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 Performances

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

OPERA TODAY ARCHIVES »

Performances

Zachary Nelson as Figaro and Lisette Oropesa as Susanna [Photo by Ken Howard]
19 Aug 2013

Santa Fe Opera Revives The Marriage of Figaro

On Thursday, August 8, Santa Fe Opera revived the Bruce Donnell production of Wolfgang Amadeus Mozart's The Marriage of Figaro.

Santa Fe Opera Revives The Marriage of Figaro

A review by Maria Nockin

Above: Zachary Nelson as Figaro and Lisette Oropesa as Susanna [Photo by Ken Howard]

 

Although during the overture servants picked flowers that had sprung up from the bare stage, the production was completely traditional. Paul Brown's scenery and costumes set the story in the time and place established by its original author, Caron de Beaumarchais.

On Thursday, August 8, Santa Fe Opera revived the Bruce Donnell production of Wolfgang Amadeus Mozart's The Marriage of Figaro. Although during the overture servants picked flowers that had sprung up from the bare stage, the production was completely traditional. Paul Brown's scenery and costumes set the story in the time and place established by its original author, Caron de Beaumarchais.

Lisette Oropesa is an up-and-coming soprano who has established an excellent reputation for singing with luminous tones and precise coloratura. Her Susanna was flirty, saucy and passionate. Zachary Nelson's Figaro was somewhat less authoritative because of the size of his voice, but his interpretation was persuasive. Susanna Phillips was a smooth, sumptuous-voiced Countess who sang a slow, drawn out 'Porgi, amor, qualche ristoro' ('O Love, give me some remedy') and an artfully phrased 'Dove Sono, I bei momenti' ('Where are the beautiful moments?'). She was every inch the beautiful, loving, but neglected, wife.

As the Count, Daniel Okulitch was a most forceful character, you really felt that he would harm his wife if he saw evidence that she was unfaithful. He commanded the stage every moment he was on it and sang a most impressive 'Vedrò mentre io sospiro, felice un servo mio!' ('While I suffer, shall I see a servant of mine happy?'). He was not a nobleman to be trifled with.

Veteran mezzo Susanne Mentzer's Marcellina was a youthful cougar who would not be denied a chance at married bliss. I wish they had included her aria. Dale Travis was a bumbling but robust-toned Bartolo who sang his piece with gusto. In the travesty part of Cherubino, Emily Fons really gave a boyish impression and sang her arias with solid tones. Kittenish apprentice Rachel Hall was the perfect mate for 'him' as she sang her simple aria with a clear, sweet voice. Keith Jameson was a nosy Basilio, while apprentice Adam Lau created a memorable character as the drunken gardener. As usual, Susanne Sheston's apprentice chorus sang with precise harmonies. Conductor John Nelson's tempi varied greatly, sometimes rather fast, at other times slow enough to require the utmost in breath control. Although this was not a perfect performance, it was a most enjoyable one.

Maria Nockin

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):