“The whole world is a jest, man was born a great jester…” So goes the brilliant conclusion to Verdi’s Falstaff, an opera inspired by Shakespeare’s beloved comedy The Merry Wives of Windsor. The virtuosic score requires a particularly talented cast, not to mention a truly exceptional conductor. Herbert von Karajan perfectly fits the bill, and this performance featuring the Wiener Philharmoniker and an all-star group of singers is clearly worthy of Verdi’s powerful work, a masterpiece whose comic facade thinly veils the complex and sometimes even tragic characters’ struggles.
Madama Butterfly
One of Puccini’s most popular works, Madama Butterfly contains some of the composer’s loveliest music. Its themes of love and heartbreak are common in almost every human experience and its plethora of beautiful melodies make it immediately attractive to audiences everywhere. This superb Verona production is memorable both visually and musically, and brilliantly evokes the opera’s Japanese setting. Raina Kabaivanska as the tragic heroine and Nazzareno Antinori as her American husband Pinkerton, who deserts her, give performances that capture the profound but elegant drama of the work.
Tosca
Filmed in the authentic Roman locations specified in the score, this “Tosca” absolutely pulsates with tension and excitement. The first act was shot in the splendid Baroque church of Sant’Andrea della Valle. The second act was filmed in papal apartments in the Castel Sant’Angelo resembling those in the Palazzo Farnese, which is now the French Embassy and off- limits to film teams. The final act was filmed on the banks of the Tiber and on the ramparts of the ancient Castel Sant’Angelo. Raina Kabaivanska is a memorable Tosca, restless, jealously provocative and powerfully determined. With Plácido Domingo’s heroically passionate portrayal of Cavaradossi and Sherrill Milnes’ ruthless and eruptively sensual Scarpia, this “Tosca” is a winner.
Falstaff
Based, in part, on Shakespeare’s The Merry Wives of Windsor, Falstaff is Verdi’s last work for the stage – and only his second comic opera. And yet the humour in this multilayered masterpiece is distinctly wry, for all the main characters exhibit an array of human weaknesses that are implacably exposed by Verdi and his librettist Arrigo Boito. In this legendary performance from the Salzburg Festival 1982, Herbert von Karajan is not only leading a stunning cast of singers featuring the Wiener Philharmoniker, he too directed the opera, in the amazing set design of Günther Schneider-Siemssen.
I Pagliacci
“Pagliacci” is often celebrated as one of the finest examples of verismo, or realist opera. It is even based on a true story: Leoncavallo’s father, a judge, once presided over the trial of an actor who, in a fit of jealousy, murdered his wife immediately following a performance. “Pagliacci” is frequently performed along with Mascagni’s one-acter “Cavalleria Rusticana”. Director and conductor Herbert von Karajan does not simply recreate a standard work; rather, he examines, it, psychoanalyzes its protagonists, lays bare the people behind the masks. In the process, he also makes a magnificent musical statement. Karajan is obsessed with faces – open, shadowed, distorted – suggesting his belief in the adage that eyes are the windows of the mind and the soul. Through elaborate intercutting from four or five cameras, he moves stealthfully from members of the crowd to his principals and back, gradually tightening the dramatic knot which binds them all together in this tale of love, hate and retribution. Joining the superb Jon Vickers is soprano Raina Kabaivanska as Nedda. Hers is a brilliant, multi-faceted performance of fascinating detail. The fine Tonio is Peter Glossop; George Wakhevitch designed the elaborate setting, the square of an Italian village.