Opera review: Falstaff, Glyndebourne Festival Opera
AFTER a slightly stuttering (but still highly enjoyable) start to the season with Richard Strauss's Ariadne auf Naxos, Glyndebourne is back to its magnificent best with this production of Verdi's final opera.
Well into his 70s when he wrote Falstaff, Verdi seemed to have left it rather late to have a go at raucous Shakespearean comedy after a lifetime of sumptuous seriousness, but the result is pure joy, especially when performed with such gusto as in this production.
Glyndebourne always makes an effort to leave the audience feeling that they have seen something special: their productions are innovative without being gimmicky, respectful of the music without being old-fashioned, and can always be guaranteed to put together hugely talented casts, directors and set designers.
Add Verdi's beautiful music played on authentic instruments and conducted with great flair by a true Verdi master, and the result is pure delight.
The plot is pure farce, based on the drinking, lecherous character of Falstaff being tricked and humbled by a pair of vengeful women he is trying to seduce. With their menfolk and associates after him too, poor Falstaff has a terrible time of it, but emerges at the end only slightly repentant, ready to drink and womanise another day.
The bright sets, full of colour and cabbages, set the mood perfectly. And the entire cast seem to be inspired to join in the mood of jollity and vengeance.
The bright sets, full of colour and cabbages, set the mood perfectly
Two things lift this production above mere excellence: the performance of Laurent Naouri in the title role and the playing of the Orchestra of the Age of Enlightenment, conducted by Sir Mark Elder.
The French bass-baritone Naouri is just perfect for Falstaff. His strong, deep voice is ideal both for ordering people around and for acting the role of unctuously repulsive suitor, and his comic timing and range of humiliated expressions are magnificent. It is always a bonus to see great acting from a fine opera singer, but great comic acting is in even shorter supply, and Naouri is simply wonderful as he lurches around the stage in his absurdly padded costume.
From my seat in the Circle, I had the added benefit of being able to watch Mark Elder conducting he orchestra with huge exuberance and obvious delight. I doubt that I have ever heard such a gloriously appropriate combination of refined music and raucous tones coaxed out of an orchestra and the result was electric.
The only thing missing, in fact, was a sunny day to enable full enjoyment of a picnic on the grass during the traditional long interval. Even in the cold, though, this was a glorious day out.
Tickets: 01273 815000 or glyndebourne.com
Verdict: 5/5
