NEARLY 20 years have passed since the New York Times heralded the “Welsh Falstaff”” coming to the Big Apple one year after the show had opened in Cardiff.
While the production was indeed from Welsh National Opera the Falstaff in question was Scottish baritone Donald Maxwell and I can barely think of a single Welsh member of the cast. Certainly not the producer German theatre wunderkind (now in his 80s I believe) Peter Stein and conductor Richard Armstrong.
No such lack of Welsh credentials last night when the big man of Welsh opera took on the role of the rather plump man of Verdian opera, Sir John Falstaff, complete with false belly and bags of personality.
Here is a singer of genius, both vocally and dramatically totally engaging, completely captivating. In fact, it is sometime hard to take your eyes off him and watch the other characters bring their talents to the fore in this stunning night of music theatre.
Adding to the Welshness of the cast was Rhys Meirion singing Fenton in this meticulously rehearsed Stein creation. But such is the ensemble of the drama it is hard to single out cast members whether it is Janice Watson stylish Alice or the intense Ford from Christopher Purves not to mention Neil Jenkins marvellously realised Bardolph.
While it might not have been a Welshman conducting I think we might just forgive that seeing we had maestro Carlo Rizzi back with his old company breathing fresh new vigour and life into Verdi’s gorgeously uplifting score.
This show remains a near perfect example of music theatre, where a director and conductor work closely together to give us a show that is dramatically accomplished but remains 100 per cent voice-oriented. If there is a more polished show I have yet to see it.
Peter Stein’s designer Lucio Fanti gives us a wooden set for this Shakespearian romp, which along with gorgeous costumes is a visual delight and a versatile vehicle for the drama set that let the singers/actors suing and act and Stein’s drama breathe.
The characters are either charming such as the frisky Nannetta , or mischievous, such as those cheeky wives of Windsor who take such delight in not only turning the tables of the hoary old knight but also teaching the men folk a lesson or two.
I laughed and chuckled through the evening as did all around me including some who are not opera pundits but know a darned good show when they see it. The whole show ends with a theatrical coup de grace – when the knight literally takes off – but if you have managed to get a ticket I won’t spoil the joie de vivre of the finale.
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