Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Patricia Petibon as Susanna, Malin Byström as the Countess and Kate Lindsey as Cherubino [Photo by Pascal Victor / Artcomart, courtesy of the Aix Festival]
18 Jul 2012

Le Nozze di Figaro in Aix-en-Provence

You pay your money, you takes your chances — that is festival life at its best. Sometimes it pays off and sometimes it doesn’t. The fun is in the risk, so the riskier the better.

W. A. Mozart: Le Nozze di Figaro

Almaviva: Paulo Szot; Countess: Malin Byström; Susanna: Patricia Petibon; Figaro: Kyle Ketelsen; Cherubino: Kate Lindsey; Marcellina: Anna Maria Panzarella; Bartolo: Mario Luperi; Basilio: John Graham-Hall; Don Curzio: Emanuele Giannino; Barbarina: Mari Eriksmoen; Antonio: René Schirrer. Orchestre: Le Cercle de l’Harmonie; Chorus: Les Arts Florissants. Conductor: Jérémie Rhorer; Mise en scène: Richard Brunel; Dramaturg: Catherine Ailloud-Nicolas; Scenery: Chantal Thomas; Costumes: Axel Aust; Lighting: Dominique Borrini. Archevêché Théâtre, Aix-en-Provence. (July 7, 2012)

Above: Patricia Petibon as Susanna, Malin Byström as the Countess and Kate Lindsey as Cherubino

Photos © Pascal Victor / Artcomart, courtesy of the Aix Festival

 

Yes, it was risky indeed for the Festival’s umpteenth production of Le Nozze di Figaro by the Festival’s signature composer, W.A. Mozart (that’s Mose-art in French by the way). Richard Brunel, director of the Comédie de Valence (a small city south of Lyon), re-conceived Beaumarchais’ testy little comedy to take place in a contemporary notaire’s office, or maybe it was an avocat’s office or some sort of corporate office where Barbarina was the receptionist (it was confusing), with grand doors embedded into the stage left wall leading into, we later learned, a large room with two sewing machines.

LE-NOZZE442-Acte-2,-Kate-Li.gifKate Lindsey as Cherubino

It seems that there was to be an office wedding with Susanna and Marcellina arguing who was going to wear the wedding veil (Via, resti servita), a long white filmy thing that was on stage most of the opera. The count, who was a lawyer or something, sometimes brought his dog to the office as if he had just been hunting and still had his gun with him. His dog was really smart and sniffed out the door behind which Cherubino was hiding and guarded it while the Count, strangely lacking janitorial staff, went to get some tools. Later when things got out-of-hand between the Count and Countess the dog barked in just the right place, the only moment he could get a bark in.

A court room appeared on stage right, abutting the count’s office. Everyone soon gathered for various reasons and then the Countess wandered in too and sang her Dove sono (translation: Where am I?). In the end the Countess wore a wedding gown to disguise herself as Susanna, and Susanna wore black with a high grey turban to hide the Countess’ long blond hair (we had been amazed earlier by this strange coiffure on the Countess ). The sterile (no plants) garden seemed to be behind some featureless house in a French banlieue (suburb) parts of which kept sliding eerily about the stage making everyone even sleepier (it was 1:30 AM by then).

LE-NOZZE431-Acte-1,-Patrici.gifPatricia Petibon as Susanna, Kyle Ketelsen as Figaro and Paolo Szot as the Count

The curtain fell (well, a large flat thing slowly descended) and when it rose for the artists to take their bows the star of the show appeared alone on the stage. Yes! The dog.

Some very good singers then made their way onto the stage to accept applause. Figaro, American baritone Kyle Ketelson, of course had the final bow. Mr. Ketelsen had a huge success two years ago in Aix as Don Giovanni’s cheeky sidekick, a very physical Leporello. He is a vivid performer who projects text to perfection but dressed in a suit and tie his cheek did not find character in Figaro. The biggest ovation went to Cherubino, American mezzo Kate Lindsay, dressed in a suit and tie who fussed with the Countess’ bra (the libretto says ribbon) and sang breathlessly making Mozart’s young lover quite fun and real.

Brazilian baritone Paolo Szot who was to have appeared in Aix’s Nose but did not was the Count. Mr. Szot has a quite beautiful voice, beautifully used. He is often strangely type miscast in big houses (because he is South American i.e. latin) as Escamillo in spite of a soft, pretty presence. He did not read as a bonafide sexual predator, and made Almaviva seem even sympathetic and misunderstood in his garden escapade.

LE-NOZZE4131-Acte-4,-John-G.gifJohn Graham-Hall as Basilio, Mari Eriksmoen as Barbarina, Kyle Ketelsen as Figaro and Patricia Petibon as Susanna

These were the big house singers. Things got risky with French soprano Patricia Petibon as Susanna and Swedish soprano Malin Byström as the Countess. Mlle. Petibon gave Susanna a quite saucy “ina” (Zerlina, Despina) character in a quite smokey voice that precluded any text projection. At first it seemed Mlle. Byström might be a Swedish dramatic soprano in training, but it became apparent that she is a lovely, quite beautiful singer who does not project strong character. Both women boast important credits in early music so perhaps the attributes that made their performances pale on the Archevêché stage are valuable in other circumstances. The singers in the supporting character roles were swallowed up in the concept.

The evening’s conceit seems to have been to juxtapose hard edge contemporary dramaturgy and design with real, old, decorative music, a conceit that in some circumstances might spawn better results. The risky orchestra in Aix was Le Cercle de l’Harmonie, a group based in Deauville (Normandy) led by violinist/conductor Jérémie Rhorer, a protégé of William Christie. This orchestra has been specifically built to perform the music of the late 18th century (i.e. Mozart and Hadyn). As it was from row M in the Archevêché the music seemed long ago and far away, a bit like an old reed organ without sufficient air supply. Conductor Rhorer’s tempi seemed appropriate for the occasion.

Maybe you had to be French.

Michael Milenski

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):