Players: James Conlon, conductor; Shawna Lucey, director; Craig Colclough (bass-baritone) as Sir John Falstaff; Nicole Heaston (soprano) as Alice Ford; Ernesto Petti (baritone) as Ford; Hyona Kim (mezzo-soprano) as Mistress Quickly; Deanna Breiwick (soprano) as Nannetta; Sarah Saturnino (mezzo-soprano) as Meg Page; Anthony León (tenor) as Fenton; Nathan Bowles (tenor) as Dr. Caius
In recent months, Music Connection has been to the LA Opera three times. All have been very different productions, and all have been spectacular experiences. At the end of 2025, we enjoyed Puccini’s La Bohème. That was followed, a couple of months later, by Philip Glass’ modern masterpiece Akhnaten. And again, in terms of the music and the spectacle, Verdi’s Falstaff is an entirely different beast.
After the Sunday afternoon performance that we attended, English comedian, actor and writer (among other things) Stephen Fry sat with conductor James Conlon to talk about the history of the character of Sir John Falstaff (Shakespearean, for those new to the opera), and the historical context through which he was created. That proved to be a treat, a real cherry on the cake that had come before it, though it really was just a bonus. The performance was more than enough.
Falstaff tells the story of the bumbling knight that gives the opera its name. Falstaff, as the rest of the characters often tell us, is an overweight, slovenly, narcissistic buffoon of a man. Somehow, he believes that he’s God’s gift to women—a charmer and a playful rogue. In fact, those around him take great joy in pranking Falstaff. It would be bullying, if Falstaff wasn’t such an odious creature.
The Alice Ford and Meg Page characters manage to convince Falstaff that they’re both in love with him at the same time, with the help of. Third female character called Mistress Quickly. This news doesn’t seem to surprise Falstaff at all; rather, he takes it with a “but of course” demeanor. The comedy continues from there.
The orchestra, conducted by the beloved Conlon, puts in an exemplary performance, and the cast was extraordinary. In the title role, Colclough was perfect. Playing Falstaff requires effect timing, while appearing ridiculous. For both an actor and a singer it must be so much fun.
In the respective roles of Alice Ford, Mistress Quickly and Meg Page, Nicole Heaston, Hyona Kim and Sarah Saturnino are simply incredible. Their voices soar, though the real magic happens when they’re in sync.
Special mention must go to soprano Deanna Breiwick in the role of Nannetta, as she too is mesmerizing. By the time the opera reaches its famous concluding line—“All the world’s a joke, man is born a joker, and he who laughs last laughs best,” we were utterly spellbound.
Photo by Corey Weaver/LA Opera
