Brescia e Amisano
Each month is a Verdi month in Italy, however October is a particular month for Verdian efficiency, particularly in his native province of Parma the place the annual Parma Verdi Competition coincides with the celebration of his birthday on 10 October (1813), whereas January is the month that culminates within the commemoration of his loss of life in Milan on 27 January (1901), which additionally occurs to be Mozart’s birthday. January 2025 started with the revival in Milan of Falstaff, Verdi’s most Mozartean work, his final opera and his solely mature comedy, which had its premiere at La Scala in 1893, the yr that Verdi turned eighty.
In January 2025 Falstaff was offered in a restaging of the traditional 1980 manufacturing by Giorgio Strehler, one of many giants of twentieth-century Italian theater; he died in 1997 however his Falstaff manufacturing, after nearly half a century, fantastically restaged by Marina Bianchi, stays a directorial masterpiece in an age when operatic path usually misfires with overly formidable conceptual ammunition. Just a few days after La Scala offered Falstaff, the Teatro San Carlo in Naples revived its worthy (although uneven) latest manufacturing of Don Carlo, directed by Claus Guth, providing an emotionally traumatized Carlo, prostrate on the stage, who relives his psychic catastrophes in the midst of the opera. Lastly, the final week of January introduced Parma’s model new manufacturing of the early Verdi opera Giovanna d’Arco in a manufacturing by Emma Dante that magnificently made the case for the musical and dramatic energy of this hardly ever carried out work about Joan of Arc which I’ll talk about intimately in a separate submit later this week.
Strehler’s manufacturing from 1980 was in a short time labeled because the “Falstaff padano”—set not at Windsor on the Thames however someplace alongside the Adriatic delta of the Po River. Strehler himself was born in Adriatic Trieste and at all times had an affinity for the nice Venetian dramatist (and librettist) Carlo Goldoni whose spirit is playfully current on this staging of Verdi’s ultimate encounter with Shakespeare. When John Eliot Gardiner performed Falstaff in Florence in 2021 he discovered components of Renaissance music within the rating, however Daniele Gatti at La Scala, maybe partly impressed by Strehler, introduced out the Mozartean dynamics of Verdi’s intricate ensembles.
Within the Goldonian-Padanian Falstaff Nanetta and Fenton woo and flirt and twirl like commedia dell’arte figures; additionally they sing like angels, the one two non-Italians within the forged, Spanish Rosalia Cid and Argentine Juan Francisco Gatell. The lovers are styled as figures from the frescoes of Giandomenico Tiepolo (not his extra well-known father Giambattista), and the dramatis personae of the Ford household and mates who make up the nice ensembles seem in a magical Adriatic gentle that alternately illuminates them and throws them into silhouette.
Italian soprano Rosa Feola, who not way back was singing Nannetta, has now assumed the position of her mom Alice Ford, full-voiced with nonetheless the allure of youth and nostalgia for love, singing with a radiance that recommended some spousal resemblance between Verdi’s Alice and Mozart’s Countess Almaviva. She was enjoying reverse the equally youthful baritone Luca Micheletti as Ford; his jealousy was partly a matter of pleasure and possessiveness, but in addition recommended a husband infatuated along with his personal spouse. With each Feola and Micheletti underneath forty, the Fords have been on no account a stodgy and complacent bourgeois couple, however gave off sparks of youthful power of their very own.
Verdi’s first Falstaff in 1893 was the French baritone Victor Maurel, already a well-known Don Giovanni, and it’s not troublesome to discern the just about parodic connection between these two operatic libertines, separated by a century: each buying and selling on their the Aristocracy as a method of seduction, each outrageously assured of their very own romantic and sexual charisma, each focused and attacked by righteous and vindictive conspirators. Ambrogio Maestri has been singing the position of Falstaff for greater than twenty years and, now in his fifties, has lastly reached a believable age applicable to the half, whereas changing into through the years the opera world’s simple first Falstaff, bigger than life, extra charismatic than ridiculous, and marvelously philosophical.
Brescia e Amisano
When the curtain rises at La Scala he’s seated stage middle with one leg carelessly thrown over the arm of the chair and his richly commanding voice projecting regular calm whereas the opposite character carry out their frenzy of antics throughout him. Through the years, Maestri has change into a grasp at discovering the that means in each phrase of Arrigo Boito’s libretto, singing with lovely readability. Falstaff has no arias, it’s true, except you rely the thirty-second tribute to himself as a slender younger web page (“Quand’ero paggio”), however he has a collection of monologues wherein Verdi exhibits how completely he appreciated Shakespeare’s genius: There may be Falstaff’s tribute to his personal paunch, Maestri booming with regal authority “Quest’è il mio regno, lo ingrandirò” (“this is my kingdom, I will increase it”). There may be his “honor” monologue wherein he philosophically strips away each ethical pretense of honor to point out himself a profoundly nihilist libertine— reminding us that Maurel, who created the position at La Scala in 1893, had created the position of Verdi’s Iago at La Scala six years earlier than.
