Falstaff (Glyndebourne Opera)

It's always difficult to objectively review at Glyndebourne. When the weather's as good as it was yesterday the setting is so positively delightful that the opera quality can easily get missed in the blur of bubbly. I think I can safely say though, that their new production of "Falstaff", whilst not exactly vintage, is certainly a delightful way to while away an afternoon.

The new production sets the action around the Second World War. That this is the chosen period doesn't much matter beyond the pretty sets and costumes as little is made of the up-dated setting. Oddly, Falstaff is robbed of his nobility which adjusts some of the relationships, and not necessarily for the better. Why anyone bothers with him at all is somewhat questionable. The designs by the consistently brilliant (and oddly titled) Ultz are simply delicious, the seedy mock-Tudor pub and rows of cabbage very easy on the eye. The wood of the final act evoked by a single, very theatrical, massive tree that provides an excellent centrepiece for the less than imaginative choreography. The big finale doesn't quite work although the massed downing (conductor included) of drink was quite fun. All in all, the production offers few insights but offers a perfectly reasonable route from start to finish. With music like Verdi's, that's not always a bad thing.

The singers varied somewhat but most gave decent if unremarkable performances. Christopher Purves makes for a very assured Falstaff, he had no problems with the notes and projects the words very clearly. His Falstaff however, isn't a particularly funny creation. For all his hamming this wasn't a vivacious, witty performance. His comic timing occasionally excellent but not reliably so. Best of the rest was Adriana Kucerová's divine Nannetta. A lovely pure voice and pretty face, even the tough Fairy aria of Act III soared out with few difficulties. The object of her affections, Bülent Bezdüz, looked similarly ideal for the young romantic but had the weakest voice in the cast. A weedy performance, barely projected despite the small auditorium. Dina Kuznetsova and Jennifer Holloway both put in accomplished performances although it was the Mistress Quickly of Marie-Nicole Lemieux that stole all the female ensembles. Initially I was rather taken aback by her stiff-upper-lip portrayal but she offered layers of comedy and a depth of character that was absent from the rest of the cast. Peter Hoare pushed all the right comedy buttons as Doctor Caius.

Whilst the production does little that is original or insightful, it acts as a perfectly reasonable way to appreciate what must be one of the most entertaining operas in the repertory. Purves might not be the finest Falstaff ever but he's a decent one. The remaining cast mostly put in strong performances and under Vladimir Jurowski, the London Philharmonic Orchestra made all the right noises. A charming evening.