as ‘Grow Your Own’ economising is today.

We begin in a rather genteel, wood-panelled local saloon bar, The Garter Inn; a portrait of George VI and an extravagantly antlered stag’s head oversee proceedings — a reminder of the class tensions and cuckoldry which will disturb the bourgeois complacency. Centre-stage sprawls Falstaff, ardently typing amorous missives, audaciously and insouciantly adding to his alcohol tab, and flamboyantly issuing commands to his senseless sidekicks, Bardolfo and Pistola.

Laurent Naouri’s Sir John is imposingly wide of girth — thanks to an impressive fat-suit — and generously resounding of voice. His authoritative bellow vanquishes complaints from his snivelling underlings; with beguiling tone, he serenades and courts the ladies. There is no doubting his haughty bumptiousness and Naouri emphasises his essential aristocratic dignity. But, at times this Falstaff is overly curmudgeonly, aggrieved that others do not recognise his ‘nobility’ — an anachronistic note in 1950s England — and his irritability and crabbiness do not endear him. Naouri is light on his feet, despite the prodigious abdominal encumbrance, and can neatly execute a dainty flounce. But, while the voice is sweet and enticing, this Falstaff lacks a certain wicked sparkle in the eye and the debonair charm that might win a feminine heart regardless of his physical decrepitude. Falstaff should be both dignified and vulgar, both arrogant and aware of his own coarseness and comic crassness — he should laugh at himself, so that we can laugh with him.

Part of the problem is Jones’ uncharacteristic lack of attention to comic detail and gesture; there are a few neat touches — the faux leave-taking courtesies of Ford and Falstaff, the obsequious pleading for forgiveness of the perfidious Bardolfo and Pistola, the tidal wave which bursts through the Fords’ front window when Falstaff tumbles from the window ledge and belly-flops into the Thames — but most of the audience laughter was prompted by the surtitles rather than the stage action itself (excepting the feline wriggles of the furry puppet adorning the Garter’s bar-top). The lengthy pauses between scenes, necessitated by some hefty scene-shifting, further diminished the comic briskness. The sets themselves are neat and credible, and troupes of rowing eights and girl guides add to the period feel — although they have little relevance to the drama itself. Three such scouts cross-stitch the local panorama across the front cloth before curtain-up, but it’s stretching things somewhat to ask us to imagine that they have won their needlepoint brownie badges creating a tapestry screen of Windsor Castle to adorn Alice Ford’s morning room. The latter is rather sparsely decorated, leaving few opportunities for chaotic concealment in what should be a farcical man-hunt for the lascivious Falstaff during his lecherous assignation in Act 2.

falstaff-4680.gifElena Tsallagova, Ailyn Perez, Susanne Resmark and Lucia Cirillo

The huge oak in the final scene is impressively anthropomorphic and, swathed in unnatural colours by lighting designer Mimi Jordan Sherin, casts eerie, dancing shadows. But, the scene is poorly choreographed, the stage overly cluttered, and the ghoulish, lurid Halloween costumes — bought, presumably, at the high-street Joke Shop depicted in the previous scene — sported by the boy scouts and brownies are at odds with the Shakespearean mood of enchantment and magic. More ‘trick or treat’ than Midsummer Night’s Dream.

Ultimately, these flaws in the staging do not overly trouble us, for there is not a single weak link in the cast. Making her Glyndebourne debut, American soprano Ailyn Pérez was a self-possessed and spirited Alice Ford. Never histrionic but always secure in her self-belief, Pérez’ golden voice soared lyrically; at times slyly coy, she commanded the stage with ease. Susanne Resmark as Mistress Quickly, purposefully attired in an Auxiliary Territorial Service uniform, demonstrated masterly comic timing, particularly in her scenes with Falstaff — tongue-firmly-in-cheek, she relished the ironic resonances of the mocking salutation, ‘with respect’.

Russian baritone Roman Burdenko was a proud, indignant Ford; Falstaff may be the one with the title, but Burdenko’s powerful yet elegant delivery left no doubt about his own sense of entitlement. In this production, Fenton is a GI, and the Italian tenor, Antonio Poli exuded freshness and optimism, although he was surpassed in graceful airiness by Elena Tsallagova as Nanetta, whose angelic faerie supplication in Act 3 was the musical highlight of the evening. Lucia Cirillo was a fiery Meg; Graham Clark as Dr Caius, and Colin Judson and Paolo Battaglia — Bardolfo and Pistola respectively — completed the fine line-up.

Conducting much of the score from memory, Mark Elder led the Orchestra of the Age of Enlightenment in a crisp but warm account, alert to every detail and unfailingly conjuring deft musical humour even when the stage action was less buoyant. The sombre, slightly melancholic tone of the natural horns coupled with the darker gut string timbre, made for an unusual but convincing musical colour. There was much fine playing and the instrumentalists fully captured the conviviality and essential geniality of the work; they richly deserved their ovation.

Claire Seymour


Click here for a podcast relating to this production.

Cast and production information:

Falstaff: Laurent Naouri; Alice Ford: Ailyn Pérez; Ford: Roman Burdenko; Meg Page: Lucia Cirillo; Mistress Quickly: Susanne Resmark; Nannetta: Elena Tsallagova; Fenton: Antonio Poli; Dr Cajus: Graham Clark; Bardolfo: Colin Judson; Pistola: Paolo Battaglia; Conductor Mark Elder; Orchestra of the Age of Enlightenment; The Glyndebourne Chorus; Director Richard Jones; Revival Director Sarah Fahie; Designer Ultz; Lighting Designer Mimi Jordan Sherin. Glyndebourne Festival, Sunday, 19th May 2013.

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):