Director Departs with Falstaff at the National Opera

The National Opera is bidding farewell to director Marek Weiss, a figure who significantly shaped the landscape of Polish opera. His departure, marked by the current production of Verdi's 'Falstaff,' signifies the end of an era for an artist known for his bold reinterpretations and influential stagecraft.

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Let's assume that 'Falstaff' is Marek Weiss's real farewell.

Weiss, alongside his long-time collaborator Wiesław Olko, has a history of groundbreaking productions that challenged conventions in Polish theater. Their work together in the 1980s is remembered as a revolutionary period for Polish opera. For 'Falstaff,' they have revisited this creative partnership, infusing the production with echoes of their past successes, such as the visually striking 'Traviata' from 1987, which also featured Olko's detailed scenography.

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He certainly won't follow in the footsteps of Plácido Domingo, who is still clinging tightly to the microphone.

This production of 'Falstaff' offers a contemporary take on the Shakespearean character. Baritone Sergio Vitale portrays Falstaff not as a caricature, but as a complex, human figure. The setting shifts to a modern London nightclub, a choice that allows for a re-examination of the opera's themes within a new context. However, some elements, like the appearance of guards with baseball bats and a Fenton reminiscent of 1990s Polish mafia figures, introduce a distinctly local, perhaps even jarring, flavor that may not resonate universally.

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He realized 'Falstaff' with his former scenographic partner Wiesław Olko, with whom he created such extraordinary stagings as 'Gates of Paradise' with a white horse in the audience of the Teatr Wielki or 'Macbeth,' in which Shakespearean witches flew onto the stage from a height of several floors.

From a Polish perspective, Weiss's departure is noteworthy. Unlike some artists who prolong their careers indefinitely, Weiss seems committed to a definitive farewell. His influence on Polish opera is undeniable, paving the way for subsequent generations of directors. The 'Falstaff' production, while perhaps uneven in its contemporary references, showcases Weiss's enduring directorial style and his willingness to engage with classic works in innovative ways, making his exit a significant moment for the National Opera and the broader Polish cultural scene.

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In 'Falstaff,' there is the atmosphere of 'La Traviata' from 1987, because for both these productions Wiesław Olko created sophisticated interiors with many details.