FALSTAFF AS A CLOWN. SCENOGRAPHY AS SATIRE

"Fastaff" in Opéra de Nice turned out to be an intriguing visual clownery that deftly combines different concepts of contemporary art. The Opéra de Nice space itself is extremely old-fashioned in the best sense of the word. Cozy theater boxes. Artsy ushers. Clever waiters. Architecture by Francois Aune and Charles Garnier.

This season “Falstaff” is directed by Daniel Benoin with musical direction by Daniele Callegari. Eclecticism is the most fashionable method on the modern opera stage: here, too, the adventures of the corpulent knight Sir John Falstaff take place either in the city slums, or at a chaotic costume party, where the guests are fashioned as murderous bankers and security guards/detectives, while ladies of the demimonde are fussing about. This happens at the villa from the movie "Les Vacances De M. Hulot" - and Jacques Tati, as you know, used architecture and design as tools of satire.

The authors of the production succeed in the main thing - the spirit of fun does not leave the stage.

For decades, Verdi had been planning to write a comic opera based on the plot of Shakespeare's The Merry Wives of Windsor. But when this idea was close to being realized, he wrote to his librettist: “While sketching Falstaff, did you think how numerous is the number of my years? I know that you will answer with exaggerated praise of the state of my health ... But what if I cannot finish the music? … Nevertheless, let's think about it ... And if you find at least something undeniable, and I will find a way to shed a dozen years, then - what a joy! To be able to say to the public: “We are still here!! Let’s go!"". Answer: “... I am convinced that composing comic opera will not be difficult for you. After you have expressed all the groans and lamentations of the human heart, to finish with an amazing burst of fun! Everyone would be amazed!"

At one of the performances in Nice, an unexpected and lightning-fast replacement of the performers of the main male parts took place.

A quick decision by the administration - and the solution to a problem turned into a separate comedy. A few hours before the performance, new soloists appeared - one had a layover at the nearest airport, the other, it seems, was persuaded to interrupt his vacation. They did not have time to rehearse and "smoothly enter the performance", so they sang their parts in a concert version in the corner of the stage. And the actors played the characters with an unexpected (perhaps even for themselves) passion. At the same time, all four exchanged glances and interacted with each other, not to mention the comic pantomimes of other performers. Wonderful "theatre within theater"!

The idea to invite street-artist Otom to be a stage made total sense. Falstaff was transformed from a traditional good-natured fat man into a fat alcoholic, gathering his will into a fist to fight his horrible habits. Otom lives and works in Nice, and his graffiti on the opera stage is certainly intriguing. Video installations are ironic, representing dusty city square by potted flowers.

In general, in a surprising way, all the “ingredients” of scenography, which individually and in a more pronounced performance could look trivial, here acquire elegance. Daniele Callegari does, of course, an amazing job, his musical direction borders on virtuosity. It is a rare case when the orchestra performers participate in the performance as equal partners - and every beat in the musical dramaturgy is clearly heard.

No wonder at the beginning of our reflections, Monsieur Hulot came to mind - the incomparable clownery of Jacques Tati: there is an amazing combination of sophistication, naivety, satire, and perfectionism in this performance.

The real power of this performance lies with female characters. The role of Mrs. Quickly by Kamelia Kader is fantastic. Her mezzo-soprano juggles the score perfectly, her character gracefully changes outfits and parodies social clichés. It is Kamelia Kader who unexpectedly turns music and scenography into sketches that amuse the audience - they rejoice from the bottom of their hearts.

And not to forget – you could swim in the sea during the intermissions: the beach is in 50 meters from the opera entrance!