Michael Volle, Falstaff; Ailyn Pérez, Alice Ford; Jennifer Johnson Cano, Meg Page; Marie-Nicole Lemieux, Mistress Quickly; Hera Hyesang Park. Bogdan Volkov. Nannetta and Fenton; Christopher Maltmann, Ford. Daniele Rustioni, conductor; Robert Carsen, director; Paul Steinberg, designer; Brigitte Reiffenstuel, costumes; Robert Carsen and Peter Van Praet, lighting
I’ve seen a number of productions of Falstaff over the years. I remember seeing performances by Tito Gobbi in the 70s with Colin Davis conducting and Norman Bailey as Ford, as well as Georg Solti and Geraint Evans. I also remember a very effective performance a few years ago by a small NW Wales company in Buxton with a reduced orchestra but with the sense of fun in the work really coming across. I have always admired the work for its utter economy and craftsmanship as well as the beauty of the many melodies that fly out of the orchestra and are quickly absorbed into the hectic action or sudden moments of stillness.
The Carsen production at the Met is shared with ROHCG amongst others (like the Carsen Rosenkavalier also on at the Met at present and to be screened in two weeks time). It sets the opera in the 1950s, though oddly Falstaff’s dress coat and hat (and the men’s chorus at the end) looks more Regency than anything else. Alice Ford has a very nice kitchen with all mod cons in the second act while Falstaff meets Ford/Fontana in a rather fusty gentleman’s club. I suppose the 50s settings did no harm but equally they didn’t particularly illuminate. The third act scene 1, in the innkeepers barn with high windowed walls from which the conspirators could hear various encounters with Falstaff (and with a live horse) was very effective. The last, Windsor Forest, scene seemed a little misconceived – the high walls folded back and we saw a dark night sky with stars- but not much else. This made the spirits and general gathering of tormentors a bit too obvious and explicable. However the large dining table wheeled on at the end was a nice touch. What was good about the production, generated I assume by the combination of a talented cast and a good revival director, was a substantial sense of a team working together and really enjoying themselves in the process. Everyone was really responding closely and quickly to what others were singing and doing.
Musically the performance was very good indeed. A lot of this had to do with the conducting of Daniele Rustioni, which was tight and exciting. He had the ability to make sure that all the ensemble work, which really has to fizz in a totally accurate way, was deftly handled. At the same time, he drew out some beautiful phrases and inner voices from the orchestra that I don’t recall hearing before. The last chorus was done superbly – rhythmically tight, and all the strands of music clear, a real celebration by the old man of all he had achieved in his musical lifetime amidst much sadness and pain. Having also very much enjoyed Rustioni’s conducting of the Trojans in Munich, it makes me worry a bit as to whether ROHCG made the right choice in rejecting him as Pappano’s successor.
The new names to me in the cat were Hera Hyesang Park as Nanetta and Marie-Nicole Lemieux as Mistress Quickly. The latter had a gorgeous deep contralto voice, and was very funny – she was able to make fun of herself in her movements and really offered in singing and presence a bubbly, very loveable presence – she was clearly enjoying herself hugely. Nanetta had a beautiful light soprano voice – maybe slightly too considered in her acting, but, still, very good indeed . I was very impressed too by Christopher Maltman as a very slimey Ford, and Ailyn Pérez as his, beautifully acting and singing, wife – both seemed naturals in their roles. In fact there really wasn’t a weak link. And Michael Volle was extraordinarily good – not overdoing Falsttaff’s grossness, totally absorbed in the character, good-looking and young enough to make it appear not totally unreasonable that he had a (very, very outside) chance with Alice and Meg, and for the screening a fascinatingly detailed mix of facial expressions. His singing was both strong and sensitive where needed. There can’t be many singers who can sing both Wotan and Falstaff with equal distinction (though I note Hans Hotter did)
So all in all, the Met at its best, IMHO.
John's musical journey 