Lyric Opera does justice to 'Falstaff'
"Falstaff," which opened Monday night at Lyric Opera of Chicago, is one of the miracles not only of opera but of the entire history of music theater.
By the mid-1880s, Giuseppe Verdi (1813-1901) had in his own mind finished a successful career that had produced "Aida," "Rigoletto," "La traviata," "Il trovatore" and "Don Carlo" among the nearly half his 28 operas that remain centerpieces of every opera house's repertoire. But now past 70, he feared his creative well was dry.
Verdi's close friend, Arrigo Boito, 30 years his junior and his collaborator for the 1880-81 revision of "Simon Boccanegra," was joined by publisher Giulio Ricordi in prevailing upon the aging composer to revisit William Shakespeare.
Verdi agreed to do it, and the result was a pair of towering autumnal masterpieces, "Otello" in 1887 and "Falstaff" in 1893. Those two works cemented the Verdi-Boito collaboration as one of the finest between composer and librettist.
While "Otello" is Shakespearean tragedy at its highest level, "Falstaff" is quite something else. Described by the composer as a "commedia lirica" (lyric comedy), Verdi's final work draws from the Bard's "The Merry Wives of Windsor" to such a success that the composer proved his critics wrong -- they felt his solemn personality was not disposed to create successful comedy.
"Falstaff," in the hands of Lyric Opera music director Sir Andrew Davis and his large international cast offers one of those nights in the theater that will stay with you for a long time. The spirited final chorus, "Tutto nel mondo," which takes a poke at the foibles of the basic human condition, brings a lift to your spirit as you exit the theater.
English baritone Andrew Shore, taking over as the corpulent, jolly knight Sir John Falstaff when his Italian colleague Ambroglio Maestri withdrew from the production for family reasons, brings both comedic spirit and pathos to his interpretation.
But this is much more than a one-man show. "Falstaff" is the ultimate ensemble piece, with the wives and men of Windsor playing off each other with comedic and often touching results. There are no weaknesses among the cast: On the distaff side they are Chilean soprano Veronica Villarroel (Alice Ford), Elizabeth De Shong (Meg Page), Meredith Arwady (Mistress Quickly) and Stacey Tappan (Nannetta).
On the male side, Israeli baritone Boaz Daniel makes an impressive Lyric Opera debut as Ford, with Bryan Griffin (Fenton) joined by tenor David Cangelosi (Dr. Caius), tenor Rodell Rosel (Bardolfo) and bass Andrew Funk (Pistola).
The Lyric's production, created by the German designer Frank Philipp Schlössmann for the 1999-2000 season in his American debut, looks as fresh as ever, in particular the stunning costumes.
As is his custom, Davis has the Lyric Opera Orchestra and chorus in top form, providing perfect accompaniment for one the great masterpieces of comedic opera.
"Falstaff"
Where: Ardis Krainik Theatre, Civic Opera House, 20 N. Wacker Drive
When: Additional performances at 7:30 p.m. Feb. 1, 6, 9, 12, 15 and 23; 2 p.m. Feb. 3 and 20
Tickets: Call (312) 332-2244, ext. 5600, or visit lyricopera.org
At a glance:
Opera in three acts by Giuseppe Verdi, with libretto by Arrigo Boito, from Shakespeare's "The Merry Wives of Windsor." Lyric Opera of Chicago Orchestra and Chorus, conducted by Sir Andrew Davis.
Starring
Andrew Shore as Sir John Falstaff
Veronica Villarroel as Alice Ford
Boaz Daniel as Ford
Elizabeth De Shong as Meg Page
Bernadetta Manca di Nissa as Dame Quickly
Meredith Arwady as Mistress Quickly
Stacey Tappan as Nannetta
Bryan Griffin as Fenton
David Cangelosi as Dr. Caius
Andrew Funk as Pistola
Rodell Rosel as Bardolfo