Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

OPERA TODAY ARCHIVES »

Reviews

Pierre Augustin Caron de Beaumarchais (1732-1799)
30 May 2011

Les Noces de Figaro in Paris

This is the one by Giorgio Strehler that opened at Versailles in 1973 and since has endured twenty-three incarnations, first at the Garnier and later at the Bastille.

W. A. Mozart: Les Noces de Figaro

Christopher Maltman, Il Conte di Almaviva; Dorothea Röschmann, La Contessa di Almaviva; Julia Kleiter, Susanna; Erwin Schrott, Figaro; Isabel Leonard, Cherubino; Ann Murray, Marcellina; Maurizio Muraro, Bartolo; Robin Leggate, Don Basilio; Antoine Normand, Don Curzio; Zoe Nicolaidou, Barbarina; Christian Tréguier, Antonio/ Dan Ettinger, Conductor; Giorgio Strehler, Stage director and lighting; Humbert Camerlo, Realisation; Ezio Frigerio, Sets and costumes; Jean Guizerix, Choreography; Marise Flach, Movement assistant. Paris Opera Orchestra and Chorus.

Above: Pierre Augustin Caron de Beaumarchais (1732-1799)

 

Anyone who is anyone in the pantheon of Mozart interpreters over the last forty years has gone through the paces of this Strehler masterpiece.

It did have a brief respite during the Gerard Mortier five year reign of terror. To everyone's relief it is back now ostensibly as a tribute to Rolf Liebermann (the celebrated progressive impresario who succeeded in staying in conservative Paris for seven years in the nineteen-seventies) but actuality it is an appeasement to Parisian audiences for whom it has become, purely and simply, the Mozart masterpiece.

Based on its current edition at the Bastille it is a Marriage of Figaro none of us should go without. Not to worry if you have missed it so far. It will surely be back, and with whoever are the stars of the moment. The Strehler Noces is as Parisian as is, well, the Opéra or for that matter the Tour Eiffel. It is the embodiment of the elegance, refinement and grace that define La Ville-Lumière.

Its roots are in mannerisms, the little movements of physical comedy that were sculpted by the comedians of the Italian renaissance, then refined by Italy's eighteenth century dramatists, and finally distilled by Giorgio Strehler. It is like the theatrics of the French royal courts that have become elaborated over the centuries into French politesse, haute couture, cuisine, etc. Simply to say that the ultra controlled, hyper refined theatrics of Giorgio Strehler very well mirror an idealized French spirit.

Though strange to say it was the musical refinement of the current production that very nearly upstaged the Strehler elegance. Israeli conductor Dan Ettinger unleashed the lyricism Mozart lavished on the individual instruments of the orchestra that brought this familiar music to new plateaux of delicate pleasures. The horn duet in Se vuol ballare, the oboe solo in Dove sono, the resonant pizzicato strings in Deh vieni leap out as examples, but the overwhelming orchestral lyricism was everywhere and always.

The cast was perfection. The program bio of Uruguayan bass Erwin Schrott unabashedly declares him to be the Figaro of the moment, a claim well proven by his distinctive dark voice, physical agility and sympathetic authority. His nearly speech-like delivery of recitative was remarkable. The Susanna of German soprano Julia Kleiter was physically, even vocally well matched to the Countess of German soprano Dorothea Röschmann to make Strehler's very presentational staging of the disguises far less tiresome than usual.

Both sopranos are no-nonsense artists, penetrating the heart of the music and letting it naturally flow to the obvious great pleasure of the maestro who melted Mozart's eloquent orchestra to their voices. It was extraordinary music making. British baritone Christopher Maltman brought bark and bite and unusual fun to the Count, plus new, sly insight into his often tiresome aria that perceptibly deepened his character and enlivened the denouement of Figaro's financial predicament.

4584_-ND31569.gif

American mezzo Isabel Leonard may now compete with Federica von Stade as the Cherubino of your dreams, combining easy postures with consummate charm, upholding the impeccable musicianship that validates this travesty. The there-can-be-no-opera-in-Paris-without corps de ballet crashed the wedding scene, and the intrusion only gained validity when Mlle. Leonard leapt into the balletic fray with a virtuostic display of dance that conclusively proved her manhood (one did wonder how la Von Stade and all the others pulled this scene off).

The Marcellina of British mezzo/comedienne Ann Murray was exemplary. The Bartolo of Maurizio Muraro and the Basilio of Robin Leggate were rendered less present than usual in this production by the persuasive musicality of the five principals.

The extant members of the original production team were said to be involved in mounting this latest incarnation — Ezio Frigerio (sets and costumes), Franca Squarciapino (costumes), Marise Flach (movement). The actual credit for this and perhaps many other incarnations of the Strehler Noces belongs to Humbert Camerlo, an original member of the Libermann directorial staff who will have adapted the individual personalities of its current interpreters to the original Strehler conception.

Michael Milenski

4582_-ND30976.gif

Click here for a video clip.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):