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An intimate Falstaff
Verdi's "Falstaff' by the Academy of Vocal Arts
Steve Cohen
A masterpiece has received a near-perfect production with Verdi's Falstaff by the Academy of Vocal Arts.
Verdi's final opera, written when the composer was 79, combines comedy with touching humanity. My hallmark of its excellence has been the Metropolitan Opera's 1967 revival, directed by Franco Zeffirelli and conducted by Leonard Bernstein, which I saw and enjoyed several times. This AVA production is its equal, although in a different way.
Where the Met version was big and lavish, with a large orchestra and chorus, the AVA places a cast of 17 on a small set with a medium-sized orchestra and no chorus. But the difference isn't as essential as you might think, and the singing is not small-scale. AVA's soloists possess sizable voices and project them well.
In addition, the AVA orchestra is world-class. It's full of seasoned pros, and they're well trained by conductor Christofer Macatsoris, now in his 33rd season as the AVA's artistic director. The number of players is smaller than in commercial opera houses, but their sound is focused and intense.
Like a Florentine mansion
These forces perform an opera that benefits from intimacy. I love seeing and hearing performances at the AVA's home on Spruce Street, in the Helen Corning Warden mansion, which reminds me of the Florentine palaces where the art of opera was introduced. Another nice feature of the Spruce Street venue is that the orchestra sits on the same floor level as the audience. One can virtually feel the caress of horsehair on catgut strings and the vibrations of the air emanating from the wind instruments.
(Additional performances are held at the Haverford School on the Main Line and the Central Bucks High School in Warrington.)
The bad news and good news about the AVA is that its singers become familiar to audiences and then they graduate, while new names join the roster each year. This cast includes many relatively new faces. All do excellent work, but I want to specify two in particular.
Beauty sacrificed for humor
Zachary Nelson, who played the title role in the first two performances, is a 23-year-old first-year student. He looks and moves like the overweight older man he's supposed to be, and he sings like a pro. He possesses a full and rich voice rather than the character voice that some men get by with in this role, but he sacrifices beauty for humorous growls where they're needed.
Michelle B. Johnson is a second-year student who sings and acts the principal merry wife of Windsor, Alice. She radiates personality and she has a gorgeous voice, but"“ like Nelson"“ she doesn't behave like a prima donna who holds on to high notes. Instead, both Nelson and Johnson follow the conductor— who, in turn, follows Verdi's score.
While Leonard Bernstein underlined and accentuated his favorite passages, Macatsoris keeps Falstaff flowing by obeying the clear instructions of the mature composer. The score bubbles along, with impetus and momentum. It's not rushed, but it moves. The music is matched with creative direction by Tito Capobianco, returning to the AVA after many years of worldwide acclaim. His touches are clever and never distracting.
Verdi's final opera, written when the composer was 79, combines comedy with touching humanity. My hallmark of its excellence has been the Metropolitan Opera's 1967 revival, directed by Franco Zeffirelli and conducted by Leonard Bernstein, which I saw and enjoyed several times. This AVA production is its equal, although in a different way.
Where the Met version was big and lavish, with a large orchestra and chorus, the AVA places a cast of 17 on a small set with a medium-sized orchestra and no chorus. But the difference isn't as essential as you might think, and the singing is not small-scale. AVA's soloists possess sizable voices and project them well.
In addition, the AVA orchestra is world-class. It's full of seasoned pros, and they're well trained by conductor Christofer Macatsoris, now in his 33rd season as the AVA's artistic director. The number of players is smaller than in commercial opera houses, but their sound is focused and intense.
Like a Florentine mansion
These forces perform an opera that benefits from intimacy. I love seeing and hearing performances at the AVA's home on Spruce Street, in the Helen Corning Warden mansion, which reminds me of the Florentine palaces where the art of opera was introduced. Another nice feature of the Spruce Street venue is that the orchestra sits on the same floor level as the audience. One can virtually feel the caress of horsehair on catgut strings and the vibrations of the air emanating from the wind instruments.
(Additional performances are held at the Haverford School on the Main Line and the Central Bucks High School in Warrington.)
The bad news and good news about the AVA is that its singers become familiar to audiences and then they graduate, while new names join the roster each year. This cast includes many relatively new faces. All do excellent work, but I want to specify two in particular.
Beauty sacrificed for humor
Zachary Nelson, who played the title role in the first two performances, is a 23-year-old first-year student. He looks and moves like the overweight older man he's supposed to be, and he sings like a pro. He possesses a full and rich voice rather than the character voice that some men get by with in this role, but he sacrifices beauty for humorous growls where they're needed.
Michelle B. Johnson is a second-year student who sings and acts the principal merry wife of Windsor, Alice. She radiates personality and she has a gorgeous voice, but"“ like Nelson"“ she doesn't behave like a prima donna who holds on to high notes. Instead, both Nelson and Johnson follow the conductor— who, in turn, follows Verdi's score.
While Leonard Bernstein underlined and accentuated his favorite passages, Macatsoris keeps Falstaff flowing by obeying the clear instructions of the mature composer. The score bubbles along, with impetus and momentum. It's not rushed, but it moves. The music is matched with creative direction by Tito Capobianco, returning to the AVA after many years of worldwide acclaim. His touches are clever and never distracting.
What, When, Where
Falstaff. Opera by Giuseppe Verdi; directed by Tito Capobianco; Christofer Macatsoris, conductor. Academy of Vocal Arts productions November 13, 17, 19 at Warden Theater, 1920 Spruce St.; November 21, 2009 at central Buck South high School, Warrington, Pa.; November 23, 2009 at Centennial Hall, Haverford School, Haverford, Pa. (215) 735-1685 or www.avaopera.com.
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