Falstaff was Verdi’s last operatic composition. As a comedy, it was not the favorite genre of his contemporary audiences. Those were the days when operatic expectations were for star-turn arias, and bigger than life voices, often delivered by bigger than life stars who were not expected to actually act. Along came Falstaff which is an ensemble composition. It carries the humor and dramatic sensibilities of Shakespear’s Merry Wives of Windsor rather than the spirit of much of 19th century opera where the ‘opera isn’t over until the fat lady sings.’ Falstaff holds a special place in the heart of departing conductor James Conlon. It inspired him as the first opera he saw as a child. When he completes the end of this run, he will have conducted Falstaff 60 times. Needless to say, the orchestra shines, even beyond the quality Los Angeles audiences have become accustomed to.
Fortunately we live at a time when opera audiences are increasingly presented with casting that supports the narrative and dramatic sensitivity as well as the musicality. The current cast under the direction of Shawna Lucey throws itself into the comedic challenges with gusto and apparent joy. The voices are at LA Opera’s standards for excellence but none rests on musical laurels alone. For example, Soprano Deanna Breiwick as Nannetta, glows as the young beauty rebelling against the tyranny of her father who is pushing her to be married to old and fat Dr. Caius (Bathan Bowles).
You cannot help but root for Nanetta and her swain Fenton (Anthony León) to elope. Just a few years before Falstaff premiered, a rotund President Grover Cleveland married his 21year old ward in the White House. I wonder if late 19th century audiences made the connection. Were they to have seen a production as well played and well directed as the current LA Opera production of Falstaff they could not have failed to make the connection. The late 19th century was the era when the suffragette movement was gaining steam in America. That too could have struck a controversial cord for audiences. The merry wives are shrewd. They are demonstrably not dumb and they are capable. The wives, Sara Saturnino (Meg) and Nicole Heaston (Alice) attack their roles with wit and energy, aided and abetted by Mistress Quickley (Hyona Kim). Anyone of them is a clear match for Ford (Ernesto Petti), a puffed up blowhard wrapped in his cloth of money and masculinity with little substance underlying his puffery.
This is a production to enjoy. It is easy to imagine taking a child to see it and winning him as an opera fan such as Conlon was wooed many years ago. Beautifully cast and enthusiastically performed, this Falstaff is a sheer delight. You can think about the times, compare it to Shakespear, or just lean back and enjoy. The only fault I can find is the height of the super titles on the proscenium. In this case the lyrics are written with such wit and the acting is presented with such joy it is hard for audiences to see and enjoy both at once at the height they are hung.
Karen Weinstein
