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Vaughan Williams: Sir John in Love. Soloists, orchestra and chorus of English National Opera,Oleg Caetani. Coliseum 4.3.2006 (BK)


Sir John Falstaff: Andrew Shore

Ford: Alastair Miles

Mistress Ford: Jean Rigby

Page: Russell Smythe

Mistress Page: Marie McLaughlin

Anne Page: Sarah Fox

Sir Hugh Evans: Iain Paterson

Dr.Caius: Robert Tear

Rugby: Mark Richardson
Mistress Quickly: Sally Burgess
Fenton: Andrew Kennedy

Shallow: Stuart Kale

Slender: Christopher Gillett

Peter Simple: Richard Coxon
Bardolph: Peter Kerr

Nym: Paul Napier-Brown

Pistol: Graeme Danby

Host of the Garter Inn: Nicholas Folwell

Robin (Falstaff's Page) : Phillip Agnew


Conductor: Oleg Caetani
Director: Ian Judge
Sets: John Gunter
Costumes: Tim Goodchild
Lighting: Nigel Levings
Choreographer: Claire Gaskin




Just why is folk music so undervalued in England? If we were Nordic or Czech, Hungarian or French - or almost any other nationality, come to think of it - we would celebrate the folk influences in our 'serious' music and be grateful for their legacy. Not us English though - Oh, goodness no, dear. We ignore a Vaughan Williams opera for 48 years - except for two recordings, one of which dates from 1975.


Hats off then, to Chandos and Richard Hickox in 2002 and now to ENO for this sparkling new production. Yes, it does have 'Greensleeves' in it (with the royalties going to Royalty, as Michael Flanders used to say) and of course it's not Verdi or Nicolai: instead it's our own - our very own - RVW at his most romantic and lyrical. And with only 15 minutes of folk music, as it happens.


'Sir John' is often criticised for its busy first Act, in which almost all the characters are introduced; packed in tightly and confusing for the audience. And the music takes time to get going, people say, and only perks up some while later. Well, maybe: despite using texts from Shakespeare, Middleton, Marlowe, Jonson and others, RVW wasn't the greatest  librettist and the character cramming is an error. But  the action  is easily followed thanks to ENO's new surtitles and some Act I music is ravishing, especially for Anne Page and Fenton.



The sets are simple and the  production is staged in Edwardian England, complete with costumes to match. Below a green hill backdrop crowned by Windsor Castle, the wooden frames of two mock-tudor houses turn variously into the Pages' home, the Garter Inn, the Fords' house and so on, throughout the whole action until the Windsor Forest scene. There, an equally simple cut-out provides us with Herne's Oak which is set off magically by attractive lighting.


Ian Judge's direction is  pacy and assured. This Falstaff is roguish yet dignified  by turns - he drinks his pints in one swallow but is certainly 'in love.'  Anne Page and Fenton  are properly besotted and the Merry Wives are feisty and witty. Top all of this off with carefully gauged silliness from  Caius and Slender (Anne's other would-be suitors) and the charm of the production is obvious:  it is steeped in  good-humour  through and through.


Taken as a whole, the score is delightful and Oleg Caetani's relaxed but authoritative conducting made it subtle and exhilirating. Not a phrase of the lyricism was neglected, the  orchestral   playing was immaculate and as a new role debut for the conductor this could hardly have been bettered. The entire cast and the chorus were with him all the way and as well as Andrew Shore's expected sterling performance (impeccable diction, timing and beautiful sound) the other ENO stalwarts were in excellent form too. Fine playing, splendid singing and assured direction made this good-hearted English opera an evening of pure pleasure. On a DVD, it would sell lots.



Bill Kenny

Pictures © ENO and Clive Barda 2006



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