Review: FALSTAFF, Glyndebourne Festival

Adapted from Shakespeare’s The Merry Wives of Windsor, director Richard Jones’s glorious Falstaff makes a welcome return to Glyndebourne, losing none of its charm or deft comedy. It is playful, witty and a pure delight.

Corpulent Sir John Falstaff has fallen on hard times. He plans to seduce two wealthy wives of Windsor: Alice Ford and Meg Page to help mitigate his plight. However, when the ladies discover he has sent them both an identical love letter, they plot to teach Falstaff a lesson he won’t forget. Despite blatant fat-shaming and a distinctly questionable father's desire to marry off his young daughter to a dry old man, this is a captivating production.

Italian Baritone Renato Girolami tackles the role of Falstaff with huge lyricism and charisma. This lovable rogue is selfish, yes, but also elicits sympathy which makes him a much more interesting and almost endearing character. It is easy to see the echoes of his long-gone youthful charm; when he is thrown into the Thames, his lamenting is comical, but also quite moving.

Mariam Battistelli’s voice simply glistens as the Fords’ daughter Nannetta, in love with Filipe Manu’s Fenton, sweetly played here as a strapping American GI. Her warm and tonally captivating soprano is a standout, showing off some glittering top notes. Her renditon of “Sul fil d’un soffio etesio” is just superb.

Valentina Pernozzoli chews the scenery as Mistress Quickly with excellent comic timing and lovely tone, pretending to flirt with Falstaff as she lures into the trap. Pernozzoli only graduated last year and is certainly a talent to watch.

Anna Princeva makes a wonderful Glyndebourne debut as Alice Ford and Stephanie Lauricella’s Meg Page is spritely. Rodion Pogossov is very good as an exasperated Ford, but the orchestra overwhelms some of the other singers occasionally.

In the pit, the London Philharmonic Orchestra are on top form, with conductor Sian Edwards allowing them to bring in the dazzling colour and vigour of Verdi’s fast-paced score. Verdi’s lack of arias in this opera proves no issue, with the progressive movement in the score maintained well. The stunning final fugue, “Tutto nel mondo é burla”, is particularly enthralling, with the Glyndebourne Chorus also in terrific voice,

Jones ensures there is fun and merriment throughout; from the Garter’s barmaid serving the conductor drinks, to Falstaff tapping out love letters on a battered typewriter inside. There is a joke shop and bridal boutique sandwiching the Garter and a charming animatronic pub cat who almost steals the show.

The production looks wonderful and Ultz’s late-1940s setting is packed with detail. Rows of cabbages grow outside mock-Tudor buildings-a gorgeous nod to the origins of the opera. Cheeky Brownies appear alongside dapper Eton schoolboys and there’s impeccable period hair and makeup on display. It's a shame the scene changes take so long, interrupting the flow a little.

It is 12 years since Jones’s Falstaff last graced Glyndebourne’s stage. Amid a truly excellent season, it more than justifies its return.

Falstaff runs at Glyndebourne until 24 August

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