All the world’s a jest: Falstaff returns to Glyndebourne

Renato Girolami (Falstaff) and Valentina Pernozzoli (Mistress Quickly)

Valentina Pernozzoli, Anna Princeva, Mariam Battistelli and Stephanie Lauricella

Callum Thorpe (Pistol), Renato Girolami (Falstaff) and Colin Judson (Bardolph)

Falstaff, Act 1 Scene 2

Renato Girolami (Falstaff) and ensemble

Por Mark Pullinger, 24 julio 2025

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“Jones himself is back at the helm and, meticulously rehearsed, the piece just flies.”

Crítica hecha desde Glyndebourne Opera House, Glyndebourne el 23 julio 2025

Verdi, Falstaff

Glyndebourne Festival Opera

Sian Edwards, Dirección

Richard Jones, Dirección de escena

Ultz, Diseño de escena, Diseño de vestuario

Mimi Jordan Sherin, Diseño de iluminación

London Philharmonic Orchestra

The Glyndebourne Chorus

Renato Girolami, Sir John Falstaff

Anna Princeva, Alice Ford

Rodion Pogossov, Ford

Filipe Manu, Fenton

Mariam Battistelli, Nannetta

Valentina Pernozzoli, Mistress Quickly

Stephanie Lauricella, Meg Page

Gregory Bonfatti, Dr Caius

Colin Judson, Bardolfo (Bardolph)

Callum Thorpe, Pistola (Pistol)

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Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates.

***11

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Dominic Lowe, 29th June

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

****1

Glyndebourne's Saul still packs a punch 10 years on

Nick Boston, 8th June

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*****

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Peter Quantrill, 17th May

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong.

****1

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David Karlin, 16th May

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

*****

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Dominic Lowe, 29th July

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

***11

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.