TEL AVIV

New Israeli Opera opened its 1998-99 season with a brilliant Falstaff, co-produced with Opera North>and English National Opera. Caroline Giles revived director Matthew Warchus' sophisticated conception of Verdi's late masterpiece as a shrewd commentary on opera tradition in general and on the composer's own long heritage in particular. For example, the director responded to Verdi's opening orchestral gesture with Caius violently opening the door to the Garter Inn, momentarily showing a blizzard outside. Likewise, the sudden transformation of the shrewd Fontana into an embittered Ford was set as a mock cabaletta, his inflated gesticulations beautifully clashing with the sudden shift from self-pity to the silly "Affiderei la mia birra a un Tedesco." In the last act, cooperating with imaginative designer Laura Hopkins, Warchus first paid tribute to baroque opera perspective with a beautiful street scene, the characters popping in and out along the full depth of the stage; the ensuing action reflected Verdi's homage to the finale of Le Nozze di Figaro, especially in the revelation of true identities.

Conductor Gabriele Ferro mastered the brilliant score, smoothly alternating between the crisp rudeness of the buffo scenes and the lyrical charm of Act III, and the orchestra's playing was crisp and light, especially in the beautiful woodwind solos, as well as the gentle fairy sounds in the strings. Act I's multi-metered ensemble felt insecure, but the elaborate counterpoint in the final fugue was transparent and full of light humor.

Two strong international casts (seen Oct. 7 and 16) alternated. Alessandro Corbelli made a fine buffo Falstaff, though a little heavy-sounding in the lighter sections. Frances McCafferty portrayed Quickly with a mellow, dark contralto. The merry wives of Jane Leslie McKenzie (Alice) and Federica Proietti (Meg) emerged similar in vocal interpretation; they were both occasionally covered by the orchestra. As Nannetta, Anat Efraty, with her vibrating high soprano, excelled in the fairy queen's "Sul fil d'un soffio etesio," though she was a little weak in the ensembles. After a stiff start, Motti Kaston made credible Ford's sudden changes in mood, and Vsevolod Grivnov sang Fenton with a sweet, bel canto tenor.

- JEHOASH HIRSHBERG