SEEN AND HEARD INTERNATIONAL

Verdi, Falstaff: Soloists, Chorus and Orchestra of Lyric Opera of Chicago, Sir Andrew Davis (conductor), Lyric Opera of Chicago, Chicago 1.2.2008 (JLZ)

Production:
Stage Director: Olivier Tambosi
Set and Costume Designer: Frank Philipp Schlössmann
Lighting Designer: Christine Binder
Stage Band Conductor: Craig Terry
Chorus Master: Donald Nally
Stage Manager: John W. Coleman

Cast :
Dr. Caius: David Cangelosi
Sir John Falstaff: Andrew Shore
Bardolfo: Rodell Rosel
Pistola: Andrew Funk
Meg Page: Elizabeth de Shong
Alice Ford: Veronica Villarrroel
Mistress Quickly: Meredith Awardy
Nannetta: Stacey Tappan
Ford: Boaz Daniel
Fenton: Bryan Griffin


If the focus of Falstaff is on the ensemble of characters that comprise the opera, the current production by Lyric Opera of Chicago brings a new standard to the execution of the work. Just as the opera is the result of the interaction of individual roles, the entire cast worked well together in arriving at a production that was seamless and natural. Yet in bringing to life the title character Falstaff, the English baritone Andrew Shore shared the stage well with his colleagues. Such a shared presence was part of the entire production, as the individual scenes allowed the story to unfold and, more importantly, made the Finale particularly memorable, when all the characters are on stage in a number that celebrates the human condition ("Tutto nel mondo é burla").

With the core of the drama surrounding the tension between the rogue Falstaff and Mistress Ford complicated by the misunderstanding on Ford's part of his wife's actions, it takes a solid chemistry among the principals to anchor a production. In this case Andrew Shore, an experienced and genial Falstaff, conveys the character deftly both with his vocal skill and fine sense of comic acting. Shore gave the musical line all of the nuances it requires to suggest the character, without ever overplaying the role. His first-act monologue "Honore, ladri!" prepares the audience for the actions that set the drama into motion. Playing off Bardolph's and Pistols' excuse of honor for not delivering the billet-doux to Mrs. Ford and Mrs. Page, Falstaff defines his character in the grand scene that culminates this act. Here Shore demonstrates his fine vocal ability with colors in his voice that match the detailed scorings in the orchestra. Beyond vocal shadings though, Shore enhanced the role with a solid sense of dynamics too. His solid articulation allows piano passages to be heard clearly, with the louder ones always distinctive and never out of place.

At the same time,  Veronica Villaroel is an appropiately commanding Mrs. Ford. In her hands, Alice Ford immediately recognizes the deception in the duplicate letters that Falstaff sent both to her and her friend Mrs. Page - Meg -and takes charge of the situation both vocally and through her stage presence. The ensemble of women, including Meg, Mistress Quickly, and Nanetta, coalesces nicely, so that the antiphonal sounds of the men at the end of the second scene of first act balance it to perfection. As Alice Ford, Villaroel gives a knowing sense to her role and its place in the ensemble. With her second-act aria "Gaie comare di Windsor," the audience for this opera had the opportunity her more sustained solo work. (Her previous appearances at Lyric Opera of Chicago were as Amelia in Un ballo in maschera during the 2002-3 season.) Her vocal inflections contributed to the various puns and innuendos in the text, with an added well-thought physicality.

With Ford himself, the young baritone Boaz Daniel brought the appropriate formality to the role, and his extended scene with Falstaff in the first scene of Act  II  gave a sense of his capacity for expression. The duet with Falstaff "C'è a Windsor una dama" was well balanced, with Ford's persona as Brook emerging strongly. Likewise, his entry in the same act's econd scene  as the jealous husband had an appropriate tone that lent itself  gently to the humor rather than precipitating blatant farce. Boaz Daniel's ensemble work also contributed suitably to the conclusion of the scene, which ends with the revelation of the love between Nanetta and Fenton -  in spite of  Nanetta having been promised to Dr. Caius - and Falstaff's  putative escape, when the rogue is dumped into the river. The timing was nearly perfect, as it led directly to the climax of the scene and the end of the act.

The ardent and intensifying love between Nanetta and Fenton is wrapped round the plot's dynamic, through the whole opera. As Nanetta, Stacey Tappan is vocally adept, with a wonderfully consistent and inviting sound, and she is well matched by Bryan Griffin as Fenton. In his first major role at Lyric,  Griffin gave a clear sense of Fenton'a personality from the outset. Musically, the role fitted his voice nicely, and he worked well with Tappan, who stood out for all the right reasons. As much as Nanetta is part of the ensemble essential to the opera, she must also show what attracts Fenton to her. These different aspects of the role  emerged seamlessly throughout the work and culminated in the final scene, where her aria "Sul fil d'un soffie etesio" confirms the final revenge on Falstaff. Both Tappan and Griffin made the subplot of young lovers seem fresh.

Other performers deserve attention for their parts in the ensemble. As Mistress Quickly, Meredith Arawady shaped the  character clearly from the outset, with her initial scene with Falstaff ("Reverenza!") bringing the necessary humor to the situation. Her distinctive and welcoming tone gave and her affable stage presence makes it  a pleasure to see Arwady in such a prominent role, which gives her the attention she merits. Likewise David Cangelosi, the character tenor, as he is described in the program, brought some vitality to the sometimes thankless role of Dr. Caius. An animated Mime in Lyric's recent production of Siegfried, Cagelosi also brought some depth to this Verdi role. He set the tone for Dr. Caius from his entrance at the beginning of the first act and carried it through to the end. He too added to the whole ensemble opera,  bringing out the humor and humanity of Verdi's late masterpiece.

The orchestra was notable for its balance and even tone. Vibrant when it needed to be and subdued as appropriate, the orchestra never overstepped the mark in supporting the voices. Full of shifting colors and sound effects that underscore the stage action and ubdoubtedly  programmatic at times, the music never feels like a tone poem with voices, as some have described Richard Strauss's operas. Sir Andrew Davis contributed ensured that  the orchestra fitted well into the sense of hallmark ensemble of the production. His unerring timing was the key to the success of this Falstaff.

This was an evening of excellent opera. As familiar as Falstaff is, the revival of this production made the work seem fresh and immediate. While a previous, more traditional, production of Falstaff was not problematic, the current one serves the work very effectively indeed, especially with such a talented cast as this one. In fact, the final scene remains long in memory for the warmth and humor it conveyed, as Nanetta and Fenton embrace at the final curtain.  During a challenging season, this opera hit all the right tones with a production that demonstrated yet again Lyric Opera's commitment to excellence.

James L Zychowicz


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