The Opera Tattler

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SF Opera’s Figaro

Luca Pisaroni (Figaro) and Danielle de Niese (Susanna) with members of the chorus, photo by Cory Weaver * Notes *
The most recent revival of Le Nozze di Figaro opened last night at San Francisco Opera. Zack Brown's Goya-inspired set is nearly thirty years old, but is perfectly serviceable. Though the scene changes are awkward between acts, everything does look quite nice. The direction from John Copley is thoughtful, he handled the chorus especially deftly. The motivation for every movement was apparent.

Maestro Luisotti conducted the 42 musicians of the reduced orchestra, and played the fortepiano. The sound was verdant. The strings and woodwinds sparkled, and the brass was pleasant but hazy. The tempi were fast, and there was never a dull moment.

The cast was uniformly impressive, both in singing and acting. The chorus sounded particularly pure and clear in Acts I and IV. Adler Sara Gartland had a promising debut as Barbarina, her aria that starts Act IV went well. Robert MacNeil made the most of Don Curzio and was funny. Likewise, Bojan Kneževiċ sounded great as a rather wild-eyed Antonio. John Del Carlo (Doctor Bartolo), Greg Fedderly (Don Basilio), and Catherine Cook (Marcellina) were spirited and had perfect comic timing.

Michèle Losier (Cherubino) did not win me over in her first aria, her voice had a hysterical edge to it instead of sounding breathlessly youthful. Her "Voi che sapete" was pretty, and she does look convincingly boyish. In the title role, Luca Pisaroni started off slowly and lacked punch. By "Non più andrai" he did sound lovely, and looked comfortable on stage. Pisaroni's voice has taken more weight since we last heard him as Masetto in 2007. Danielle de Niese made for a sweet but sassy Susanna. Her "Deh, vieni, non tardar" seemed effortless. Lucas Meachem and Ellie Dehn were both strong as the Count and Countess. Meachem was warm and vibrant. Dehn can sound perfectly brilliant, and there was only the slightest roughness in "Dove sono i bei momenti."

* Tattling * 
Before the performance I had the pleasure introducing Axel Feldheim to Adler Leah Crocetto, the cover for the Countess, in the press room. We found we were seated in the same row as Adler David Lomelí, who got an introduction as well.

There was light talking during the music. Some audience members did not heed the request to remain seated during the brief pauses between acts. At least one person even made a telephone call during the first one. A watch alarm was heard during "L'ho perduta, me meschina."

John Copley was awarded the San Francisco Opera Medal by David Gockley after the performance. Copley told an anecdote about Marilyn Horne being picked up at SFO. He also expressed his pleasure of being placed on the "diva list," as many renowned divas have received the aforementioned award.

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26 responses to “SF Opera’s Figaro”

  1. dk Avatar
    dk

    In the tattling department, I was seated next to a young (6 years old?) girl who was with her mother. She stage-whispered questions to her mother constantly, spoke aloud in full voice several times, fidgeted, and climbed on her mom’s lap for the greater part of the performance. We moved to some empty seats at the end of the row during the pause after Act 1 (thus saving her mom a rant from me!), but still occasionally heard her. Nice that mom wants her daughter to be exposed to opera, but she was definitely not ready to be a well-behaved audience member yet.
    I was bothered by some of the zippy tempos in Act I but after that things seemed to settle down nicely. I loved the singers’ performances, and agree with what you say about them all. I was not enamored with the maestro’s application to Mozart of the breathy, whispered style of singing (as in the “locked in the Countess’ bedroom” duet of Susanna and Cherubino, as well as several other spots) that he uses to great effect in Verdi and Puccini.
    But when all is said and done, it was still Marriage of Figaro, and great performances by artists and orchestra!

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  2. Patty Avatar
    Patty

    Ah, but it didn’t tell us to remain seated! It said “at your seats” … so I think some took that differently. 🙂
    For my taste some of tempi were a bit too fast (and I love fast!). Still, I loved it. How can one ever go wrong with Mozart? And I really appreciated the Copley’s work.
    The woman sitting next to me (D 115)brought her coffee cup and a wrapper (maybe for a cookie or sandwich) in, which she proceeded to play with throughout the first half … first she’d twist it up, then start pulling at it … the noise was awful! I guess she didn’t notice. Ah well. I’m hoping she doesn’t have a season ticket there, or we’ll get her every time. Ack!

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  3. The Opera Tattler Avatar
    The Opera Tattler

    It is too bad we don’t have more SF Opera performances for children and families, just seems like everyone would be happier if we did.
    Agreed on the breathy, whispered parts.
    Definitely enjoyed this one the most of the three so far this season.

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  4. The Opera Tattler Avatar
    The Opera Tattler

    You are right, and it is good to get a stretch in those 4 minute pauses, I suppose. I don’t really like how the energy/attention of the audience gets dispersed in those moments, and the music starts before we get back into that mode, if that makes sense.
    I loved it too! Thanks for the tattling, and gosh, yeah, I hate those cellophane wrappers that Patina seems to put around cookies and other treats.

