Opera Review: Verdi's Falstaff

There is much that was amusing in the Kirov Opera's performance of Falstaff, hosted by the Israel Opera - and that is as it should be.

March 22, 2007 08:16
1 minute read.


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Kirov Opera Verdi: Falstaff Tel Aviv Opera House March 20 There is much that was amusing in the Kirov Opera's performance of Falstaff, hosted by the Israel Opera - and that is as it should be. Kirill Serebrenikov and Nikolai Simonov attempted a modern direction with modern sets. A bathtub and shower took the modern approach somewhat farther than necessary, though. The stage looked neutral, however, avoiding conservatism. Entertaining, sometimes sophisticated gimmicks, were abundant, and the spirits, witches and devils were enchanting and cute more than frightening. Director Serebrenikov unjustifiably added a macabre touch to this commedia lyrica by killing the good-humored, guiltless Falstaff at the unhappy end, betraying both Verdi and his source, Shakespeare's Merry Wives of Windsor. In the title role, Viktor Chernomortsev was a real comic talent. His sonorous, low-timbred baritone represented a slightly Russianized Falstaff. A highlight of the performance was baritone Vassily Gerello's Ford. His jealousy aria was dramatic, thoroughly convincing and forcefully impressive. Among the female roles, Larissa Diadkova as Mrs. Quickly, was particularly outstanding. Her rich, low mezzo-soprano was reminiscent of a female bass in a nuns' choir of a Russian convent. Tatiana Pavlovskaia's bright, clear soprano personified a credibly seductive Alice Ford. As Nanneta, Olga Trifonova's appealing soprano made one understand why Fenton, represented by Andrei Ilyushnikov's lyrical tenor, should have fallen in love with her. Conductor Asher Fisch, who substituted at short notice for the indisposed Valery Gergiev, deserves respect and appreciation for a spirited rendition by the Kirov Orchestra of the Marinsky Theater.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys