The Chicago Opera Theater, a much-enjoyed cultural institution, performs works from the corners of history that have been forgotten or have not received their due recognition. COT commissions and stages new works from composers who write what I think can be future masterpieces. COT just completed a run of Antonio Salieri's Falstaff at the Studebaker Theater. The timing could not have been more ironic for this opera, as Amadeus is enjoying an extended run at Steppenwolf. Salieri's version of Falstaff is one of many interpretations of the louche hedonist sidekick to Henry IV, aka Prince Hal.
Bass-baritone Christian Pursell stars as comically seedy Falstaff set at a resort a la White Lotus. The resort is a luxury palace where he has his pick of neglected wives. At the same time, his sidekick Bardolfo (a fantastic Peter Morgan) relieves the absent-minded of their expensive watches and cash. There is no mention of other friends from Shakespeare's The Merry Wives of Windsor in this interpretation: no Peto, Pistol, or Poins. That is a good thing, because there would be too many characters, and while Salieri was a good composer, he was not a great one like Verdi, Nicolai, or Mozart. Falstaff and Bardolfo are a couple of scoundrels who are the precursor to comic duos like Laurel and Hardy, Abbott and Costello, or Patsy and Edina from Absolutely Fabulous.
Two couples arrive while Bardolfo is scouting for theft opportunities. Vanessa Becerra plays Mistress Ford, and Andrew Morstein plays Master Ford. Morstein has a gorgeous tenor voice and has sung in previous roles in comic operas, including The Barber of Seville by Rossini and The Marriage of Figaro by Salieri, the alleged victim of Mozart. Becerra has a lovely soprano and is excellent in the comic role, turning the tables on the lecherous Falstaff. The other couple is the Slenders. Tzytle Steinman plays Mistress Slender and Laureano Quant is Master Slender. Steinman is good as the 'wingman' for Mistress Ford. I also enjoyed Quant's lovely baritone.
A breakout performance was given by Denis Vélez as Betty, the observant hotel maid in cahoots with the ladies to get even with Falstaff. She is a Ryan Opera Center alum who possesses the poise and confidence to match her silky soprano. The acting and singing are outstanding from the entire main cast. Christine Brandes conducts the COT orchestra. She does a fabulous job with a score that features a harpsichord, which I have not heard much in opera performances. It is more of a chamber instrument, but it was authentic to Salieri's era.
This Falstaff, directed by Robin Guarino, takes some liberties with the libretto originally written by Carlo Prospero Defranceschi. In the pre-show discussion with Guarino and the COT general director, Lawrence Edelson, it was acknowledged that the cast had been reduced from the original opera. Guarino also mentioned that she spoke fluent Italian and worked closely with Cori Ellison on the subtitles. Some of the language felt off to me, and while it was supposed to be a comedy in our era, I don't think that White Lotus metaphor worked that well. This Falstaff is squatting at the resort in a janitor's closet. He certainly could have conned his way into a suite.
Speaking of resorts, this is supposed to be an upscale resort in Southern Italy. I liked Andrew Boyce's set design, but it was more like the Golden Girls or the Beverly Hills Hotel circa the 1980s. It works because this production is farcical and much more passionate than the English countryside, where the gentry ride to hounds.
Also, the HBO series is much darker, and the comedy is not broad. It is a mirror held up to the super wealthy, and the image they sometimes kill to keep. I do feel that Guarneri kept the vision of showing Falstaff as a flawed human being who recognized his failings and promised to do better. This Falstaff was funny in a broad comedy sense. Pursell in drag is worth the watch. I also thought that the toilet paper tantrum was fun.
I recommend that you go to a Chicago Opera Theater performance whenever you can. It was wonderful to hear the music of Salieri and the pre-show talk about the rumors of Mozart's murder. Salieri's death was also tragic. He died in an asylum with bouts of delirium and hallucinations, now believed to have been Alzheimer's. COT is an excellent forum for new composers and subject matters long ignored. From the long-term suffering of PTSD from war in Soldier Songs to Salieri's Falstaff, you will see great work being done to promote a love of opera. 2 and 1/2 Stars.
Falstaff ran through December 7 at the Studebaker Theater, 410 S. Michigan Ave. in the Fine Arts Building. For more information on upcoming shows, please visit www.chicagooperatheater.org.
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