Falstaff, Verdi’s great precision work, will begin the 53rd Las Palmas Opera Season of Gran Canaria-Alfredo Kraus with three performances at the Teatro Pérez Galdós on February 11, 13 and 15 at 8:00 p.m. The opera features the work of the prestigious musician and writer Arrigo Boito, author of the libretto, who masterfully adapts Shakespeare’s comedy The cheerful comadres of Windosr next to elements of Henry IV in a representation that consists of three acts and that is located at the beginning of the 15th century, in the town of Windsor, during the reign of Henry IV of England.
The play tells the adventures and misadventures of Sir John Falstaff in his attempts to seduce two married women and get their husbands’ money, but everything turns against him. The cast is formed by baritone Roberto de Candia (Sir John Falstaff), soprano Isabel Rey (Alice Ford), baritone Roman Burdenko (Mr. Ford), contralto Ana Ibarra (Mrs. Quickly), soprano Sofía Esparza ( Nannetta), the mezzo-soprano Cristina del Barrio (Meg), the tenor David Astorga (Fenton), the tenor Reinaldo Macías (Bardolfo), the bass Miguel Ángel Zapater (Pistola) and the tenor Juan Antonio Sanabria (Doctor Cajus), among others.
It is a production of the Istanbul State Opera that has the scenic direction of Renato Bonajuto. The maestro Roberto Gianola conducts the Philharmonic Orchestra of Gran Canaria, which acts alongside the Choir of Canarian Friends of the Opera, directed by Olga Santana, and participates the pianist Olga Nevalainen.
The president of Canarian Friends of the Opera, Óscar Muñoz, highlighted the importance of this title that ACO represents for the third time, after the seasons of 1988 and 1998, since it is one of the last two creations of the Italian composer with Otello since both are also “his two great masterpieces”.
Muñoz made these statements in an act attended by the entire cast, in addition to the director ACO artist, Ulises Jaén, and the director of the Theater Auditorium Foundation, Tilman Kuttenkeuler. Muñoz added that Verdi always wanted to make a comedy and composed this title to take away the thorn of failure he obtained with A giorno di regno.
Ulises Jaén, on the other hand, added that it is a very choral title that needs good singer and actors that also have to have a certain physique “because a particular scenic presence is necessary”. Roberto de Candia said that Falstaff “It is a true work of art” expression of the latest Verdi and is a peak in its production, “a first level show that entertains and moves at the same time.”
Baritone Roman Burdenko stressed that whenever he plays this role he wants to express a message to young people as a way of inviting change like the one his character experiences. ” Falstaff it is full of conflicts, both between the characters and in the situations “, and shows” how in life it is necessary to adapt and change. “Isabel Rey pointed out that she plays” a female character with many nuances “since” I am mocking and intriguing ” , but stressed that musically “it is a puzzle”, because each one says a phrase, something that requires a lot of concentration of the artist and a great work of precision of all that must be synchronized when singing so as not to break the rhythm since it is composed with some adjustments Mathematicians. “If we become musically unfit we do not dislike everything else. And it is fascinating to share it with nine colleagues. ”
Roberto Gianola recalled that “Verdi always dreamed of doing a comic opera and did it at the end of his career, after 50 years as a composer.” For the stage director, it is “a very difficult opera from the musical point of view, which poses big problems, it is probably the most difficult work of Verdi”.
The musical director stressed that “when you hear it for the first time, it doesn’t seem like Verdi, it doesn’t have its usual writing, it has a more refined language, with more nuances, but when you go deeper, you find the composer.” And he said that “Verdi always dreamed of doing a comic opera and that is why it is Verdi’s great testament.
The stage director Roberto Burdenko stressed, finally, that the scenery is “very simple and elegant”, but that it is inspired by the period in which Verdi wrote it, except in the character of Falstaff himself who is the only one who retains the dress of the period from Shakespeare. It is a quick opera, “which needs very agile changes on stage”.