The MET Opera House/ Thursday March 23rd, 2023.
Welcome back friends!
Yay!
And this week, let’s laugh out loud!
Yay!
Believe it or not, this week, we are still part of the fabulous world of opera, in which knighthood is still present, yet this time, it is a comedic expression of this world, that we are enjoying.
Yay!
And more than solely an irreverent work, this opera is frankly, satirical and farcical.
Fun!
Welcome to Giuseppe Verdi (1813–1901), and his iconic 1893 “Falstaff”.
Yay!
So welcome this week, to one of the most enjoyable, fun, silly, laugh out loud funny, 19th century Italian operas, welcome again to Verdi’s 1893 “Falstaff”, inspired by a real character, a warring knight, from the late 14th/15th century (who has often been portrayed as a cowardly man), despite also being, (on top of being a long serving soldier), a patron of literature, and a writer on strategy. He was called John Fastolf (1380-1459). He became a fictionalized character a few centuries later, by William Shakespeare (1564–1616) under the name “Sir John Falstaff”, with self indulgent traits, which of course were made fun of.
Oh boy.
Let’s give a little historical context, before moving on to our “Falstaff” plot:
The “real” Fastolf was a late medieval English landowner and knight. Fastolf served during the illustrious 100 years war (a war that actually lasted during the late Middle Ages, from 1337 to 1453), and originated (the 100 years war) from disputed claims to the French throne, between the kingdoms of England (and its English House of Plantagenet) and France (and its French royal House of Valois).
Oh boy.
Fastolf served under Henry V (1386-1422) who reigned from 1413 until his death, and who was celebrated as one of the greatest warrior-kings of Medieval England.
Wow!
Fastolf then became a controversial figure after a serious defeat for the English, after the Battle of Patay in 1429. In all, it took Fastolf thirteen years to clear his name, and even then, his reputation was still tainted.
Wow!
16th/17th century playwrite, Shakespeare (1564–1616), then, as previously mentioned, fictionalized this Fastolf knight, in a few of his hilarious works (especially 1602 “The Merry Wives of Windsor” and also “Henry” plays, in particular 1597 Henry IV and 1599 Henry V).
Yay!
And Shakespeare depicted him as a dissolute, drunk, engaged in pretty criminality, in a nutshell, portrayed him (Falstaff) as a corrupt, vain, dishonest, self indulgent, and at times, funny knight.
Oh boy.
And Verdi, in the 19th century, also mocked him (Falstaff) as well, by having Falstaff, ultimately be manipulated, by the very ones he tries to manipulate in the first place, to cater to his self indulgent ways, in a joke like manner, with an ending filled with fun, silly and yet romantic “magic”, reminiscent of Shakespeare’s (1595) Midsummer’s Night Dream 16th century comedy (with four characters running through the forest pursuing each other), and reminiscent of silly “reconciliation” endings, found in French theater of the 18th century from French playwrite Beaumarchais (1732-1799), whose 1775 “Le Barbier de Séville” was then adapted for opera, by Rossini in 1816, and whose 1784 “Le marriage de Figaro”, was also adapted for opera, by Mozart (1756-1791) in 1786.
Wow! and yay!
And in this 19th century (1893) “Falstaff” opera by Verdi, the dark humor in the rest of the opera, at times, is also typical of other comedic expressions from various eras: Firstly, it is at times, reminiscent of Italian “commedia dell’arte” (a theater originating from Italy, which was popular throughout Europe between the 16th and 18th centuries. It was illustrious for scripted jokes or “lazzi” routines, or representing fixed social types such as “exaggerated” foolish old men, devious servants, or military officers, full of false bravado).
Wow!
Secondly, this type of farcical humor also evokes for me as well, 17th century great comedies, about foolish behaviors from men in power, from writers such as French playwrights, Molière (1622-1673), and Racine (1639-1699), Fabulist and poet, La Fontaine (1621-1699), who all, also loved “commedia dell’arte”, and who all also mocked with great wit, and pizzazz, in all their plays/works, pretty much everyone, from aristocrats (yet never the king), to middle class, and the hypocrisy found often in many circles, during the very long reign of French king, Louis XIV or 14 (1638-1715), the monarch with the longest reign in France, and in Europe (over 72 years from 1643 to his death).