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  5. upstairs tenor Avatar
    upstairs tenor

    Speaking of kids at figaro –
    I went to the dress rehersal last friday, and the balcony was packed with school groups. And by God, every opera house should have such a clique! They loved it, screaming and hollering and clapping like the Jonas brothers were onstage. During the opera they were perfectly well behaved, apart from a few premature clapping moments (they thought “Dove Sono” was over right before the repeat of the A section), but man when they had a chance to respond they went nuts. It was very heartening.

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  6. The Opera Tattler Avatar
    The Opera Tattler

    I heard about that! I wish I could have been there too.

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  7. patty Avatar
    patty

    I don’t mind people standing, but I’m annoyed when they find the need to check for phone messages or, like the couple in front of me, go back to whatever game was on their iPhone. To me that breaks things up and who needs to play the game for a couple of minutes in any case.
    And cellophane should be banned.
    SOOO … maybe “please silence all cellphones and cellophane” …? 😉

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  8. The Opera Tattler Avatar
    The Opera Tattler

    Cellophane is one of the banes of my existence. I do love how Opera San Jose has that bit about unwrapping candies before the performance.

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  9. Roberto Avatar
    Roberto

    I just came back from the 9/23 performance.
    Hats off to them for putting together this 40 years (!) old production. It didn’t age a bit. It is of course a traditional production but that’s how Figaro should be seen. I don’t have any problem with us bringing over the European health care system here, but please no “eurotrash” in America… 🙂
    On this production, we have all the mannerisms that come together with a typical opera buffa. I welcome that. There is nothing to invent. Figaro is what it is. Hats off to John Copley, the director, for preserving that. We need more John Copleys in this world.
    The cast had hits and misses. More hits than misses. For me, the best performance was from Ellie Dehn (Countess). Her “E Susanna non vien” had a couple of minor faults, nevertheless it was very pretty. I liked Lucas Meachem (Count) more than Luca Pisaroni (Figaro). They were both efficient but not memorable. It was the best performance I’ve seen from Catherine Cook (Marcellina). I hope her career grows. Michele Losier (Cherubino) and the young singers that sang the minor roles followed the pack. As I said, hits and misses.
    The only one the fell behind was exactly the marquee name: Danielle de Niese. Susanna is indeed a light soprano lyric role, but on several occasions I wondered if de Niese was too light for the role, at least in the War Memorial. Maybe her voice is better suited for the smaller opera houses in Europe. For the record, the “Su l’aria” duet and her aria in the fourth act were quite good, but I wonder what kind of roles she will take in the future. She is still very young and theoretically she has the whole career ahead of her. She cannot sing Susanna forever and I just cannot envision her singing bel canto or heavier roles. I am very curios to hear her singing Handel on a smaller venue like the Herbst Theatre. Then I should be able to say something about her coloratura.
    As for Luisotti’s fast tempos, I don’t see the reason for such a big deal. That’s how Mozart has been played for the last 20 years (due to HIP). Runnicles also played Mozart on the fast side.
    One more note about Figaro. I am one of those that think that Figaro should end on the third act (as Don Giovanni should end after he dies). The whole fourth act drags quite a bit.

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  10. Hank Avatar
    Hank

    I was there opening night and I must say I enjoyed the performance immensely.
    I do think Luisotti conducted too fast, and I don’t care if that’s the current prevailing style. I still like Giulini’s tempos, or even slower.
    I did notice a hysterical quality to the Cherubino, especially in the Non So Piu aria, but I thought that was a deliberate characterization, and it works for the part: 16 year old boys are frequently hysterical (pun intended) around women.
    I thought all the parts were sung perfectly, if not excitingly, but with Mozart (and Wagner and Strauss), all the dramatic and emotional power is there, in the music. No ‘acting’ required.
    In fact, my first thought on hearing the very first word (Cinque!) sung by Pisaroni was: “This guy knows this part perfectly and he’s going to sing it perfectly.” And he did. I’ve heard much worse renderings of this part, from much more ‘celebrated’ performers.
    I have some comments about breaks between acts, etc., which I’ll reserve for a separate message.
    Hank

