Customer Reviews

Verdi: Falstaff

5 star:		(2)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

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.

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.

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.

I really, really wasn't sure whether or not to give this recording 5 stars; so much of it is so, so good yet something holds me back. Probably it is that the cast, an admirable comic ensemble, lacks the kinds of seasoned performers who might really fill theses characters with individuality. That said, previous recordings with bigger names have lost out on the ensemble front. Perhaps it is just a very, very difficult opera to make the perfect recording of. But, if this recording isn't perfect, it's awfully good. For a start, the sound of the period instruments lends a clarity and brightness lacking from a lusher, "big house" sound encountered elsewhere. Eliot Gardener's conducting certainly doesn't stick around and the big ensembles (act 1 sc 2, for example) really fizz. He lets rip with snarling brass and chuckling woodwind as the best conductors do, and yet lacks the last iota of flexibility and warmth that would make the recording truly great. Tempi are mainly well judged. As for the cast - I have mentioned the quality of the ensamble and it is indeed impressive. There are no stand-outs and no weak links. Jean-Philippe Lafont - a voice I hadn't heard before - makes an endearing Falstaff, really relishing every word and sentiment and sounding remarkably fresh. As Ford, Michaels Moore demonstrates what a truly beautiful vioce he has though in the monologue he is pushed to his limits - not inappropriately? His wife is Hillevi Martinpelto, a natural Alice who can vary her production from chatter to bel canto without ever being mistaken for a Verdi spinto. Eirian Jmes is a bit of an anonymous Meg (it's hard not to be) but Sara Mingardo is a glorious Quickly, youthful and attractive but admirably plush and even of voice. Rebecca Evans sings Nanetta beautifully but sounds a little mature; not so her Fenton, Antonello Palombi, who is spot on; as are the rest of the singers. The production photos in the accompanying booklet show that this was already an ensemble piece before ever it hit the recording studio, and this is a major plus for the set. Well worth having, it is as good as any of the recent recordings and a fascinating contrast with the classics.

Gardiner had a big success with his very first Verdi recording some years ago, the Requiem and the 4 Sacred Pieces. It was perhaps not wise of him to start the operas with the very last, the greatest and most difficult of all. There are interesting things in his conducting, and his period-instrument orchestra plays superbly, but a great Verdi conductor HAS to conduct the singers as well, especially when they obviously are new to their roles. The bass-baritone Jean-Philippe Lafont sang often with Gardiner when he was in charge of the Lyon Opera. In the French repertoire he is mostly excellent, and his fine, rich instrument could have been ideal for Fastaff, unfortunately his characterisation is only mildly entertaining. Much more fun can and should be had with this great role. Just listen to the great Giuseppe Taddei or Tito Gobbi and you are altogether in a different league of singing-actors. Even worse is the pale Ford. Anthony Michaels-Moore is hardly a Verdi baritone, and he doesn't show much personality either. The women in general are better, especially the outstanding contralto Sara Mingardo as Mrs. Quickly. What a pity that Gardiner didn't use Bryn Terfel as Falstaff and Thomas Hampson as Ford. Of course Terfel is still too young for the title role, but at least his truly first class voice would have been worth collecting. As it is, this prim and proper Falstaff is "interesting" rather than "enjoyable".

I am not a Verdi fan, but I simply had to have this recording. I bought it five years ago and I am still enjoying it.

I come to Verdi "from behind" - I am normally a listener to earlier and, strangley, later music. The world of the grand opera of Verdi (and Puccini) are somewhat alien to me. I prefer Monteverdi, Rameau, Lully, Purcell, Handel and Mozart, on one hand, and Berg, Shostakovich, Debussy, Stravinsky and Schoenberg, on the other.

So, I am pleased to have a period/authentic instrument recording of a Verdi opera in my collection.

This recording is marvellous and the opera is a masterpiece. I love every second of this fresh, bright, clear, exciting and very alive recording. Then singers are great and the orchestra is colourful, "edgy" and energetic.

Lovers of "Early Music" should investigate and lovers of standard grand opera should give this recording a go - to see what these "early music" people can bring to more recent music!

I only hope Sir John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique record some more Verdi operas. They are supposed to be recording Bizet's Carmen soon.