Ezio Frigerio's spectacular sets make a triumphant return to La Scala, originally crafted for Giorgio Strehler's 1980 production of Falstaff. The design showcases a grand barnyard within a stately farmstead on the plains of Northern Italy, bathed in beautiful, sun-kissed light (lighting by Marco Filibeck). The inn where Sir John Falstaff resides resembles a barn, with the same golden light filtering through grid-like panels. In the third act, set at midnight in the forest, a smoke machine and a luminous moon in the background create a fantastical atmosphere. This production remains stunningly beautiful, retaining all its original magic. Those who lament its frequent revivals should remember that in each performance there are audience members who encounter this masterpiece for the first time.
Giuseppe Verdi's final opera stands as his only successful comedy. Arrigo Boito's libretto is often regarded as one of the finest in Italian opera. The titular character, Sir John Falstaff, is portrayed as cynical, deeply human and humorous; audiences find themselves laughing both at and with him.
In this work, Verdi transcended his traditional style. With nothing left to prove, he ventured into new musical territories, moving away from conventional arias and scattering unforgettable melodic fragments throughout the score to eloquently narrate the story. The orchestration is remarkable, with the orchestra itself seemingly laughing and mocking the characters, adding a unique layer of depth to the work.
Conductor Daniele Gatti led the La Scala orchestra with a firm hand and an unconventional approach, aiming to highlight the orchestra's full range of colours rather than the typical effervescence of comic opera. The orchestra produced a rich, lush sound, executing rhythms with precise accuracy, and the beautiful ‘small ensembles’ that emerged throughout the score were like little gems. Not everyone agreed with this interpretation and, this being La Scala, there were some boos from the upper galleries during the curtain call, though these were quickly drowned out by applause.
Ambrogio Maestri has portrayed Falstaff for decades, becoming almost synonymous with the indulgent aristocrat. His profound understanding of the role allows him to sing with conversational ease and natural flair, rendering his performance irresistible. However, his beautiful, strong baritone has lost some of its lustre; high notes occasionally sounded strained and the lower register seemed to lack support. Notably, his falsetto passages appear laboured. Despite these vocal challenges, Maestri's deep connection to the character continues to captivate audiences.
Luca Micheletti delivered a compelling performance as Ford, projecting his baritone with strength and delivering high notes that were both full and smooth. His acting was natural and humorous, effectively capitalising on the comic elements of the role. Rosa Feola portrayed Alice, Ford’s wife, with great musicality, though her interpretation was perhaps less witty and humorous than customary. Her high soprano soared over the ensemble, with her filati secure and radiant.
Marianna Pizzolato portrayed Mistress Quickly with a rich mezzo-soprano, perfectly capturing the humour of the character while maintaining tasteful restraint. Her superb technique shone through even the most intricate ensembles. Rosalia Cid's silvery soprano brought youthful vitality to Nannetta, especially in her delightful rendition of “Sul fil d'un soffio etesio”. As her lover, Fenton, Juan Francisco Gatell delivered tender duets, supported by Gatti's affectionate orchestral accompaniment. Martina Belli completed the quartet as Meg, her full-bodied mezzo adding depth to the chattering ensembles. The staging often silhouetted the four Merry Wives, reminiscent of Chinese shadow plays – a brilliant visual effect characteristic of Strehler's productions.
In a particularly amusing scene, Belli (Meg) and Pizzolato (Quickly) excelled as they concealed Falstaff in a laundry basket to prevent his discovery by Alice Ford's jealous husband. Feigning the folding of a sheet, they sang with clenched teeth to convey fear, yet their notes remained perfectly audible and beautiful, showcasing their exceptional vocal control. This masterful blend of acting and singing added to the scene's comic impact.
Antonino Siragusa portrayed Doctor Caius with a well-projected high tenor; its somewhat nasal quality became an asset in interpreting the petty, pedantic comic character. His high notes were brilliant, and his contributions to the ensembles were always spot on. Christian Collia and Marco Spotti delivered incisive performances as Bardolph and Pistol, respectively, adding vibrancy to Falstaff's entourage. Mauro Barbiero completed the cast as the innkeeper, each contributing to the performance's overall success.
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