Full 'Staff

That the Opera Company's revival of Falstaff has proven so enjoyable is foremost a tribute to the changes worked by Music Director Corrado Rovaris.


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Published: May 8, 2007

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Shakespeare's beloved clown Sir John Falstaff has made his lewd, boozy way into several operas, but none as amusing, musically delightful and downright astonishing as Verdi's 1893 Falstaff, premiered when this greatest of Italian opera composers was 79. Verdi poured floods of wonderful melodic ideas into the rich score. That the Opera Company's current revival has proven so enjoyable is foremost a tribute to the changes worked by Music Director Corrado Rovaris; the orchestra has never played with such sheen and accuracy. It was audible from the first comic blasts of sound that the Academy of Music audience was in for a vigorous, well-paced reading. Elizabeth Braden's chorus sang with admirable control.

Robert Driver's sound production resisted most opportunities for cheap shtick, though the irrepressible Steven Cole (Bardolfo) should perhaps have been repressed just a tad. A few prolonged scene changes slowed things down unduly, but it was a fun evening that complete operatic newcomers could enjoy. I was gratified to see Roberto de Candia's restrained, beautiful-ly declaimed Falstaff after last year's camped-through Figaro. Vocally the strong cast was dominated by Christine Goerke's splendid, knowing Alice, with refulgent arcs of tone and every trill and musical grace in place. U.K. baritone Mark Stone made a compelling U.S. debut as her headstrong husband, focus nicely balanced with snarl in his clearly projected tone. Elizabeth de Shong, also new, made something positive of Meg Page.

Matthew Rose, one of many cast members trained at AVA or Curtis, made a happy local return as Pistola Ã¢â‚¬â€ surely a future Falstaff in this droll bass. Opposite another welcome returnee (JesÃƒÂºs Garcia as a dashing, plangently sung Fenton) the lovely-looking, assured Ã¢â‚¬â€ perhaps too much so for her role as the innocent Nannetta Ã¢â‚¬â€ Evelyn Pollock made an uneven debut. Some phrases floated nicely, but edginess crept in under any pressure. This gifted singer needs continued technical guidance. Meredith Arwady's fabulous contralto sounds very healthy; what she needs, now that her professional career is well launched, is directorial help limiting her indulgence in telegraphed "acting funny" stage business worthy of Bloody Mary in a high school South Pacific. (Comedy should come naturally off of the words and interactions, and not be shoveled on indiscriminately.) The four women did seem to be having a collective good time, the key element in this Merry Wives-driven opera.

(d_shengold@citypaper.net)

Falstaff, through May 13, Opera Company of Philadelphia, Academy of Music, Broad and Locust sts. 215-893-1999, www.opera-philly.com