Verdi's brilliant final masterpiece Falstaff, in its first new Met production in 50 years – and conducted by Met Music Director James Levine in his first new production since his return to his podium at the Met. When it comes to theatrical flair, captivating costumes, stage antics and imagination, there are not many shows on Broadway to rival the Met s new Falstaff. “Ambrogio Maestri is made for the title role, with the apt physique, nimble acting and superb vocal presence that make him the leading Falstaff of the day. There is no weak link in a finely balanced, comically-attuned cast (the women are especially impressive) and Levine’s conducting is pitch-perfect. The show fizzles from start to finish and is tremendous fun” (Classical Music).

In the title role, Ambrogio Maestri possesses the highest-caliber voice of the cast. As Alice Ford, Svetlana Vassileva…is surprisingly satisfying and inhabits this mischievous role with vivaciousness and charm…Romina Tomasoni [is] a lovable, jovial Mistress Quickly with a warm, sunny contralto to match.
Antonio Gandia‘s sweet tenor and graceful phrasing suit Fenton beautifully…The orchestral playing is crisp and jaunty, and the very young conductor Andrea Battistoni does an admirable job of untangling the musical lines and keeping things cohesive. (Parterre Box)

Transposing the plot to the Italy of the 1950s, director Laurent Pelly (La Fille du Régiment in London and New York, with Natalie Dessay) offers us an absolute jewel, beautifully crafted and shot through with poetry. American Heidi Grant Murphy sings Adina, accompanied by tenor Paul Groves as Nemorino. “Doctor” Dulcamara is masterfully played by the up-front Ambrogio Maestri and Laurent Naouri‘s Belcore is delightfully repulsive. Appointed music director of the English National Opera in 2006, young British conductor Edward Gardner conducts the Paris Opera Orchestra.