This lively Falstaff has a genuinely playful disposition. If you compare Geraint Evans’ and Ilva Ligabue’s performances as Falstaff and Alice Ford to the recording they made three years later under Solti, you’ll note a far less aggressive approach, more “wit” than broad humor. Evans is in better voice here than for Solti, and his Fat Knight is a sheer delight. Ligabue is perfect for Alice even if she does come in under a high note or two. Oralia Dominguez’s Quickly is more sly than over-ripe and Sesto Bruscantini, avoiding falsetto and a couple of high notes, is a vivid, angry Ford. Anna Maria Rota’s Meg fills out the middle voice well.
Nanetta and Fenton are weak: Mariella Adani does nothing wrong, but her voice is unpleasant, and Juan Oncina sings far too carefully to sound young and ardent. Vittorio Gui, as suggested, leads a charming reading, and he nicely slows down the tempo for the big ensemble in the second scene of Act 2, so that we can hear every word, note, and harmony. Orchestra and chorus are excellent and the sonics for this live, 1960 recording from Glyndebourne, have nothing to be ashamed of. There are a bunch of great Falstaff’s available, Abbado being my favorite (DG), but the Toscanini is still a real gem as well. This one makes a fine adjunct.
