by usia review

Verdi’s Falstaff at the Teatro Nacional de São Carlos. A Comic Masterpiece and Final Testament

Falstaff is Giuseppe Verdi’s last opera and one of his greatest masterpieces, composed at the age of 80. With a libretto by Arrigo Boito, inspired by Shakespeare’s comedy The Merry Wives of Windsor (with elements from Henry IV), the opera stands as Verdi’s supreme achievement in comic opera.

Set in Windsor during the reign of King Henry IV, the plot revolves around the mischievous and voluminous Sir John Falstaff, who attempts to seduce—and extort money from—two respectable married women: Alice Ford and Meg Page, aided by the sharp-witted Mistress Quickly. Their clever revenge unfolds through a series of elaborate pranks that ultimately expose Falstaff’s vanity and human frailty.

Music and Interpretation

The score is a marvel of continuous musical invention, rich in rhythmic vitality, sophisticated orchestration, and seamless interaction between voices and orchestra. Unlike Verdi’s earlier operas, Falstaff abandons traditional arias in favor of rapid ensembles and finely woven musical dialogue—demonstrating the composer’s full mastery at the end of his life.

In the title role, baritone Pietro Spagnoli delivered a highly characterful interpretation. His expressive intelligence, stage presence, and physical embodiment of Falstaff—enhanced by his imposing figure and ample paunch—made him a convincing protagonist. However, his voice was frequently covered by the orchestra, particularly in climactic moments, diminishing the impact of his vocal line.

Cast Highlights

Among the singers, particular praise goes to lyric soprano Dora Rodrigues (Alice Ford), who stood out for the beauty of her timbre, expressive phrasing, and vocal clarity.

The principal cast included:

• Falstaff – Pietro Spagnoli (baritone)

• Alice Ford – Dora Rodrigues (soprano)

• Meg Page – Cátia Moreso (mezzo-soprano)

• Mistress Quickly – Maria Luísa de Freitas (mezzo-soprano)

• Ford – André Baleiro (baritone)

• Nannetta – Rita Marques (soprano)

• Fenton – Michele Angelini (tenor)

• Dr. Caius – Marco Alves dos Santos (tenor)

• Bardolfo – Leonel Pinheiro (tenor)

• Pistola – Miguel Ángel Zapater (bass)

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Production

The staging, directed by Jacopo Spirei, made use of sets and props from the Teatro Regio di Parma. The production respected the spirit and period of the work, allowing Verdi’s intricate musical comedy to unfold without unnecessary conceptual distortions.

The orchestra, conducted by Maestro António Pirolli, played with energy and precision, fully capturing the brilliance and momentum of Verdi’s late style. Nevertheless, the excessive orchestral volume often overwhelmed the singers, particularly during moments requiring vocal projection and clarity in the upper register—an issue that recurred throughout the performance.

Synopsis Overview

Act I

Falstaff ridicules the concept of honor and attempts to enlist Bardolfo and Pistola to deliver identical love letters to Alice Ford and Meg Page. The women quickly discover the ruse and plot Falstaff’s humiliation. Meanwhile, Ford, consumed by jealousy, worries about his daughter Nannetta, who loves Fenton and refuses an arranged marriage to Dr. Caius.

Act II

Mistress Quickly informs Falstaff that Alice is expecting him. A series of comic episodes follows, culminating in Falstaff being hidden inside a laundry basket and thrown into the river—one of the opera’s most famous scenes.

Act III

The intrigue reaches its climax in Windsor Forest. Disguised as spirits, fairies, and mythological figures, the characters torment Falstaff once more. Fenton, disguised as Oberon, sings a tender aria to Nannetta. The opera concludes with the celebrated fugue:
“Tutto nel mondo è burla” — All the world’s a joke.

Conclusion

Falstaff is a profound comedy—light on the surface yet rich in philosophical insight. Through wit and laughter, Verdi reflects on love, honor, vanity, and the human condition, delivering a final artistic testament marked by wisdom and generosity.

Despite issues of orchestral balance, this production reaffirmed Falstaff as a pinnacle of operatic art and a fitting farewell from one of music’s greatest geniuses.

A Teatro Nacional de São Carlos Opera

#FALSTAFF @TNSC

Thanks to: TNSC, André Quendera, Raquel Maló Almeida