Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-04-11
NEWS OF MUSIC
Empty Seats Fail
To Mar "FoIstofff"

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lineate shades of meaning and
character words can never e&-
press.
This is not the Verdi of the
tune that sticks to you like
a burr sticks to wool. Here the
miraculous melodic gift is
completely purged of its tinsel
and vulgarity. and completely
disciplined. Thanks to.a match
less display of alchemy, the
shining brass Of the early OPP
eras is transmitted into genu-
inc gold.
Some say that "Falstaff" is
an old mans opera, a perfect
gem, it is true. but work
touched by the white breath Of
death. I refuse to believe it,
even though it is on record that
Verdi completed it in his 10th
year.
No old man could write the
heart-wrenching love music of
Nannetta and Fenton, so warm
in its innocence and Joy in life.
No old man could create that
youthful fairyland around
Herne's oak. To do that. one
must remain forever young
and be a sorcerer in other ways
as well.
Verdi's web is tightly woven
here. and individuals seize the
center of the stage for only the
briefest moments. Before you
have a chance to shake off the
spell he has woven over you
with a particularly ravishine
bit, such as the "Quand' ero
paggio" or the "Dal labbro IL
canto," it is gone and something
else is happening to enchant
you.
One Alone Shines
The only one in the cast who
is given the opportunity to
shine fairly consistently is Sir
John himself. The title role
was beautifully acted and i'm
preSsively sung by baritone
Ralph Herbert. who despite
long experience as a leading
singer in the Metropolitan and
San Francisco companies, was
making his debut in a part he
has coveted for many years.
This versatile artist will be
remembered locally as having
been responsible for the stage
direction of the OSW's excel
lent Marriage of Figaro" of
last November. Last night, he
proved that he is as good a
captain as he is a field marshal.
Three of the four singers of
the female roles were new to
OSW audiences. Mildred Allen,
blessed with the meltingly love-
ly music of Nannetta and the
perfect ingenue role, was a par
ticular delight with her beauti-
full lyric soprano voice, while
Maria di Gerlando and Cecilia
Ward as the merry wives Of
Windsor who give Sir John
such a hard time were excel
lently cast.
Eunice Alberts demonstrated
a fine gift for buffoonery as
well as her powerful contralto
as Dame Quickly.
The other principal male
roles. Fred and Fenton. we're
admirably portrayed by Robert
Trehy, an excellent young BARI
tone heard here previously only
in a minor part in the Mar
riage," and Charles Anthony,
a tenor of flrst-rate quality
most recently cast as Andres
in the Nets brilliant new pro-
duction of Berg's "Wozzeck."
The minor male parts were
filled by singing actors who, in
the ordinary opera, would be
stars in their own right. One
has only to mention Hughes
Cuenod as DIR. Cajus and Lee
CasS (the Pizzaro of the local
"Fidelio") to realize that this
is not hyperbole. Enrico di
Giuseppe's red-nosed Bordolfo
was fully up to the high level
set by Cuenod and Cas-.
Flashing Speed
! ''FalStaff" is an ideal piece
for Conductor Paul Galloway,
who drives the opera with the
furious vitality and flashing
speed 1t must have II 1t is to
catch FIRE. Under his direction.
1t is a constellation of bril-
liances, a dazzling roman can
die of a comedy.
I Mr.. Callaway's grasp Of the
score was matched by Nathan
lei Merrill's magnificent dis
play Of virtuosity in staging.
and by the lovely sets Of Rob-
ert O'Hearn IS well as James
Warnings technical direction
and lighting. And the Ma
tional Symphony Orchestra. a
blessing few opera companies
can boast the equal Of. gave
Mr.. Galloway every expressive
nuance he called for.
But the ensemble is the star,
and it is the great virtue Of the
OSW production that this is
plainly true, with the ensemble