Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’

There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?



Photo by Christian Dresse courtesy of the Opéra de Marseille
20 Oct 2019

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Le Nozze di Figaro at San Francisco Opera

A review by Michael Milenski

Above: Levente Molnar as Count Almaviva

All photos by Cory Weaver courtesy of the San Francisco Opera.


It was off to a good start with its show curtain, a huge architectural drawing detail of a corinthian capital aside a partial façade, slowly morphing, videographically, into a fully realized façade elevation (drawing) of the aristocratic home we were about to enter. This occurred in precise, riveting synchrony to Mozart’s well-conducted overture. It was a visual distraction, very finely and thoroughly done, making apparent that the evening was not to be about Mozart’s hallowed score.

It was about the house we entered, essentially the world and its order (the droit du seigneur) that had been constructed in front of our eyes. And its noisy inhabitants, lots of them, in the act of moving in. While the house was slowly making itself ready for its entering occupants their worlds began falling apart. Finally, very late in the evening, we arrived at the perfectly finished garden where everyone, absolutely everyone’s world did indeed fall apart. Including Mozart’s.

Nozze_SFO2.pngAct I, with construction scaffolding

The inhabitants seemed fairly random. A Hungarian Count, a South African Susanna, an Italian Cherubino, a Countess coming via Houston (where else?). Bartolo, Marcellina and Basilio were summoned from the Opera’s warehoused treasury of singers. And there was Figaro, baritone Michael Samuel, who held it all together with musical aplomb, and a dignity that was sorely missing from everyone else. That was director Cavanagh’s point.

It was an avoidance of the perfection that we anticipate in a Mozart DaPonte opera production, a world we cherish for its rarified, distilled emotion and high moral and musical concept. Instead it was an imagined, rowdy world of Beaumarchais’ pre-revolutionary France and its hero Figaro. And a catch-all of opera casting.

Starting with Count Almaviva, sung by Budapest Opera’s Levente Molnar who chased a fly around the room in his famed “Hai gia vinta la causa.” Mr. Molnar, a fine singer who well intoned the showpiece, is an accomplished dead pan comedian. Light on his feet, exposed, he collapsed in a heap onto the floor to beg the Countess’ forgiveness. The Countess, sung by soprano Nicole Heaston, was simply overwhelmed by it all. Lost in the impressive, expansive confines of her new home, in beautiful voice she gave us a lonely "Dove sono i bei momenti” threatening to fall below pitch in her depression, aided by the conductor who provided unsustainable tempos.

Susanna, sung by soprano Jeanine de Bique of small voice and great big presence, blatantly teased the Count and Figaro and everyone else, and in general displayed a lot of attitude about most everything. She was at her wit’s end in the third and fourth acts, coping, it seemed, as best she could, vocally and emotionally. Figaro, baritone Samuel, was the moral conscience of Beaumarchais’ revolutionary world, a conspirator with Mozart in an intense emotional world, and the one character who grounded director Cavanagh’s raucous household through the innately solid musical and vocal confidence he displayed in his first act aria “Se vuol ballare signor contino” and his last act aria “Aprite un po' quegli occhi.”

Cherubino, sung by Serena Malfi, was the star turn of the casting, her Cherubino is present on the world’s major stages. Here very unlike the sweet energy and innocence of Federica von Stade’s renowned Cherubino, Mlle. Malfi’s Cherubino was a true boy brat, persistently annoying throughout the opera, akin to the fly Almaviva chased around his study. With her famed “Non so piu cosa son” Mlle. Malfi made it clear she could do just about anything with her character, including coping with some weird tempos imposed by the conductor.

Of utter perfection were the Marcellina of Catherine Cook and the Basilio of Greg Fedderly, well known in these roles in previous San Francisco Opera Nozze incarnations. But here their delightful, heavy caricatures of Mozart’s subversive characters were a bit out of place in the grittiness of the production, with Mr. Fedderly’s costume surely borrowed from a Cunning Little Vixen production. Bass James Creswell was over-parted as Bartolo, this character needing a warmth and strength of personality that Mr. Creswell did not find.

A big player in Mr. Cavanagh’s destruction of our expectations was Hungarian conductor Henrik Nánási, last heard in San Francisco conducting the ninety-some players of the 2017 Elektra. Mo. Nanasi is not an early music conductor, nor is the San Francisco Opera Orchestra a period instrument ensemble, attributes that might have played more appropriately with this irreverent take on the Mozart masterpiece. The 45 players of the Opera orchestra created a very present, appealing sound that challenged our sense of balance with the generally smaller-voiced cast, voices appropriate to more intimate European Italian style theaters. Well, except for the voice of Adler Fellow Natalie Image’s Barbarina that filled the 3200 seat War Memorial to its brim.

But the maestro did often fall into a wonderful flowing lyricism that promised and delivered great musical reward for the Mozart heroines of the evening. Unfortunately Mo. Nanasi acceded to the temptation to drag out this wonderful lyrical atmosphere with excessive retardandos in the final moments of the arias.

It all went well until the fourth act when in our exhaustion (there were intermissions after both Act 1 and II, usually united) we were ready for some Mozartian emotional and musical idealism that could bring Beaumarchais’ troubled characters as envisioned by director Cavanagh some peace. This was not to be. Both stage director and conductor had shot their wads by that point, and glibly wrapped up this monument to 18th century Enlightenment as quickly and efficiently as they could.

With set designer Erhard Rom director Cavanagh created a setting that was fully 18th century in image and fully 21st century in technique with the set participating in the action — a three section wall with a door fell from time to time, all or in part, to isolate a singer or a scene on the stage apron creating a new, stronger focus on the moment. Lighting designer Jane Cox used modified versions of avant garde lighting cliches to amusing effect.

Nozze_SFO3.pngCherubino marching off to America, Figaro on drums, Susanna on fife

Director Cavanagh exposed great wit non-stop throughout the evening, with inspired ideas like sending Cherubino off to join French general Lafayette in America, with piquant moments like the prompter reaching out of his box to fetch the jar the Count had used to briefly imprison the fly, and with weirdness like Curzio, sung by tenor Brenton Ryan, insanely writhing in the doorways during the wedding minuet. The plethora of choreographed gags sometimes flowed impeccably, and sometimes did not.

All in all it a was an auspicious debut for the Michael Cavanagh Mozart DaPonte trilogy.

Michael Milenski

Cast and production information:

Figaro: Michael Sumuel; Susanna: Jeanine De Bique; Count Almaviva: Levente Molnár; Countess Almaviva: Nicole Heaston; Cherubino: Serena Malfi; Doctor Bartolo: James Creswell; Marcellina; Catherine Cook; Don Basilio: Greg Fedderly; Don Curzio: Brenton Ryan; Barbarina: Natalie Image; Antonio: Bojan Knežević. Chorus and Orchestra of the San Francisco Opera. Conductor: Henrik Nánási; Director: Michael Cavanagh; Set Designer: Erhard Rom; Costume Designer: Constance Hoffman; Lighting Designer: Jane Cox; Choreographer: Lawrence Pech. War Memorial Opera House, San Francisco. October 16, 2019.

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):