MUSIC
COVENT GARDEN OPERA " FALSTAFF "
THE two months season arranged by the London Opera Syndicate at Covent Garden was brought to a brilliant close on July 2nd with a performance of Verdi's Falstaff—an admirable choice for a last night. This finely-spun music is a revel from beginning to end. The gaiety is never forced, and there is no conscious contriving of effects. The result is that the fun is not so much fast and furious as continuous and gentle. The subject of Falstaff in sad decline is a great test for a musician. It has been objected that Verdi has divested the old rogue of all his essential Englishry. But surely this was inevitable. The dramatic Falstaff and the operatic Falstaff can- not possibly keep house together. As soon as you call upon a creature of debauch and bulk to tune his merry note to the manner and temperament of Lel canto you are reduced to the absurd. The mastery of Verdi lies in this—that he confronts us (an English audience) with a figure which has become almost a national symbol, that he dares to adorn the figure with all the airs and graces of the light Italian style, and still can persuade us against our better judgment. We can only cry in amazement : "Oh, Falstaff, how thou art translated ! "
Mariano Stabile was a great success in the title role. It has been said (by Mr. Ernest Newman, I think) that his voice was too youthful. There you have another of the so-called problems of opera. Would you have the singer sacrifice good form (i.e., good tone) or good character ? For my part Stabile's beautiful singing did not worry me so much as his slender and shapely legs, which were altogether out of keeping
with the rest of the make-up. BASIL MAINE.
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