Teatro alla Scala 2024-25 Review: Falstaff

By Bernardo Gaitan
(Photo: Brescia – Amisano © Teatro alla Scala)

There is no other title in operatic history that was created with as little expectation as “Falstaff.” Giuseppe Verdi concluded that he had composed everything he was meant to in life and stopped writing for several years. It wasn’t until 1880 that his wife, Giuseppina Strepponi, pointed out that to close his career in the best possible way he still needed to write a comic opera. Thus, as musicologist Raffaele Mellace notes, on the eve of his 80th birthday, Verdi began working on the crowning jewel of his compositional career: a comic opera with music that was as genuine and personal as had ever been heard in history.

By that time, Verdi was already one of the wealthiest men in Italy, living off the royalties of his operas and practically retired. Yet “Falstaff” led him to break all the prevailing compositional rules of the time, crafting music that was far ahead of its era. He did so without worrying about pleasing publishers, impresarios, or even audiences. Aware that this opera would never achieve the massive success of works like “La Traviata,” “Rigoletto,” or “Il Trovatore,” he requested surprisingly modest royalties from Giulio Ricordi: 50,000 Italian liras, a figure significantly lower than any of his earlier operas.

The libretto for “Falstaff,” penned by Arrigo Boito, is undoubtedly the most refined, elegant, and carefully crafted in Verdi’s repertoire. To better understand the character of Falstaff, when Verdi received Boito’s first draft, he rushed to read Shakespeare’s works—another of his great passions—to fully grasp the protagonist. He delved into The Merry Wives of Windsor, as well as Henry IV (Parts one and two) and Henry V, as the charming John Falstaff appears in all of them. With almost manic meticulousness, Verdi constructed the character’s psychology, a process reflected masterfully in the score.

“Falstaff’s” connection to Teatro alla Scala is particularly special: it was here that the opera premiered on February 9, 1893, under Verdi’s own stage supervision. Since then, La Scala has produced 37 different versions of the work. To kick off 2025, the theater decided to revive one of its most extraordinary productions: Giorgio Strehler’s iconic staging, which inaugurated the 1980 season.

Despite being 45 years old, this production remains incredibly current, agile, and entertaining. Strehler’s characteristic attention to detail (he passed away in 1997), with the revival forward by Marina Bianchi, continues to shine through masterfully. The perfect synchronization between libretto and staging is overwhelming. The set design, created by Ezio Frigerio (who passed away in 2002), is a timeless masterpiece. His use of open-air spaces perspective, particularly in the second act, with a distant mill or the proximity of a river, is remarkable: without resorting to modern elements like video-mapping or projections, Frigerio crafted a fascinating Elizabethan stage universe with architectural knowledge and ingenuity. The classic costumes, also by Frigerio, were equally memorable and complete this visually stunning experience.

At the podium, Maestro Daniele Gatti demonstrated his brilliance as a conductor, delivering a dynamic, lively, and agile interpretation of Verdi’s complex score. The Milanese conductor offered a reading that was both vibrant and sublime, with masterful modulations, meticulous attention to details, and impeccable support for the singers. The Teatro alla Scala Orchestra, under his baton, executed Gatti’s vision with precision and brilliance, as always.

In the title role, Ambrogio Maestri reaffirmed his status as the ultimate Falstaff of our time. From the very first moment, the baritone didn’t merely perform as Falstaff: he was Falstaff! In an interview published in the theater’s magazine, Maestri revealed that he has portrayed “old John” in nearly 400 performances, describing him as his alter ego. Maestri’s mastery on stage is undeniable, complemented by his vocal expertise. Having debuted the role at age 30—curiously, in this very production and at La Scala—he now brings remarkable vocal and dramatic maturity to the part at 54. His vocal line remains clean and clear, with commanding, well-placed high notes, although with notable difficulties in the falsetto. Nevertheless, his interpretation of the role is almost extraordinary, as demonstrated in his rendition of “L’onore, ladri!” which heralded the start of an unforgettable evening.

The “couple in crisis” as Daniele Gatti described Ford and Mrs. Alice Ford, were spectacularly portrayed by Luca Micheletti and Rosa Feola, respectively. Micheletti delivered a confident and passionate Ford, both vocally and dramatically. His rendition of “È sogno? O realtà?” was a standout, showcasing his interpretative skill. Meanwhile, Feola offered a bold, extroverted, and spirited Alice. The soprano’s voice is a true gem—always perfect in tone, dynamics, and projection. With her crystalline voice and flawless delivery, Feola captivated the audience.

Following Gatti’s interpretation, the “young love” couple: Nannetta and Fenton, brought tenderness and freshness to the performance. Spanish soprano Rosalia Cid and Argentine tenor Juan Francisco Gatell genuinely embodied the youthful pair. Their exquisite love duet elicited sighs from the audience, thanks to their refined, well-honed vocal lines. Despite being native Spanish speakers, their Italian pronunciation was impeccable. A dreamlike moment came with the famous line: “Bocca baciata non perde ventura, anzi rinnova come fa la luna,” where both showcased their stunning high notes.

A special mention goes to Marianna Pizzolato, who portrayed a hilarious Mrs. Quickly. The Sicilian mezzo-soprano’s performance was on another level, drawing hearty laughs during her duet with Falstaff each time the iconic phrase “dalle due alle tre” appeared. Equally entertaining was the ever-reliable Antonino Siragusa as Dr. Caius. The Sicilian tenor, with his exceptional vis comica, guaranteed both vocal and dramatic quality, particularly in the opera’s finale. Martina Belli also shone, delivering the purity of line required to excel as Mrs. Meg Page.

The servants of Falstaff—Christian Collia as Bardolfo and Marco Spotti as Pistola—brilliantly complemented the stage action, always supporting Maestri with skill and ensuring smooth scene transitions. Likewise, the theater’s chorus, under the direction of Alberto Malazzi, played a key role during the iconic final fugue, “Tutto nel mondo è burla, l’uomo è nato burlone,” with resounding success, earning thunderous ovations from every level of the theater, including the notoriously demanding loggione.

For Verdi, “Falstaff” was a sort of “old-age whim” (to paraphrase Rossini), not expected to be successful. Yet it revolutionized the music world, to the point that Richard Strauss himself sent Verdi a letter praising this masterpiece. The spectators of this production, we must feel fortunate to have been able to see such a well-made historical production like this.

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