Behind every great man there is a greater woman and none more so than in Gina Lapinski’s revival of Robert Carson’s 2013 production of Verdi’s final masterpiece, a comic opera drawn from Shakespeare and reimagined in a post-war 1950’s Windsor with a stylish, satirical and slapstick production that fools nobody: it is superb.
Caddish knight Falstaff (Michael Volle) informs Bardolfo (Chauncey Packer) and Pistola (Richard Bernstein) that he intends to seduce Alice Ford (Ailyn Pérez) and Meg Page (Jennifer Johnson Cano) but when they refuse to deliver the letters, he throws them out. When the letters are eventually received, Mistress Quigley (Marie-Nicole Lemieux), Meg, Alice, and her daughter Nanetta (Hera Hyesang Park), laugh over their similarity and decide to get their revenge. Meanwhile, Ford (Christopher Maltman) arrives with the elderly Dr Caius (Carlo Bosi) who he proposes to marry his daughter, but she is more interested in the younger beau, Fenton (Bogdan Volkov). When Ford discovers Falstaff’s intentions towards his wife he decides to pay him a visit in disguise.
With the audience in on the plots, twists and turns unravel as Falstaff and Ford both get their comeuppance as the Merry Wives make it quite clear who’s calling the shots and the menfolk, in admitting to their pomposity and delusion, are finally able to laugh at themselves.
This is a thought-provoking and hilariously funny opera that uses its chorus to populate the hotel rooms, restaurant, clubs, and kitchen that make for the perfect backdrop from set designer Paul Steinberg and superbly costumed by Brigitte Reiffenstuel, and who provide not only the supporting voices but often act as comedic engines in their own rights to propel scenes forward, much to the amusement of the very engaged audience. Lighting design from Carsen and Peter Van Praet make clever use of light and shadow to as hints of darkness creep in around the edges when fact and fantasy become a little blurred.
Holding it all together is Maestro Daniele Rustioni who clearly takes much pleasure from conducting Verdi’s supremely well-crafted score and which demands everyone just go with the flow as there is literally no time to pause and think as musical ideas come thick and fast, moving from one to the next without any obvious discernible breaks.
As mother-daughter duo, Pérez serves up the ultimate cool mum who grew into her performance whilst Park’s brilliant and powerful soprano hints at a very bright future. Johnson Cano provides a warmness to Meg with a good voice whilst Lemieux crackles as Mistress Quickly who discovers that whilst she may not have the wealth and standing of the other two, she is a dab hand at mischief-making and serves up a physical comedic masterclass. Their combined quartet pieces are superb showcasing a high level of vocal skill in conjunction with the orchestra.
The men are full of fun and charm with Maltman demonstrating great comic timing and outrage as both Ford and his alter-ego Mr Fontana. A youthful looking Volkov makes for the perfect young love interest for Nanetta with his fresh voice perfect for the part.
Packer and Bernstein get the slapstick humour to a tee and fully embrace the physical challenges their roles demand which is rounded off by some superbly choreographed routines that are echoed elsewhere by other members of the cast and chorus, whilst Bosi is suitably down at heel when it’s clearly never going to be his day.
Whilst it may be a woman’s world, the night belongs to Volle who, replete with body suit, is an excellent Falstaff who gives us as a bit of everything and more with his dazzling vocal range and dramatic performance that veers between the slapstick and the serious.
Reviewer: Mark Davoren
Reviewed: 1st April 2023
North West End UK Rating: ★★★★★