Wow!
So let’s get back to our 1893 “Falstaff” 3 act opera, by Verdi (1813–1901), and welcome again to a fun, joyful, silly, operatic work, from the late 19th century, mocking a fictitious (yet based on a real character), lewd, vain, self indulgent, funny, decadent, and of course, “exaggerated” character, the illustrious knight, Sir John Falstaff.
Oh boy.
And believe it or not, but 1893 “Falstaff “, is the last opera written by Verdi, which amalgamated as previously mentioned, a few Shakespeare plays, depicting this unruly knight, who wrote it (Verdi), at the end of his extremely prolific career (over 6 decades long).
Wow!
And Verdi’s witty and romantic librettist on this opera (in addition to being a journalist and a critic), is the illustrious Arrigo Boito (1842–1918), a librettist as well, as an opera composer (I am an absolute fan of his 1868 “Mefistofele” opera). Boito also worked a few years earlier with Verdi, in particular, on Verdi’s exceptional 1887 “Otello” opera.
Wow! and yay!
And with an awesomely beautiful score by Verdi: “Falstaff” is such an astounding opera musically, I especially adore the farcical choruses where everyone sings “on top of each other” in Act 2 especially, as well as the beautiful magical chorus in the park.
Yay!
And finally, Verdi’s “Falstaff” “sits” among the greatest operatic comedies of all times, which interestingly as well, Verdi decided to set, (Falstaff), not during Fastolf’s 15th century time, but instead, a bit later, during Shakespeare’s era, in the 16/17th century, although this Carsen production, sets the action in the 1950’s.
Wow!
So what is “Falstaff”‘s plot about?
The story is fairly simple: Falstaff, a vain, pompous, funny, and decadent knight whom we discover in an inn, is now broke, and has thus decided to find a “sugar mommy”, to be able to continue to afford his self indulgent “lifestyle”.
Oh boy.
His plan: seduce not one, but two wealthy and married women (Alice Ford and Meg Page), hoping that at least one of them, will give in to his “amorous” and “financial” plan. He will then send them both identical “love” letters. Of course the two of them (Alice and Meg) are friends, and when they realize that they have both received the same exact letter, they (Alice and Meg), decide to play a trick on him (Falstaff) to punish him, by pretending on multiple occasions, that his plan has worked, and that one of them (Alice) is really “interested” in him, to mock him (Falstaff) further, and to hopefully get him (Falstaff) to give up his foolish behavior, and laugh at his expense, all the while, helping young people (Alice’s daughter Fannetta and “her” love interest Fenton), who really love each other, to get married, instead of having to accept for the young lady (Fannetta), an “arranged” marriage with a Doctor (Dr. Caius), which she (Fannetta) does not love, and who will end up (Dr. Caius), by marrying another character (one of Falstaff henchmen “staff”).
How fun and silly.
So all ends well for the young ones, and Falstaff laughs heartily as well, to the joke played on him, and realizes as well, that actually, his foolish behavior, is the source of the best joke of all, and allows him, to be the last one laughing.
Wow!
Let’s get into more of Falstaff’s plot details:
In Act 1, near Royal Windsor, in England, we discover Dr. Caius who accuses Falstaff (who is staying at the Garter Inn), of unruly behavior the previous night, and accuses Falstaff’s “staff” (two henchmen at Falstaff’s “service”), of having robbed him (Dr. Caius), while he was drunk. Falstaff dismisses him promptly. Falstaff then realizes the “large bill” relating to his “partying”, still has to be paid.
Let’s listen to an excerpt of a recent MET Opera dress rehearsal of this Carsen production, relating to the “large bill”:
Enjoy!
So fun, and what gorgeous music.
Falstaff then, informs his “staff” that he plans to seduce two wealthy married women from Windsor, Alice Ford and Meg Page, both wives of prosperous men. When his staff refuses to deliver the “love” letters to the married women, Falstaff ridicules their newly “discovered” sense of “honor”.
Oh boy.
