Giuseppe VERDI (1813-1901)
Falstaff
Rolando Panerai (bass) Sir John Falstaff
Alan Titus (baritone) Ford
Frank Lopardo (tenor) Fenton
Piero de Palma (tenor) Dr Caius
Ulrich Reiss (tenor) Bardolfo
Francesco d'Artegna (bass) Pistola
Sharon Sweet (soprano) Mrs Alice Ford
Julie Kaufmann (soprano) Nanetta
Marilyn Horne (mezzo soprano) Mrs Quickly
Susan Quittmeyer (mezzo soprano) Mrs Meg Page
Bavarian Radio Symphony Orchestra
and Chorus/Sir Colin Davis
Rec 8-18 April 1991, Herkulessaal der Residenz, Munich
BMG Classics 09026 60705
2 2CDs: [53.53 + 63.43]
Crotchet
£17.00
AmazonUK
£15.99 AmazonUS
Verdi's final opera is one of the great comedies, and like all comedies it
relies enormously on pace and timing. The music almost defies analysis, though
of course there are several marvellous sections which rank to all intents
and purposes as 'set pieces', not least the celebrated final fugue: 'All
the world's a stage'. And this final number is a good place to set the stall
of this recording, since it reflects the strengths of the performance, which
are its consistent teamwork and timing.
It is no coincidence that this is so, since the conductor is Sir Colin Davis,
vastly experienced in the opera house. While this is a studio rather than
a live recording, it has all the spontaneity and freshness of the latter,
particularly because of the point and vivacity of Davis's conducting. His
orchestra, the Bavarian Radio Symphony, is among Europe's best, and from
first note to last there is some distinguished playing on display, both solo
and ensemble.
What of the cast? First and foremost is the Falstaff: Rolando Panerai, whose
great experience of the role in theatre makes him particularly successful.
Then there is that great singer Marilyn Horne, the Mistress Quickly, whose
characterisation of this important role is second to none. The other women
are good too, notably Sharon Sweet as an assertive Alice and Julie Kaufmann
as a lyrical and sweet-toned Nanetta. She is well matched with her lover
Fenton, as whom Frank Lopardo gives a fine interpretation, in attractive
voice throughout.
Earlier issues of the recording criticised the sound as over-reverberant.
While this seems somewhat less of a problem in this latest issue, it cannot
be denied that there are more subtleties in Verdi's score than are captured
here, particularly in the detailed ensemble passages. But the cavils are
relative, for with a splendid cast and inspired conducting, this set is well
worth investigating.
Terry Barfoot
http://www.click2classics.co.uk/
