* Notes *
Michael Cavanagh’s production of Le nozze di Figaro was revived at San Francisco Opera on Halloween last night. Directed here by Shawna Lucey, the very physical humor came through splendidly with the young and talented cast.
Maestro Sebastian Weigle took some rapid tempi and the orchestra sounded clear. There wasn’t much nuance or color in the conducting but it was wonderful to hear Mozart’s beautiful music.
The set is simple but the scenes changed easily without making extraneous noise or having to wait long periods of time. Everything looks neat and elegant. Constance Hoffman’s costumes are vivid and fun.
There are a lot of sightgags, there was always something to look at, at times it was a little over the top with cartwheels and pushups. There were exaggerated gestures and lots of flower petals thrown about, but it was in keeping with the divine silliness of the work.
There was some luxury casting as far as the smaller roles. Bass-baritone Philip Skinner is completely believable as Antonio, the drunk gardner who nurses his injured pot of geraniums from Act II onwards. Tenor Alek Shrader sounded very smooth as Don Basilio and was also hilariously funny. Mezzo-soprano Catherine Cook’s Marcellina and bass-baritone Maurizio Muraro’s Doctor Bartolo play well off each other.
Soprano Sofia Gotch makes for a winsome Barbarina, and her mournful “L’ho perduta, me meschina” was full of feeling. Mezzo-soprano Simone McIntosh seemed a rather girlish Cherubino, but her voice is light and lovely. Her Act I “Non so più cosa son” could have used more heft, but her Act II “Voi che sapete che cosa è amor” was splendid and sparkling.
Baritone Thomas Mole has a pretty voice, but seemed too youthful for the Count. He did not quite have the verve to pull off this role. On the other hand, soprano Olivia Smith does have a certain maturity that made her Countess very moving. Her “Porgi, amor, qualche ristoro” was heartrending and her “Dove sono i bei momenti” was truly lovely. Her singing at the end of Act IV (pictured, photograph by Cory Weaver) had me in tears.
Soprano Slávka Zámečníková is likewise very strong as Susanna, very bright and vibrant. Her real life husband bass Peter Kellner is Figaro, and their love for each other is palpable and is quite adorable to witness. Kellner has an attractive sound and moves well.
* Tattling *
There was a lot of cellular phone usage during the performance, even when the lights were down and the orchestra was playing. It is hard for me to comprehend the constant stimulation people seem to need at all times, but I tried my best to focus on the music and the stage.
The initial supertitles gave the score for the WNBA final, which the home team won.
Leave a Reply