Falstaff is lyrical comedy like no other

FALSTAFF took the musical world of 1893 by surprise for few thought Verdi, at 70, would write a comedy after 24 successful musical tragedies. Thank goodness he did, for Falstaff represents Verdi’s artistry at its best – orchestral scoring with the quality of chamber music, and, on stage much self mockery as the ‘hero’ is confronted by his own comic and ludicrous behaviour.

From the moment Matthew Cooke struck the sustained horn note in the opening bars, supported by disciplined strings, it was clear the full range of instrumental colours would shine through. And they did.

Thanks to the clever lighting plots (Wayne Dowdeswell), the delightfully simple stage settings and costumes allow director/designer Richard Studer to create masses of action on stage with the disgusting, hugely obese and objectionable Simon Thorpe prospering in the Sir John Falstaff role.

By expertly exposing Falstaff to ridicule, Stephanie Lewis as Meg, Linda Richardson as Alice, Gaynor Keeble as the influential Mistress Quickly and Helen Massey stole the attention of a full house for long periods.

Eventually, the antler festooned Falstaff is able to stand up and look his adversaries in the eye and laugh at them. All very improbable; however the original Arrigo Boito libretto provided Verdi with a lyrical comedy that is like no other.

Well deserved extended applause greeted the final display. No first night disasters, a performance to be revived in future years.

Clive Peacock