Casino Pride 2 Review

Casino Pride 2 Review
Callum Thorpe (Pistol), Wolfgang Koch (Falstaff) and Timothy Oliver (Bardolph)

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© Wilfried Hösl
Wolfgang Koch (Falstaff) and Elena Tsallagova (Nannetta)
Timothy Oliver (Bardolph), Wolfgang Koch, Callum Thorpe (Pistol) and Boris Pinkhasovich (Ford)
Ensemble and production team of the Bayerische Staatsoper
Casino Pride 2 Review

For the Slovenian director Mateja Koležnik, Verdi’s final masterpiece Falstaff is a mixture of comedy and “fine realization (reality?)” in her own words. At the Bayerische Staatsoper, she stages the entire opera in a casino, and reduces everything to money. Falstaff, a gambler down on his luck, decides to seduce two wealthy housewives for their husbands’ money. Ford may be rich, but he acts like a gangster. His wife, Alice, and her friends Meg and Mistress Quickly, as well as Alice’s daughter Nannetta, dress in furs and sequins, flaunting their wealth. There is little differentiation of characters, young and old, rich and not so rich, in the production; unless one is familiar with the opera and its plot, it could be confusing and off-putting.

© Wilfried Hösl
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The set consists of pillars and sliding floors, with 16 doors that open and close as characters weave through the relatively narrow front stage. The director emphasizes the slapstick in the first two acts, but Verdi’s superb, economical score contains all the slapsticks, comedy, frenzy, pathos, pride, vanity, arrogance and longing of young love for the ears to savor. The busy stage action and frequent sliding doors in Acts 1 and 2 did not enhance but rather distracted from the fine musical performances. The silliness reached its peak in Falstaff and Alice’s seduction scene; Alice, scantily dressed in her dressing gown, teases Falstaff on a ladder against her tall closet as she plays with her sandals. Who would invite your admirer to your bedroom closet for your first encounter?

Timothy Oliver (Bardolph), Wolfgang Koch, Callum Thorpe (Pistol) and Boris Pinkhasovich (Ford)
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Matters improve in Act 3, as there is relatively little busy action. Dressed in glitzy and gaudy nightclub attire, the singers could at least sing with the music, not against it. The director devised a brilliant and heart-breaking ending, no doubt improvised given the recent Covid restrictions. As Falstaff is once again duped by the masquerade, the singers all exit at the back, and in their place appears a small screen. Now the cast and orchestra appear in their everyday wear in small windows à la Zoom, as they sing the last few minutes of the opera, culminating in the “fugue”, the ensemble “Tutto nel mondo é burla” (Everything in the world is a joke). As the recorded and piped in music of this glorious finale played, one by one, dancers, singers, stagehands and other backstage crew and finally the conductor Michele Mariotti himself appear on stage, standing in silence to the last “La risata final” (the final laughter). But no one is laughing. The screen is lifted and the camera spins around to show the orchestra also standing. The final arresting image of all the participants – front- and backstage – still in their face masks, turned to the empty auditorium, will be forever etched in my memory as a sad and defiant protest of artists and those of us who desperately miss the live theater and musical experience.

Ensemble and production team of the Bayerische Staatsoper
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Wolfgang Koch made a great role debut as Falstaff, his voice full of nuance, color and sheen as he negotiated the fiendish demands of parlando, soliloquy, and legato. Ailyn Pérez’s attractive and rich soprano could plunge to a gorgeous chest voice as needed; she succeeded in depicting Alice as a strong and smart woman, the focus of the opera. Other principals all sang and acted well, with Boris Pinkhasovich’s Ford memorable for his powerful and sonorous, if not particularly Italianate, baritone. Mariotti led the orchestra with a fierce commitment and deep understanding of Verdi’s most complex and profound work. Busy stage action could not undermine the superb playing of the orchestra which described the action and emotions of the characters in a clear, incisive manner. Verdi instructs us not to take life too seriously as all is mockery and laughter. What a luxury it will be when life can be so carefree and flamboyant once again.

Wolfgang Koch (Falstaff) and Elena Tsallagova (Nannetta)
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Casino Pride 2 Review Trailer

This performance was reviewed from the Bayerische Staatsoper TV live video stream

Watch onlineWatch onlineSee full listing
“a sad and defiant protest of artists and those of us who desperately miss live theater”
Reviewed at Nationaltheater, Munich on 2 December 2020
Michele Mariotti, Conductor
Raimund Orfeo Voigt, Set Designer
Wolfgang Koch, Sir John Falstaff
Boris Pinkhasovich, Ford
Mélissa Petit, Nannetta
Dorottya Láng, Meg Page
Callum Thorpe, Pistol
Chor der Bayerischen Staatsoper
On demand, Nationaltheater: Falstaffhttps://bachtrack.com/opera-video/falstaff-bavarian-state-opera/343799Mateja Koležnikhttps://bachtrack.com/22/291/view/falstaff-bavarian-state-opera/343799https://schema.org/OnlineEventAttendanceModehttps://schema.org/EventScheduledhttps://www.staatsoper.de/tv.html?utm_medium=display&utm_source=bachtrack.com&no_cache=1https://bachtrack.com/files/176368-bso-verdi-falstaff.jpgSometimes a flute is just a flute: Die Zauberflöte in Munich

The Bayerische Staatsoper revives once again a beloved production, with a first rate cast.

****1
It was all a dream: an absorbing Die tote Stadt in Munich
With an unsurpassed cast, devoted conducting and a brilliantly imaginative staging, the Bavarian State Opera's new production of Korngold's Die tote Stadt is a triumph.
*****
Starry knight: a strong ReviewReviewLohengrin revival in Munich

Casino Pride 2 Reviews

The Bavarian State Opera avoids the routine in a powerfully cast revival of Richard Jones' building-site production of Lohengrin.
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“Esultate!” Otello a musical triumph in Munich
Jonas Kaufmann and Anja Harteros, the “Royal couple” of the Bayerische Staatsoper, enchant and melt hearts as the doomed lovers in Verdi’s late masterpiece.
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Atsuko (Ako) Imamura is a retired investment banker in New York City. Born in Japan, she trained as cultural anthropologist in the US before turning to finance. She now spends her time attending opera and classical music concerts in New York and in Europe. Wagner is her favorite opera composer.
To add a comment, please sign in or register2020Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2020-12-03UTC10:53:56+00:002020-12-02The Bayerische Staatsoper's new production of Falstaff makes the mistake of turning a comedy into a slapstick, but the fine ensemble have the last say as they stand in silence and defiance to face the empty auditorium.Koležnik's casino Falstaff redeemed by a powerful ending in Munichen_GBtruehttps://bachtrack.com/review-video-falstaff-koleznik-mariotti-koch-perez-bayerische-staatsoper-munich-december-2020Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngAko Imamurahttps://bachtrack.com/22/270/list-published/16328https://bachtrack.com/22/270/list-published/16328https://bachtrack.com/files/251-ako_imamura.jpegAtsuko (Ako) Imamura is a retired investment banker in New York City. Born in Japan, she trained as cultural anthropologist in the US before turning to finance. She now spends her time attending opera and classical music concerts in New York and in Europe. Wagner is her favorite opera composer.https://bachtrack.com/files/187091-5m1a1097.jpg520340Callum Thorpe (Pistol), Wolfgang Koch (Falstaff) and Timothy Oliver (Bardolph)Wilfried Hösl3Mobile version