I feel I have to commence
this review by stating what, to many,
will seem the obvious. That is that
any portrait of Falstaff would
have to be brilliant to eclipse that
of Tito Gobbi. Gobbi had such a huge
stage presence in the role; encompassing
the ageing knight’s pomposity and ridiculous
arrogance, his rampant, irresponsible
sensuality and, yet, his vulnerability
too, and, ultimately, his great humanity.
In the classic 1956 Karajan (audio)
recording (EMI CDS5 67083-2), Gobbi
colours his voice to brilliant effect
conveying all such nuances and so many
subtleties in his characterisation.
That recording has so much more to offer:
the Philharmonia on top form, Elizabeth
Schwarzkopf, a stinging Mistress Ford
and Anna Moffo, delectable as Nannetta.
In passing one also remembers another
wonderful Falstaff – Sir Geraint Evans
to be heard on Decca 417 168-2 conducted
by Sir Georg Solti.
But to this 1987 DVD
video recording with José Van
Dam as Falstaff. As an actor Van Dam
may not have the range and sheer presence
of Gobbi, and he might make more use
of the stage, but the voice is colourful
and powerful enough. He can be slyly
mischievous and grumpily melancholy
to order. He is brusque and outraged,
venting his absurd arrogance and twisted
logic in his Act I aria ‘L’onore Ladri’
as he scolds his companions for quibbling
over delivering those two love letters
to Alice Ford and Meg Page. Biliously
lit and sat in front of the inn, at
the beginning of Act III he is all self
pity, spirits dampened after being dumped
in the Thames. However he quickly recovers
as he downs a glass of mulled wine,
noting with increasingly swagger how
the beverage trills round his stomach,
then his head, then his whole being
and then through the world. Later, in
Act III, brought to book, he cringes
and crumples into a pathetic heap, terrified
at the prospect of approaching fairies
(to look upon them is death) in his
‘Love transforms man into a beast’.
The supporting cast
impress strongly and they convey a real
sense of spontaneous enjoyment. Barbra
Madra’s Alice Ford is cheekily knowing
and waspish, William Stone’s Ford is
nicely, darkly bewildered in his Act
II aria, ‘E sogno? O realtà’
as he falls prey to jealousy at the
prospect of Falstaff seducing his wife.
The two young lovers are very well cast.
Laurence Dale makes a dashing and fervent
admirer but why does he have to wear
such ridiculous pantaloons? The costumes
apart from this aberration are sumptuous
and colourful and pertinent to the period.
Cast opposite Dale, Elzbieta Szmytka
makes a very appealing Nannetta, sweetly
voiced and how silkily she carries off
those long sustained chords. Livia Budai
also shines as the conniving Mistress
Quickly.
Visually, this production
is not successful. Practicality, and,
maybe frugality, rules. The lighting
for Act I, set in the Garter Inn is
far too dim. One can hardly recognise
the characters and the set is scarcely
recognisable as such either. Other sets
are oddly fashioned, too, with a medley
of brickwork and structures reminiscent
of a viaduct, serving as the garden
and home of Ford. A single line of trees
stands in for Windsor Forest.
Although Van Dam’s
more restrained stage presence may not
dispel images of Gobbi, or Sir Geraint
Evans, this is an enjoyable experience
with some very fine singing from an
enthusiastic ensemble cast. Lighting
disappoints.
Ian Lace
Chorus and Orchestra, Théâtre Royal
de la Monnaie de Bruxelles/Sylvain Cambreling
WARNER
DVD 5050467-4469-2-2 [130 mins]
