Falstaff

A wonderfully inventive and fresh staging of Verdi's last opera. It is a modern production but the music of the "maestro" is intact. Bryn Terfel. the remarkable Welsh tenor, is a suitably gross, dissolute and absurd Falstaff. He is supported by a fine, fine cast of singers. It's a production full of verve, fun, imagination and great singing.

It wasn't until recently when I became familiar with Verdi's last opera, Falstaff. It is not my favourite of his operas, not like La Traviata, Don Carlo, Il Trovatore and Otello, but it is still a wonderful work with exquisite orchestration and beautiful melodies. The story is great too, granted on first viewing I wasn't so familiar with the story it was based on and some plot points went over my head, but some situations and how they are resolved are charming and funny. The production values are very good, not lavish, but they are colourful and pleasing to the eye and the videography has some interesting camera angles. The staging is quite fun, not for all tastes, but suitably bawdy but in a subtle way. The orchestra perform beautifully and competently conducted, while the singing and acting are top notch, especially from Roberto Frontoli's splendid Ford and Desiree Rancatore's sparkling Nanetta. Barabra Frittoli as Alice sings beautifully with great dynamics but her acting feels mechanical at times. An unrecognisable Bryn Terfel, one of my favourite singers nowadays, is superb as Falstaff, grotesque yet quite lovable, and he is very well supported by these very talented singers/actors. Overall, Falstaff is wonderful, perhaps not the best production, but Terfel for me is one of the best interpretors of the role. 9/10 Bethany Cox

The Welsh bass-baritone Bryn Terfel is, of course one of the great singers currently before the public and also among the most ubiquitous. He does not disappoint here and the singing of the rest of the cast is excellent as well.

The staging is modern as has been mentioned and sometimes sets are a little too cute for my taste. Many of the men's costumes can best be described as "phallic" with huge protuberant codpieces including that of Sir John (Bryn) himself. This is a "subtle" attempt to be "bawdy". A trapdoor in the middle of the stage provides the entrances and exits and this adds to the "cuteness" of the staging.

There are also heads of stags in a line which provide the thematic "horns" (symbol of cuckoldry) and also provide hiding places for various cast members.

Bryn and others are apparently made up to gross out the audience. His "fat suit" is on display at various times especially in the final scene where he is nearly "nude" except for briefs over the fat suit. Also in the final scene, Alice, who is trying to get revenge on Falstaff, lies down in a sexual pose which I don't imagine anyone in her position would really do, if she really disliked the man.

This is one possible approach which to me is another example of opera directors and designers overstepping their marks.

Worth a watch but I'm not sure I would want to own this disk.