Alice Ford and Meg Page then, laugh over the identical “love” letters that they have both received from Falstaff. They share their bewildered amusement with Alice’s daughter, Nannetta, and their friend Mistress Quickly.
Let’s now listen at another short excerpt, from a recent Met Opera dress rehearsal, relating to the identical “love” letters:
Enjoy!:
Once again so silly, and what stunning music.
When Ford learns of Falstaff’s plan to seduce his wife, he immediately becomes jealous. While Alice and Meg plan on how to “punish” their unfortunate “suitor”, Ford decides to disguise himself, in order to pay a visit to Falstaff. Unnoticed in the “mayhem” that unravels, Nannetta and her love interest Fenton, manage to steal a few precious moments together.
Oh boy.
In Act 2, Falstaff’s “staff” show Quickly (in Falstaff’s inn), who informs Falstaff, that both Alice and Meg, are madly in love with him. She explains also, that it will be easier to seduce Alice, since her husband is out of the house every afternoon between 2 and 3 pm. Falstaff joyously anticipates his “love meeting” with Alice.
Oh boy.
Then, a “Mr. Fontana” (Ford in disguise) arrives to Falstaff’s inn, and to Falstaff’s surprise, he offers him wine and money if he is able to successfully seduce Alice. Ford, explains that he hopes thus, that Alice might then be more likely “to fall” a second time for Fontana, if she is first ,”seduced” by Falstaff. As Falstaff leaves to prepare himself, Ford unleashes his jealous anger. When Falstaff returns, the two men exchange compliments before leaving together.
Oh boy.
Alice, Meg, and Quickly are preparing in Alice’s house, for Falstaff’s visit. Nannetta then, tells her mother, that her father insists, on her marrying Dr. Caius, which panics her (Nannetta), and has her sobbing, but Alice tells her daughter not to worry.
Oh boy.
Falstaff then arrives at Alice’s house, and begins his love “seduction”.
Oh boy.
As Falstaff becomes more “convincing”, Meg Page interrupts the “love meeting” as planned, to announce (as a joke), that Ford is approaching. Their friend Quickly, suddenly returns in a rush, to inform Alice, that Ford, really is on his way.
Oh boy.
Falstaff hides in a large laundry basket. Fenton and Nannetta also hide. Ford and the other men “strip” the house. Hearing the sound of kissing, Ford is convinced that he has found his wife and her lover together, but instead, is equally furious, when he discovers his daughter Nannetta and Fenton, kissing. While Ford argues with Fenton, Alice instructs her servants to empty the laundry basket out of the window. To the audience’s great joy, and loads of laughter, Falstaff lands in the River Thames.
Oh boy.
In Act 3, a wet and bruised Falstaff can’t believe how tough the world can be, but soon cheers up (pun intended), with a glass of wine. Quickly persuades him, that Alice was innocent of the unfortunate incident at Ford’s house. And to prove that Alice still loves him, Quickly offers a new “love meeting” that night in Windsor Great Park. In a letter that Quickly gives to Falstaff, Alice asks the knight to appear at midnight, disguised as “the Black Huntsman”.
Oh boy.
Ford, Nannetta, Meg, and Alice then, prepare the second part of their plot: Nannetta will be disguised as the “Queen of the Fairies” and the others, also in disguise, will help to continue Falstaff’s punishment. Ford secretly promises Caius, that he will marry Nannetta that evening. Quickly overhears them.
As Fenton and Nannetta are reunited in the park, Alice explains her plan to trick Ford, into marrying them (Fenton and Nannetta). They all hide as Falstaff approaches. On the stroke of midnight, Alice appears. She declares her love, but suddenly runs away, saying that she hears spirits approaching. Nannetta then, approaches disguised as the “Queen of the Fairies”.
Oh boy.
Let’s now listen to a gorgeous aria sang by the “Queen of the Fairies”, during another recent Met opera dress rehearsal.
Enjoy!
Just awesome.
And maybe my favorite aria of the opera, for its beauty musically, and its romantic words by Boito.
Yay!
Nannetta a.k.a. the “Queen of the fairies”, then summons her follower “stag like” friends, who “attack” (in jest), with “silverware”, the frightened Falstaff, until he (Falstaff), promises to give up his dissolute ways.
