Steve Schwartz <[log in to unmask]> writes:

>I can think of a couple more: Vaughan Williams's Sir John in Love (MUCH
>finer than Verdi's Falstaff)

Of course "Sir John in Love" is far more closely based on "The Merry
Wives of Windsor" than is Verdi's "Falstaff".  To my mind, both are to
be preferred to that amiable play.  Before Steve's post I thought myself
second to none in my enthusiasm for the VW version, but I must now move
gracefully aside!

VW and Verdi are chalk and cheese.  I'd agree that "Sir John in Love"
is (with the exception of "Riders to the Sea") VW's most satisfying
operatic score.  It is absorbing, beautiful and has great depth as a
romantic portrait of the Matter of England.  We have much to learn from
it.  It is also, however, gently paced theatrically and not too strong
on individual characterisation.

I for one would never want to be without Verdi's flawless masterpiece
by my side.  "Falstaff" is to my mind much greater than the over-praised
"Otello", which has musical as well as dramatic problems which it's
honestly impossible to overlook.  Shakespeare has the clear edge on that
one.

When directing "Falstaff", the quicksilver *speed* at which it moves
musically astounded me, far faster than any other opera (except late
Janacek) I ever came across.  Verdi's technical organisation is exquisite.
It's the most tune-profligate opera I know, too, with superb ideas
conjured up in almost every bar only to vanish like will-o-the-wisps.
It is inexhaustible, varied, surprising and - wonder of wonders - ACTUALLY
FUNNY. So, no, chuck out Nicolai, Salieri and even Holst if you like,
but let's keep both great Falstaff operas in the balloon, please!

>and Bloch's Macbeth, according to Andrew Porter, THE greatest opera
>based on a Shakespearean play.  I finally heard it on CD (and will
>review it).  While I have problems assigning "the greatest" to
>anything, I wouldn't be outraged at Porter's opinion either.

I'd be inclined to think that opinion one of Porter's rare lapses.
Bloch's version (unlike Verdi's "Macbeth", his second greatest Shakespeare
opera after "Falstaff"!) has always left me sadly disappointed, for its
tame musical inspiration and empty rhetoric.  Atmospheric, sure, but not
really memorable or engaging.  I'd like to be persuaded otherwise, though,
and look forward to reading Steve's passionate case for it!

Christopher Webber, Blackheath, London, UK
http://www.zarzuela.net
"ZARZUELA!" The Spanish Music Site