Metropolitan Opera 2022-23 Review: Falstaff
“…On the podium was Daniele Rustioni, a conductor known for his musicality and ability to bring out the best in orchestral and vocal performances. His style was dynamic, precise, and vibrant, with a strong focus on exactitude. The maestro led the incomparable Met Orchestra through a very difficult score with unrestrained exuberance while maintaining sharp accuracy.
Verdi’s score both converses and leads the singers, reflecting the hijinks and often chaotic scenes. The music is part of the humor and was, in many ways, part of the cast, as the interplay between the vocalists and the pit was undeniably present.
While precision is key for any orchestra, Verdi’s score is full of musical moments that back up the parlando sections, allowing the orchestral line to take over the melody or comment.
This is a barnstormer of an opera with moment after moment of musical ideas. Blink, and you’ve missed one. Likewise for the arias. Verdi hasn’t left these behind for this ensemble work, but they’re here in a flash and gone in an instant, some not longer than 30 seconds before moving on.
Rustioni interpreted the score, which, in terms of forward movement, is unstoppable, like Rossini’s “Barber.” The maestro played it that way, swelling the orchestra with big crescendos (as big as Flagstaff’s belly!) that could have thrown a weighted blanket over the vocal line. Yet, Rustioni did an excellent job of not going too loud, and the soloists’ voices remained audible.
The chorus was in brilliant form, and the Met actors were superb in executing their craft.”
Operawire, Chris Ruel