Metropolitan Opera Preview: Falstaff

Shakespeare's fat knight goes a-courtin' in Windsor.
by Paul J. Pelkonen

Va, vecchio Ambrogio! Ambrogio Maestri returns to the role of Falstaff at the Met.
Photo © 2018 The Metropolitan Opera.

The big fella is back. Ambrogio Maestri revives his acclaimed portrayal of Jack Falstaff in this welcome revival of the Robert Carsen  production.

Opera Review: The Case for a Basket

Juilliard Opera takes on Die lustigen Weiber von Windsor.
by Paul J. Pelkonen

Falstaff in the Basket by Henry Fuseli
© Die Kunsthaus, Zurich

When Giuseppe Verdi ended his career with Falstaff, he was not the first composer to take on Shakespeare's corpulent knight as an operatic subject. In 1847, the mostly forgotten Otto Nicolai wrote Die lustigen Weiber von Windsor, a singspiel of considerable flexibility and charm.  Nicolai's score, which sets Sir John's amorous adventures to an enchanting series of Viennese waltzes and florid writing for a large cast, is being staged this weekend at Juilliard, in the intimate  Willson Theateron the conservatory's third floor. It opened Wednesday night.

Opera Review: The Fat Knight Rises

The Martina Arroyo Foundation presents Falstaff.

Beer blast: this would have made old Jack happy.
Sadly, Falstaff Beer went out of production in 2005.

On Friday, July 13th, famed soprano Martina Arroyo presented Verdi's Falstaff at Hunter College's Sylvia and Danny Kaye Theater, as the first of two operas in this year's Prelude to Performance series, the culmination of a series of professional-grade workshops for young singers presented by the Martina Arroyo Foundation.

Sir John has been absent from the operatic stage in New York for a few years. If one is to judge from the tumultuous reception given to Robert Kerr's nimble performance in the title role, the fat knight remains a beloved figure, the center of Verdi's last (and most unexpected) opera.

Mr. Kerr is a talented young singer, well below the age at which most baritones tackle the enormity that is Falstaff. Decked out in trad Elizabethan costume (with a mustache and beard that, wittily, resembled Verdi's own) the singer rollocked through the part, bringing weight to the three big monologues and an unexpectedly skilled falsetto when the score called for it.

He was surrounded by a strong cast. Matthew Gamble was a sonorous Ford, at his best when towering with rage in his Act II aria. Brandon Snook brought a diamond-hard character tenor to the role of Dr. Cajus. Youngchul Park showed promise as Fenton, overcoming early nerves to sing rich, lyric duets with his Nannetta (Nicole Haslett.)