Falstaff at Glyndebourne

[verismissimo]

Prepping for this great work. Am I alone in thinking that Verdi had learned much from Wagner by this late stage - but his great innovation was to compress it all into a fraction of the time.

Glyndebourne will this time have the OAE in the pit. Wonder how that will change the sound world. They will doubtless have researched instruments, how they were set up, performance practice etc.

But will they have listened to early recordings?

There's a very strange recording from 1903 of Verdi's original Falstaff, Victor Maurel. They were experimenting with how to make this new-fangled medium work. Then there's the engaging Antonio Magini-Coletti from 1905; the Big Voice - Titta Ruffo from 1922; and Lord Harewood's nomination as the finest Falstaff he ever heard, Mariano Stabile, recorded in the 1920s and 40s.

The only early female recordings I have are of the bewitching Frances Alda in 1910 as Nannetta/Queen of the Fairies and of the lovely Toti Dal Monte in the same aria in 1929.

How lucky we are to have all these. Will any of the singers at Glyndebourne have studied them?

[gradus]

What a great piece Falstaff is. I would love to see it at Glyndebourne although I've watched productions from there on tv. The only live performance I've seen was a touring production that visited Snape some years ago, with a small orchestra, modest sets but a fine singing cast. If only it were possible to append recorded performances to messages as I would love to hear the singers you mention.
Study? I wonder how many of today's soloists have even heard of these great names form the past.

[verismissimo]

Sunny day at Glyndebourne for the dress rehearsal. Such a masterpiece, Falstaff. Excellent cast.

My main takeout from this was the shift in balance between stage and pit. With the OAE (in top form) playing at full bore with gut strings, appropriate wind, the singers could really shine through without strain.

That's really what Verdi would have experienced.

[ferneyhoughgeliebte]

If only it were possible to append recorded performances to messages as I would love to hear the singers you mention.

http://www.youtube.com/watch?v=DhDZ1t3IvJE

... all the voices named in veri's OP are featured on youTube, but I can't find any others in Falstaff.

Study? I wonder how many of today's soloists have even heard of these great names form the past.

Glyndebourne has quite a reputation for studying historic recordings of the works in their repertoire, and many conservatoires nowadays have study of these as part of their training. Together with the fact that most of "today's soloists" (especially the younger ones) are quite savvy with internet recordings, it wouldn't surprise me to hear that they know more of these performers than, say, those emerging in the '70s.

[gradus]

Ah, never thought of youtube. Interesting to hear from 'today's soloists' on influences on them from the past, it would certainly get me listening, just the sort of thing R3 could tackle.

[ferneyhoughgeliebte]

Interesting to hear from 'today's soloists' on influences on them from the past, it would certainly get me listening, just the sort of thing R3 could tackle.

Great idea, gradus. It'll never happen, though, will it?

The nearest I can remember would be the fiftieth anniversary of Kathleen Ferrier's death. Alice Coote spoke very intelligently about how Ferrier's recordings had inspired her to study singing and how she was still an influence and inspiration. (Intelligent woman, our Alice!) I'm sure there'd be many young singers who'd prefer to be involved in a series like the one you suggest - rather than just responding to inane chatter posing as "an Interview with ... "

[Il Grande Inquisitor]

I'm looking forward to seeing Falstaff this weekend. Busily preparing the picnic and hoping the rain stays away from Sussex. It will be extremely interesting to hear the OAE in late Verdi. Some may recall John Eliot Gardiner's period instrument Falstaff at the Proms some years ago, which revealed some lovely orchestral colours despite the RAH's dreadful acoustic.

Together with the fact that most of "today's soloists" (especially the younger ones) are quite savvy with internet recordings, it wouldn't surprise me to hear that they know more of these performers than, say, those emerging in the '70s.

I agree, fgh. My conversations with singers have revealed a deep understanding and admiration for singers of the past, so I think it's something of an injustice to accuse them of otherwise. Perhaps I've been fortunate.

[french frank]

Prepping for this great work. Am I alone in thinking that Verdi had learned much from Wagner by this late stage - but his great innovation was to compress it all into a fraction of the time.

In case it's of interest http://www.for3.org/forums/showthrea...160#post296160

[David-G]

Just got back from Falstaff. Absolutely wonderful. The singers, Elder, the OAE, the production. I have never enjoyed Falstaff so much.

[amateur51]

Just got back from Falstaff. Absolutely wonderful. The singers, Elder, the OAE, the production. I have never enjoyed Falstaff so much.

Thrilled to hear that, David-G it's a wonderful piece

[bluestateprommer]

Usual thread hijack by bsp, but hopefully (again) for good reason, namely the Glyndebourne quarantine stream of their 2009 Falstaff, with Christopher Purves in the title role and Vladimir Jurowski on the podium with the LPO, just before access expires tomorrow at 5 PM your time. Just watched Act I so far; fantastic performance (even if dispensing with sub/surtitles in the women's and men's dueling ensembles in Scene 2 of Act I). I noticed the cats in each of those scenes (not the same cat in each, to be sure), where I assume (**) that they are indeed real kitties and not animatronic-type contraptions. I'm not sure what the significance is of the cats (*), although there's probably a line in Willie the Shake's The Merry Wives of Windsor (or Boito's libretto) to justify them. Whatever the case, a fun watch. On to the rest....

(*) PS: Of course (duh), the beginning of Act II, with Falstaff intoning "L'uomo ritorna al vizio / La gatta al lardo" ("Man returns to his vices / like a cat to cream"). Haven't experienced Falstaff in a long while, so I'd forgotten that line. Would be nice to know how they did the cats (perhaps a hint in the closing credits, yet to be seen).

PPS: Vladimir Jurowski talks about Falstaff at this Grauniad video (note at the very end the musical comparison that he uses for the opera).

(**) PPPS: Well, incorrect assumption. The kitties were indeed animatronic, per the Grauniad review of the 2013 revival at Glyndebourne.

Further bonus: a podcast from The Guardian on Falstaff, for those interested.