The Berkeley Opera opened its 27th season Saturday with Verdi’s final opera, Falstaff. Written when the composer was eighty, this opera breaks out of the mold of his earlier works: first, because it is a comedy (of his previous 27 operas, 26 are tragedies) and second, because he abandons his trademark style of grandiloquent vocalism, and uses the singing voices almost as orchestral accents. In Falstaff, the dynamic rhythmic pulse is punctuated by only a few lyrical moments. The singers, with the exception of the central character, sing mainly in intricate ensembles. It is partly because of Verdi’s focus on mathematical precision and brilliance, rather than on passionate melodic line, that this opera has remained out of the mainstream repertoire, and is considered by many to be overly eclectic and lacking in spontaneity.
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