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  11. Hank Avatar
    Hank

    Now, for tattling…
    Although I think restricting the number of intermissions is a GREAT idea (otherwise we’d’ve been there ’til 1 a.m. last Wednesday night), DG has not worked out how to do it right.
    A couple of seasons ago I was very distressed during a performance of Traviata, with Runnicles at the podium, when he just started the music while the audience was still on its feet and jabbering away like magpies.
    It even occurred to me that DR might have been doing it deliberately (no! not Donald!), since Gockley had recently taken over, and the word in the halls was that Gockley and Runnicles were not each other’s favorite people.
    I think the answer to the problem is to have a message flashed on the monitors saying something like ‘please resume your seats’, accompanied by a reminder from DG during the ‘no cell phones’ announcement, that the pauses are really very brief and should not be used for heated discussions about the price of barnacles in Pomerania.
    Plus the conductor has to do his bit and not start the music until the audience is settled.
    Ushers (I’m one) are not supposed to allow audience members to bring drinks in cups into the auditorium. A bottle of water with a cap is allowed (although personally I don’t think it should be, but that’s the policy).
    But it would be hard to stop people from bringing candy, because they would probably just stick the stuff in their pockets.
    Again, maybe a reminder of some sort, probably as part of the no-cell-phones announcement, would work.
    In my perfect world, nobody would bring anything into the auditorium, nor would they applaud during the performance; but the only house I’ve ever been to where that level of respect for the music is observed is the Bayreuth Festival.
    Hank

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  12. mj Avatar
    mj

    Man, I went to see this last night and was bored out of my mind. What a disappointment! None of the singers impressed. Surprising as I have very much enjoyed both Meachem and Pisaroni in the past.
    I was also hoping for more from Luisotti. The music just didn’t sparkle. I did appreciate the lovely playing from the new principal oboe and clarinet players. Oh and Bojan K was a highly entertaining Antonio…

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  13. The Opera Tattler Avatar
    The Opera Tattler

    De Niese is quite light, but I really liked her timbre and her acting.
    Yes, you are right about Runnicles, he was also quite fast. Luisotti might have gone so fast that the orchestra was not as clean as they could have been.
    I love Act IV, there is so much beautiful music, but yes, lots of people agree with you!

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  14. The Opera Tattler Avatar
    The Opera Tattler

    I thought the Cherubino was more fading spinster hysterical than young man hysterical, if that makes any sense.
    Really enjoyed this Figaro too!

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  15. The Opera Tattler Avatar
    The Opera Tattler

    I too like the one intermission policy. However, you are completely right, if the production doesn’t have a seamless scene change, it really can be a distraction.
    As for the noise levels, people are perfectly capable of being quiet, I have witnessed this both at the War Memorial and Davies. Unfortunately, a consistently well-behaved audience requires a culture change probably not going to materialize soon.

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  16. The Opera Tattler Avatar
    The Opera Tattler

    I sorry to hear that! I think I liked Meachem more in Die Tote Stadt, but I did like Pisaroni more in this.
    Both Liu and González Granero are wonderful. I ran into Bojan after the first piano dress of Figaro, and he was so full of excitement! Really adore his voice as well.

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  17. Hank Avatar
    Hank

    Figaro is up there on my top 2 list of favorite operas (I’m not sure what number 1 is), and I’ve seen numerous performances of it over the past 30 years or so, including student performances, semi professional performances, Donald Pippin’s performances and local opera company performances.
    It never fails to delight.
    How anyone can be bored by even a mediocre performance of this work is a mystery to me.
    But then, some people claim not to like Mozart at all.
    Too many notes, I guess.

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  18. The Opera Tattler Avatar
    The Opera Tattler

    Don Giovanni is my favorite, but Figaro isn’t far behind. I’ve never understood that “too many notes” quote!

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  19. mj Avatar
    mj

    Actually I love this opera too, but I can’t get enthusiastic about a mediocre performance of it. And I do realize that I am in the minority here, in finding this performance lacking. But I can’t help it; that was my experience. 🙂
    I am planning to go back to hear the slightly different cast in a week or two. I like Heidi Stober a lot and am looking forward to her Susanna.

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  20. mj Avatar
    mj

    Also it seems like it’s been years and years since SFO has put on a really great Mozart opera performance. They always seem to be no more than fair to middling. So I am frustrated/disappointed.

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  21. The Opera Tattler Avatar
    The Opera Tattler

    Did you not like the Don Giovanni we had a few years ago? Idomeneo was not particularly good, and Abduction wasn’t either.

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  22. mj Avatar
    mj

    I liked that Don G okay. I remember enjoying the male singers far more than the female singers.

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  23. The Opera Tattler Avatar
    The Opera Tattler

    I didn’t like the production that much, but I loved most of the singing. Overall the male singers were better than the female singers in that one, true.

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  24. Hank Avatar
    Hank

    Saw the Figaro for a second time last night (9/30).
    More horsing around on stage than on opening night, which I guess was okay.
    Luisotti conducted even faster last night, and in the first scene the orchestra actually got out of step with the singers, who couldn’t keep up. Figaro’s Se vuol ballare was so fast I couldn’t tell who was faster, the orchestra or Figaro. It was like a race.
    After that things calmed down a bit.
    Hank

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  25. The Opera Tattler Avatar
    The Opera Tattler

    I think that’s the biggest problem, it isn’t that the tempi are that fast, it is just that it sounds like the orchestra and singers are in a race that the singers invariably lose.

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  26. Louis Vuitton Monogram Miroir Avatar
    Louis Vuitton Monogram Miroir

    Sometimes one pays most for the things one gets for nothing.

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