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Recently in Performances

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

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Saint Louis: A Hit is a Hit is a Hit

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La Flûte Enchantée (2e Acte)
at the Aix Festival

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‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

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Sophie Karthäuser, Wigmore Hall

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Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

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La Traviata in Marseille

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Madama Butterfly in San Francisco

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Luca Francesconi : Quartett, Linbury Studio Theatre, London

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OPERA TODAY ARCHIVES »

Performances

Pierre Augustin Caron de Beaumarchais (1732-1799)
04 Feb 2006

Le Nozze di Figaro at ROH — Four Reviews

ROYAL OPERA HOUSE: "To mark the 250th anniversary of the birth of Wolfgang Amadeus Mozart, The Royal Opera mounts a new production of his setting of the second of Beaumarchais' domestic but politically charged 'Figaro' comedies, as adapted by librettist Lorenzo da Ponte. "

Le Nozze di Figaro

Richard Morrison at Covent Garden [Times Online, 2 February 2006]

Few of the trillion Mozart celebrations this year will match David McVicar’s new Royal Opera staging of Figaro for insight or passion. It isn’t a perfect show. Act IV sags, and seems untidily staged in comparison with the meticulously observed domestic warfare that has gone before. Dorothea Röschmann sings the Countess’s despairing arias with touching intensity, but also intermittent waywardness.

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Cleverness with a hole in it

By Andrew Clark [Financial Times, 2 February 2006]

No one could possibly object. The Royal Opera's new Figaro, directed by David McVicar, looks good and sounds good. The set-changes are breathtakingly clever. The costumes seem vaguely in period (1820s actually). The conducting is fluent, the casting strong. Everyone can go home satisfied, then, can't they? Not really. There is a hole at the heart of this Figaro, a gaping void of ideas, a mentality that puts surface-dressing above interpretation. We get no flavour of why the work had such incendiary implications for its day, or what it might say to us now. What Covent Garden is marketing here is reproduction opera.

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Le Nozze di Figaro

Tim Ashley [The Guardian, 2 February 2006]

David McVicar's new production transposes Mozart's comedy from its usual 18th century setting to a French chateau on the eve of the July 1830 revolution that saw the restored Bourbon monarchy replaced by the liberal bourgeois era of Louis Philippe. The events of that summer were famously commemorated by Delacroix in Liberty Leading the People. The production charts the transformation of Figaro, gloriously incarnated by Erwin Schrott, from naive, liveried flunky to a politically engaged figure who belongs on Delacroix's barricades.

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For Better or Worse, a Bourgeois 'Figaro' in London

By DANIEL J. WAKIN [NY Times, 4 February 2006]

LONDON, Feb. 3 — In this European musical capital, the highest-profile homage to Mozart during his anniversary year came about with surprising casualness.

"We have strong productions of 'Così Fan Tutte,' 'Don Giovanni,' " said Antonio Pappano, the music director of the Royal Opera House at Covent Garden, "as well as 'The Magic Flute.' " But the existing version of "Le Nozze di Figaro" had been put to rest, and it was time to bring the opera back.

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