“Falstaff ( Salieri) reviewed by Frank Meccia

***** When opera lovers hear the name Falstaff, their minds often leap to Verdi’s celebrated masterpiece. But long before Verdi, 80 years earlier in fact, Antonio Salieri set the notorious Shakespearean comedy The Merry Wives of Windsor to music in his own Falstaff—a witty blend of schemes, seduction, and scandal. Salieri’s version, however, is rarely performed. Remarkably, its U.S. premiere did not occur until 1954, and now—226 years after its creation and two centuries after Salieri’s death—the Chicago Opera Theater has finally brought this gem to a Chicago stage.

Though the plot parallels Verdi’s, Salieri’s Falstaff offers its own charm. Sir John Falstaff, ever the schemer, believes he can woo two wealthy wives simultaneously without their husbands catching on. This two-hour, whimsical opera is light, accessible, and cleverly updated to a modern-day seashore resort, making the comedy feel fresh and immediate.

Falstaff himself is played by internationally renowned baritone Christian Pursell, a Bay Area native whose commanding presence and velvety voice fill the auditorium with ease. His sly humor and irresistible swagger make it clear why the onstage women can’t help but fall under his spell.

His primary object of affection, Mistress Ford, is portrayed by Vanessa Becerra, a Peruvian and Mexican-American soprano whose credits span Seattle Opera, Fort Worth Opera, and LA Opera. Her bright, agile voice and confident stage presence are a delight.
Mistress Slender, played by Tzytle Steinman, brings charming energy and vocal clarity. A Northwestern University alumna, Steinman’s resume includes Ohio Light Opera and San Diego Opera, and she continues to impress.

As Master Ford, American tenor Andrew Morstein delivers a standout performance. With appearances in Vienna, Paris, St. Louis, San Diego, and more, his commanding tenor voice and dramatic intensity draw the audience in immediately.
Master Slender is sung by Colombian baritone Laureano Quant, praised by the San Francisco Chronicle for his rich voice and swagger—both of which are well on display here.
Rounding out this excellent cast is soprano Denis Vélez as Betty. Originally from Puebla, Mexico, she gained national attention in 2020 when invited by the U.S. Embassy to perform the national anthems of both the United States and Mexico for July 4th celebrations.

All of these strong performances come together under the deft direction of Robin Guarino, who has helmed over 90 opera productions and six world premieres. Her international credentials include the Canadian Opera Company, Greek National Opera, Seattle Opera, and San Francisco Opera—now adding a triumphant Chicago Opera Theater debut to her impressive résumé.
At the podium is conductor Christine Brandes, whose distinguished international singing career has transitioned into an equally respected conducting career. Her precise yet expressive leadership anchors the entire performance.
No production is complete without a compelling visual world, and scenic designer Andrew Boyce—a Chicago talent and associate professor at Northwestern—delivers beautifully. His coastal resort setting is crisp, clever, and functional. His work, seen at Lincoln Center, Lyric Opera, Steppenwolf, and on Broadway, once again proves first-rate.
With such remarkable talent onstage and behind the scenes, one wishes Chicago Opera Theater invested more in advertising these exceptional productions. COT consistently presents high-quality opera at refreshingly accessible prices—something increasingly rare in the operatic world.

Now housed at the Studebaker Theater, 410 S. Michigan Ave, COT continues to be one of the best cultural values in the city, with tickets ranging from $50 to $150 and convenient parking for $13 at Grant Park South. It makes for a truly affordable, unforgettable evening of opera.
Unfortunately, this production received only three performances:

Wednesday, December 3
Saturday, December 6
Sunday, December 7 at 3 PM

If you missed Falstaff, plan ahead for the upcoming premiere of Der Silbersee (A Winter’s Fairy Tale)—last performed in 1933 before being banned by the newly empowered Nazi regime.

It promises to be another rare and meaningful experience only COT can deliver.

To learn more about Chicago Opera Theater, visit www.chicagooperatheater.org