***RECOMMENDED*** Mention the name "Salieri" and most people will instantly think of his alleged rivalry with a much younger composer -- Mozart -- and his supposed all-consuming jealousy of the boy genius' prodigious output. But Italian composer Antonio Salieri (1750-1825) was already a highly-successful composer and mentor by the time that Mozart arrived at the royal court in Vienna. In fact, Salieri composed more than 35 operatic works during his lifetime. Thanks to the highly resourceful folks at Chicago Opera Theater, especially General Director Lawrence Edelson, local opera lovers should be thrilled to have the opportunity to separate the myth from the man and actually get to hear his glorious music firsthand. In its Chicago premiere, Salieri's "Falstaff" delights the curious nearly 227 years after it was created. 3 SPOTLIGHTS
While others have looked to Shakespeare's "The Merry Wives of Windsor" for musical inspiration in the past (especially the most well-known version composed by Verdi), it is actually Salieri himself who was the first to bring the ribald hijinks of Sir John Falstaff to the stage. COT's production has an ultra-modern sensibility, from the extremely contemporary translations in parts of its libretto (including the reference to a currently reigning pop princess) down to the "White Lotus"-esque set designed by Andrew Boyce, complete with a massive flora and botanical print backdrop and bamboo-ribbed wood paneling on the walls of the spa at this Windsor Beach Resort.
Christian Pursell (Falstaff) - Photo by Michael Brosilow
Christian Pursell, while clearly gifted with an exceptionally powerful vocal instrument, paints his central role of Falstaff in very broad strokes. Pursell's long-haired hippie comes off as more of a swain than a sir. Producing great sound, his portrayal of the beloved character of Falstaff ends up being rather one-dimensional.
The merry wives themselves fare much better. Mistress Ford (Vanessa Becerra) and Mistress Slender (Tzytle Steinman) are a pure joy to watch as they manipulate the cad Falstaff. Becerra's is a very winning performance but it is Steinman, in a much smaller role, who proves to be the natural operatic comedienne.
Tzytle Steinman (Mrs. Slender) and Vanessa Becerra (Mrs. Ford) - Photo by Michael Brosilow
Andrew Morstein does double-duty as Master Ford and the intentionally ridiculously-mustachioed Mr. Brooks. Morstein is an exciting discovery here at COT. He has a gloriously full-bodied tenor which he projects with considerable skill and his diction of the Italian libretto is impeccable. In Act One he has an aria which displays his dynamic vocal range and by Act Two he is gifted with two additional arias, both of which showcase his passionate acting abilities.
Two members of the Lyric Opera of Chicago's Ryan Opera Center have featured roles in this "Falstaff." Laureano Quant sings the role of Master Slender absolutely beautifully. Sadly, Quant only has one aria late in the second act, but it allows him to fully shine. Likewise, Denis Velez, an alum from the Ryan Opera Center, is nothing short of fantastic as Betty, the assistant to Mistress Ford and Mistress Slender's scheming revenge. Velez also has to wait until the second act to deliver her aria, but it is impassioned and magnificently executed.
Laureano Quant (Mr. Slender) and Andrew Morstein (Mr. Ford) - Photo by Michael Brosilow
If there is any minor fault in this production of "Falstaff," it would have to be with some of the choices that director Robin Guarino has made. Much of the time, particularly in the first act, Guarino has the ensemble doing extraneous stage business. Most of that involves the character of Bardolfo (Peter Morgan), who is Falstaff's lackey. While the purpose is clearly to create a light and comedic air, it ends up being rather distracting to the general narrative and clutters the proceedings. Guarino needs to trust the work that librettist Carlo Prospero Defranceschi has put in. His libretto is filled to capacity with hilarity. Trust the text and let your very talented cast breathe life into these charming characters as they relish their carefree antics.
Incidentally, Chicago Opera Theater's Chicago premiere of "Falstaff" is in partnership with Steppenwolf Theatre. If you want to learn more about the fictional backstory to Salieri and Mozart's working relationship (and ultimately Mozart's mysterious cause of death), check out Peter Shaffer's very popular 1979 drama "Amadeus." It is currently playing at Steppenwolf through January.
The company of Chicago Opera Theater's production of Salieri's Falstaff - Photo by Michael Brosilow
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"Falstaff" continues until December 7, 2025
The Studebaker Theater at the Fine Arts Building, 410 South Michigan Avenue, Chicago, IL
Remaining performances are as follows:
Saturday, December 6 at 3:00 PM
Sunday, December 7 at 3:00 PM
Tickets: Please visit www.COT.org
Running time is approximately 2 hours and 30 minutes