Oh boy.
Falstaff suddenly recognizes his “staff” (one of the 2 men at his service), and realizes then, that he has been tricked.
Oh boy.
While Ford explains that he was “Fontana”, Quickly scolds Falstaff for his attempts at seducing two virtuous women. Falstaff accepts that he has made a “fool” of himself, but points out that he remains the true source of wit in others. Dr. Caius now, comes forward with a figure in white. Ford is to marry the pair.
Alice brings forward another couple, who also receive Ford’s blessing. When the brides remove their veils, it is revealed that Ford has just married Dr. Caius to one of Falstaff’s henchmen, and Fenton to Nannetta.
Yay to silliness and love!
With everyone making fun of him, Ford has no choice, but to forgive the lovers, and bless their marriage. Everyone then agrees, that the whole world may be nothing, but a jest filled with jesters, but he who laughs last (Falstaff), laughs best.
Wow!
How philosophical, yet simplicity, straight forwardness, along with fun of course, feel perhaps, slightly easier, and ultimately happier.
Just saying.
But really, how silly and super entertaining!
What to say about the production itself?
That Robert Carsen’s production was incredible and beautiful: what fun, creative, colorful, bubble gum like, and wonderfully uplifting 1950’s sets, including the timeless, midnight magic Shakespearean scenes found in the last act, by Paul Steinberg, and what stunning and delightful 50’s costumes, by Brigitte Reiffenstuel, for the entire cast, especially the incredibly gorgeous dresses, hats and coats.
Yay!
I also I must say, I particularly especially enjoyed the humor of the “cow boy”/”western” like costume of “Fontana”, which allowed for for an even more farcical scene of Fontana upon meeting Falstaff at his Inn.
Yay!
And loved as well, the delightful and cheeky, fairy and “animal” Shakespearean costumes of the midnight “love meeting” in the park, in Act 3.
Yay!
What to say of the conductor and performers?
That all of them, including the chorus, were, as was the orchestra, beautifully conducted, with great talent and sensitivity, under Daniele Rustioni’s masterful baton, including all arias, duets, and terrific quartets.
Wow!
Bravo!
And four singers, particularly stood out for me:
First, in the title role, German baritone, Michael Volle, was truly great, what a terrific actor he is, on top of being a great singer, as the lewd and decadent knight, Sir John Falstaff, yet filled with a great sense of humor.
Bravo!
Second, in the entertaining role of the hilarious, fun, and devious Quickly, the expressive Canadian contralto, Marie-Nicole Lemieux, was wonderful, silly, witty, cunning, and what great showmanship!
Bravo!
Third, charming, intense and spirited, South Korean soprano, Hera Hyesang Park, was a terrific Fannetta, what a great technique and beautiful color, and what a great depiction of a smitten, passionate, cheeky young woman.
Bravo!
And finally, I loved charming and full of fun righteousness, American soprano, Ailyn Pérez, as the fun, amusing and conservative Alice Ford, and what expressive and beautiful voice is hers. Just stunning.
Bravo!
So, to sum up my feelings, about Verdi’s witty, silly, gleeful, and laugh out loud, funny “Falstaff”, filled with much entertaining, light hearted foolishness, and love drama, admired last Thursday, at the MET Opera, in great company: what fun, joy, and great Shakespeare/ commedia dell’arte/ Molière theater meets Beaumarchais’s “reconciliation” ending, set to awesomely beautiful music, and what silly, witty and at times romantic libretto by Boito, and awesomely beautiful varied and unusually fun and sometimes truly poetic chorus and arias, and how farcical is Volle as “Falstaff”, what a wonderfully delightful and entertaining “Quickly”, Lemieux proves to be, what a passionate “Fannetta”, Hyesang Park embodies as well, and what an amusing “Alice”, Pérez portrays, and finally, what a gorgeous, colorful, and engaging 50’s Carsen production, enhancing beautifully, the idea that silly, timeless, farcical situations, are even more fun to watch in a vibrant, technicolor, bubble gum like colors, environment.
Bravo!
Just terrific!
And not to be missed!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