Most luxurious of all, maybe, was Maestri’s rendering of the “Mondo reo” (depraved world) monologue on the opening of the third Act, following the battering and humiliation of the second. Hauntingly he whispered the phrases— completely audible and understandable in acoustical house of La Scala— “ho dei peli grigi” (I’ve grey hair)— compelled for a second to confront previous age. However then he known as for wine, and because it warmed him the viewers might hear the rising heat of Maestri’s voice, as he was stirred as soon as extra by the “trilling” of the world— which Gatti fantastically conveyed with the trilling of the orchestra. Marvelous was the second, on the finish of the third Act, when Falstaff reminded the triumphant conspirators that their lives would haven’t any curiosity with out somebody like him to impress them. Equally, on the conclusion of the ultimate fugue, the home lights went up, and Maestri gestured on the viewers as he pronounced “Tutti gabbati”— everyone seems to be fooled, that means that life makes fools of us all.
Luciano Romano
That is comedy, and although Falstaff is deceived and humiliated he’s clearly untraumatized on the finish of the night, however Don Carlo is tragedy, and Claus Guth’s manufacturing at San Carlo in Naples begins with Carlo fully traumatized, in order that the opera can flash again via the phases of his collapse. A single chamber with a hexagonally patterned ground kinds the premise of each scene, although the much more claustrophobic implication is that the whole lot is going on in Carlo’s thoughts and reminiscence. Throughout the supremely nice opening scene of the fourth Act, set in King Philip’s examine, and together with each main character within the opera besides Carlo, Guth has the imprisoned Carlo current on stage in a lighted field alongside the examine, as if he can witness or think about his father’s drama. Reciprocally, through the second scene of the act, when Rodrigo involves Carlo in jail, the viewers nonetheless sees King Philip in his examine, signing Rodrigo’s loss of life warrant, in order that father and son stay psychically related.
Luciano Romano
A few of the particulars of the manufacturing are brilliantly conceived: Throughout the beautiful cello prelude to the examine scene, we see not simply the king’s desk however a handy daybed from which Princess Eboli is gathering herself to depart after intercourse with the king. John Relyea gave a advantageous efficiency as Philip with a gravelly basso voice that plumbed the depths of the nice fourth-Act aria “Ella giammai m’amò” (“she never loved me”), although the staging leaves one unsure at first whether or not he means Eboli or Elisabetta. When the Grand Inquisitor then seems for the dramatic and disturbing basso-basso duet, Philip himself lies down on the daybed, and the Grand Inquisitor sits in a chair alongside the mattress, as if, in Guth’s conception, he have been the king’s psychoanalyst as an alternative of his non secular dictator, authorizing him to kill his son and commanding him to execute Rodrigo.
The manufacturing additionally has some standard missteps, together with the overuse (as in so many modern productions) of mime drama and video projections. Each mime and video are very tempting directorial gambits for opera, since they don’t contain including any sound to the musical rating which stays completely inviolate. Guth introduces the mime position of a courtroom jester who is continually current on stage (actor Fabián Augusto Gómez) performing antics that act out, or maybe parody, a few of Carlo’s inside impulses. When Philip imagines his loss of life and interment within the monastery of El Escorial, the jester locations a paper crown on Carlo’s head because the inheritor; when Carlo and Elisabetta sing the stirring marziale duet about Flanders within the ultimate scene, the jester is one way or the other current waving a banner.
Luciano Romano
Some viewers members might really feel that this silently enhances the drama; others might discover it merely distracting from the dramatic energy of the music itself. Video projections are additionally overworked: Guth accompanies Verdi’s lovely tenor-baritone friendship duet between Carlo and Rodrigo with a video projection of two boys at play, the remembered childhood friendship of the 2 males. The identical video of the identical boys then recurs later within the opera, in computerized affiliation, each time Verdi brings again the musical materials of the friendship duet.
Italian tenor Piero Pretti sang with dramatic depth and embraced Guth’s conception of a traumatized Carlo. American soprano Rachel Willis-Sørenson was in beautiful voice as Elisabetta, her full and creamy soprano navigating the numerous sides of the position, from her tender farewell to her lady-in-waiting within the second Act to the elegant aria of feverish romantic renunciation that opens the ultimate act. Guth has her carrying bridal white within the opening Fontainebleau scene however then Victorian black with a black veil on the Spanish courtroom, the place she generally simply walks mournfully across the perimeter of the stage, evoking the picture of one other unlucky Habsburg bride, Empress Elisabeth of Austria within the late nineteenth century.
Luciano Romano
Italian baritone Gabriele Viviani was in velvety voice as Rodrigo, and exceptionally shifting within the jail scene that culminates in his loss of life (accompanied by the sonorous Naples brasses underneath the baton of Hungarian maestro Henrik Nánási). Armenian mezzo-soprano Varduhi Abrahamyan was good for the horny musical ornamentation of Eboli’s veil aria however considerably disappointing within the opera’s most intensely dramatic aria, “O don fatale.”
Whereas Relyea was powerfully efficient as Philip, with the rumbling basso depths of an growing old monarch, the supposedly ninety-year-old Grand Inquisitor was sung by the youthfully virile Ukrainian basso Alexander Tsymbalyuk, giving an sudden mixture of bass textures to their duet. Probably the most youthful basso voice of all, nevertheless, impressively wealthy and delightful, belonged to Georgian Georgi Manoshvili within the smaller position of the previous monk who may or may not be the ghost of Emperor Charles V. Manoshvili, who sang the title position of Attila on the Parma Verdi Competition in 2024, is certainly anyone to look at for sooner or later. And our dialogue will resume in Parma on Friday to debate this season’s Giovanna d’Arco.
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