BWW Reviews: Opera in the Height's FALSTAFF is a Delightful and Mirtful Comedy

Last night, Houston's Opera in the Heights opened their production of Giuseppe Verdi's FALSTAFF. The mirthful and comedic opera is the last production of their 2012-2013 season, but the most exhilarating aspect of the production is seeing an opera performed so intimately. This was my first time to visit Lambert Hall, and I was simply blown away by how close to the action I was, even in the last row of the Orchestra level. Opera in the Heights provides a novel and intriguing way to experience opera that I, and I'm sure many others, are simply unaccustomed to.

David Ward directs FALSTAFF with a tangible joviality. The entire production is light-hearted and warm. His cast earnestly earns every laugh they receive, portraying bright and effervescing caricatures. Moreover, following Giuseppe Verdi's score, each act starts at a somewhat slow pace and gradually picks up momentum before reaching a gallop with a riotously comedic ending.

Mæstro Enrique Carreón-Robledo directs the musicians with fervent zeal, passion, and frenetic energy. With the baton in hand, he is a fireball of energy, guiding his instrumentalists and vocalists through every emotion of the score in addition to preserving Giuseppe Verdi's quick paced and fanciful staccato nuances and style.

Guido LeBrón could not be better cast as Sir John Falstaff. He pristinely sings the role, infusing it with miraculous wit, perfected comedic timing, and remarkable facial expressions. His Falstaff is so efficaciously hilarious and confident that the audience cannot help but fall for him. His baritone instrument is robust and full of life, which makes the performance all the more invigorating for the audience.

Soprano Michelle Johnson lends her gorgeous and sumptuous soprano instrument to the role of Alice Ford. Her vocal abilities are stirring and endearing, quickly earning favor from the audience and enchanting us every time she is on stage.

The romantic leads in the opera, Nanetta and Fenton, are stunningly sung by soprano Julia Engel and tenor Eric Bowden. The chemistry between them is tangible, and each lends a sparkling tonal quality to their role that ensures the audience feels the youth and vibrancy of their affections for one another.

Alice Ford's intrepid and strong female friends are spectacularly played by Alissa Anderson and Patricia Cay. Alissa Anderson's mezzo-soprano instrument is on gorgeous display as she gracefully and proactively charms Falstaff and the audience alike. Likewise, Patricia Cay uses her polished and refined mezzo-soprano voice to deftly show how clever and sharp her Meg Page truly is.

The "villains" of the show, Dr. Cajus and Ford, are cunningly played by tenor Ryan Ford and baritone Adam Meza. As the plot progresses both are outsmarted and duped, becoming the butt of several jokes. Both are in great voice; however, Adam Meza's Ford wows the audience with his impressive and vivacious solo at the end of Act II's first scene.

As if the show needs comedic relief, the always jesting Pistola and Bardolfo are masterfully sung by bass Daymon Passmore and tenor Nathan de Paz. The duo displays fantastic vocal control in addition to physicality, as they run, leap, bound, roll, and more around the stage, eliciting numerous laughs and hearty guffaws from the audience.

The remainder of the cast does excellent jobs with their choral duties and other work to complete images created by both Giuseppe Verdi's score and libretto and David Ward's staging.

Rachel Smith's Scenic Design is simplistic but lovely. As a fan of Shakespearean theatre, I really appreciate how well she captured the vibe of London's Globe Theatre and relatively used the same caliber of stage effects that could have been done in a Renaissance theatre.

Dena Scheh's Costume Design is simply divine. It expertly captures the look of Renaissance fashion. The color choices are appropriate for each character and help the audience differentiate what side everyone is on during the schemes and ruses.

Kevin Taylor's Lighting Design is light as well. He mostly uses ambers at various levels of brightness to shape where the audience focuses their eyes during the production. The lush blues used for the fairies in the third act is magnificent. I also enjoyed the green laser effect, but its novelty did wear thin by the time the effect was discontinued.

Opera in the Heights is doing a resplendently marvelous job with this comedic masterpiece. Every note is played and sung with sincerity and precision by the entire cast and orchestra. Opera in the Height's production of FLSTAFF is a dazzlingly delightful operatic treat that audiences will truly have their ribs tickled by.

Opera in the Heights FALSTAFF runs at Lambert Hall through May 5, 2013. For more information or tickets, please visit http://operaintheheights.org or call (713) 861 - 5303.

All photos courtesy of Opera in the Heights.

Guido LeBrón as Falstaff. Photo by Gwen Turner Juarez.

Alissa Anderson, Michelle Johnson, Julia Engel, and Patricia Cay. Photo by Kinjo Yonemoto.

Alissa Anderson and Michelle Johnson. Photo by Kinjo Yonemoto.

Michelle Johnson and Julia Engel. Photo by Kinjo Yonemoto.

Michelle Johnson and Guido LeBrón. Photo by Kinjo Yonemoto.