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Nobody since Tito Gobbi has owned the role as much as the Welsh bass-baritone, and it was easy to hear â€â€? and see â€â€? why again Sunday His scene in Windsor Great Park â€â€? the venue of Falstaff's final humiliation â€â€? works because of its simplicity In the dizzying ensemble pieces, his musicians were a strong underpinning to the joyful noise on stage The allusion is clear â€â€? the fat knight is a dinosaur, an outsider ridiculed by the others until the final reconciliation scene And that's what Sir John Falstaff is all about â€â€? huge in size, appetites and self-esteem until reduced, briefly, to humility in his last-scene epiphany Falstaff Production Mixes Old With New Oct 19, 8:11 PM EST The old and the new Carlos Alvarez was a strong Ford Marelli is strongest when he decides less is more In Sir John's loving ode to his stomach, the instruments were delicate and sensitive co-voices He and his following wear motley costumes of the late Middle Ages, whereas the others are dressed in 19th century wear A fortuitous blend of both gave birth to a performance of Falstaff at the Vienna State Opera on Sunday night that left little to criticize Cajus, and Herwig Pecoraro and Alfred Sramek fit the roles of Bardolfo and Pistola, Falstaff's fickle servants The old, in the new production by Marco Arturo Marelli, was Bryn Terfel as the fat knight â€â€? less paunchy than in the 1999 Royal Opera House production, but still larger than life, as he growled and postured through Verdi's fastest-paced opera His voice second only to Terfel, the baritone laid down a memorable "mad scene" upon discovering what he thinks is his wife's infidelity While Elina Garanca occasionally was overpowered by the voices of her women co-stars, she was a strong stage presence as Sir John's other would-be paramour "If you find a good Quickly, then I'm the happiest man on earth," Verdi wrote to Boito in 1891 Falstaff again lives sub-stage, reflecting the split between his world and the "normal" goings on of the rest of society â€â€? the women he plots to conquer, the young lovers Nanetta and Fenton, and most of the rest of the cast This allows the audience to concentrate on the double joys of Boito's wonderful libretto and the splendid music of Verdi's most symphonic opera The State Opera orchestra, under Fabio Luisi, avoided the temptation of outperforming the soloists, despite a score that would stand alone Tatiana Lisnic was a believable Nanetta, and Krassimira Stoyanova a convincing Alice Ford Terfel's voice fits his stature â€â€? huge Verdi would have been satisfied Sunday â€â€? of the women, Jane Henschel was the most impressive, a delightful Mrs Michael Roider was a suitably nerdy Dr " Much of Marelli's staging leaned on the familiar, relying on tried and true symbolism of past productions Cosmin Ifrim was a convincing Fenton, Nanetta's idealistic young lover Quickly with a flexible mezzo voice, who effortlessly mugged and mimed her way through this key comic role But Terfel's instrument is more than volume The ensemble goading Falstaff is uniformly dressed and masked in white and for the most part stays on the perimeter of the stage There was perfect breath control, flawless diction and a broad range of sound that effortlessly conveyed all the colors of Verdi's comic hero: the cunning libertine, planning his two-pronged amorous attack on Alice Ford and Meg Page; the self-pitying wretch, who for the first time realizes he's old, and Sir John the resurgent bon-vivant, as he leads the rest of the ensemble in the rollicking finale of "Tutto Nel Mondo e Burla Michael says he's afraid the stage version would be "a lot of cheese" and he would "literally have to avoid the premiere Michael tells a London radio station two or three producers have approached him and Andrew Ridgeley with the idea George Michael Considers Wham! Musical Mar 26, 9:41 AM EST Pop singer George Michael is considering whether to turn the music of Wham! into a musical "Mama Mia!," based on music by Abba, and "Movin' Out," centered around Billy Joel songs, have both fared well on Broadway However, he says he knows a certain generation of people would love it " Michael has reason for concern, as musicals based on pop music have had a mixed showing in the United States However, "Taboo," a musical prominently using Boy George songs and backed by Rosie O'Donnell, closed in February after three months Michael says on a creative level, he hates the idea He says Ridgeley would love the fact that it would make a fortune as well He says Ridgeley is of the opinion that if the story is good enough, it would be "snotty" to not do it |
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