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5 of 5 people found the following review helpful:
5.0 out of 5 stars
Bravo!, July 20, 2001
This review is from: Verdi: Falstaff (Audio CD)
I've read highly contrasting reviews of this recording, but the consensus seems to be that the cast is not on a par with those in the existing catalog. If you are not a seasoned Verdi-listener, though, you will find that this is an incredibly exciting, entertaining opera...and a well-recorded version of it. I am new to this repertoire, though I did give Bernstein's 1966 recording for CBS a quick listen. I am also a period-instrument freak, and I freely admit that I probably wouldn't have given this last opera of Verdi's any time if Gardiner hadn't recorded it. That said, I am by no means an uncritical listener, and I have to say that I approached this with hesitation but was really surprised and pleased. Lafont may not be an international superstar but he is by no means lacking in skill or personality. The female cast is largely excellent (though occasionally overwhelmed by the orchestra), Bardolfo and Pistol are very spirited, and above all, the instrumental ensemble is superb. There is never a dull moment in Verdi's scoring nor in the performance, for as usual Gardiner leads with dynamic rhythm and verve. I fell in love with this very quickly, which is unusual for someone who tends toward 18th century instrumental music. Gardiner's "Falstaff" would make an excellent introduction to Verdi, to opera, or to the ever-expanding world of historically-informed performance. Thanks to Phillips for releasing this much-needed recording. I hope we'll see more of this kind of exploration soon.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Gardiner in a Toscanini mood, July 15, 2004
This review is from: Verdi: Falstaff (Audio CD)
I have seen some truly negative reviews of this production. Traditionalists become quite apoplectic with even the theoretical juxtaposition of Gardiner and Verdi. But perhaps the choice of Falstaff as his inaugural entry into this portion of the Verdi repertoire is not so strange. Gardiner emphasizes the Mozartean clarity of Verdi's autumnal buffa masterpiece. His use of "historically informed" production values and period instruments reinforces the 18th Century sparkle and his inevitable propulsive tempo gives this production a forward drive that any Indy racer would envy. Sure it's a fleet version. Breathless, in fact. Yet Gardiner manages to keep control of the proceedings so that a sense of drama-and even pathos-is conveyed by a cast that buys into his vision. Inevitably with such an ensemble approach there is an aura of anonymity surrounding this cast. I confess I often lose touch with who's who as the Opera zips by. That is the drawback to this recording. If you were raised on Karajan and his glorious recording of this Opera, with its warmth and astounding individual performances, you may hate Gardiner's comparative alien strangeness. But if it was Toscanini you were exposed to first then this performance will seem oddly familiar. It has a similar approach, if only in mood. I have many recordings of Falstaff in my collection. It is a favorite Opera that, along with Otello, is Verdi's sublime passport to Valhalla (forgive me Maestro). Gardiner's version is certainly not my favorite. He does make it fun to listen to, however. There is a sense of joy that Gardiner conveys. And affection for Verdi and this late miracle. For that, I rate this recording 4 stars, reserving 5 stars for what is unquestionably it's finest recorded performance: Karajan's wondrous 1956 recording with Gobbi, Alva and Schwarzkopf.
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3 of 3 people found the following review helpful:
2.0 out of 5 stars
Interesting, but not entertaining, February 2, 2007
This review is from: Verdi: Falstaff (Audio CD)
I have heard quite a few recordings of Falstaff, admittedly, no other "period performances" but this recording seemed dull and colourless. Gardiner in one of his first Verdi recordings chose a most challenging work. Although the orchestra is well under his baton, the singers seem a little less in control. The best of the cast by a long shot is Sara Mingardo. Her contralto is one of the most beautiful around and this recording shows it to its best, and her characterisation is good. The rest of the cast are almost completely forgetable. Lafont in the title role seems overwhelmed by the orchestra at times, and a times also seems like he cares more about his acting than his vocal performance inclduing almost speaking sections as oppossed to singing them. With a role like Falstaff you must sing it and act it in perfect balance. The best example is Gobbi in the title role. Terfel goes the other way and sings beautifully but misses a little of the comedy of the role. If you are a collector you should have this recording as it is an example of romantic period performance, but don't buy this as your first or only recording of the work, go for Gobbi or Taddei instead.
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