Royal Opera House Live Cinema Season 2015/16: Le nozze di Figaro
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Sheer operatic joy
Mozart's 'Le Nozze Di Figaro' has always been one of my favourites for its memorable characters, fun if potentially confusing story, broad yet hilarious humour, poignant drama, darker political conflicts and some of Mozart's most sublime music. It has also developed an even more special place in my heart, having had to learn the role of the Countess earlier this year as an understudy, it was very hard and at anxiety-inducing work but it was such a privilege.
This 2015 Royal Opera House production may not be one of the best productions of 'Le Nozze Di Figaro' personally seen, but in pretty much every way it is a triumph. It is not quite as good as David McVicar's 2006 production that it's revived from (one of my favourite 'Figaro's' and one of McVicar's best productions, coming from somebody who appreciates his work) but boy does it come close and very nearly equals it. Of the Royal Opera House Cinema transmissions, 'Le Nozze Di Figaro' is up there for me with the best ones.
It may not be a daring or risk-taking production, nor did it need to be. In fact it's the simplicity and warmth that makes the production so good. McVicar makes the action of the story very clear, something that is crucial with such a lot going on and the danger of the action getting convoluted. H never loses sight of what is so good about the opera in the first place and keeps things intriguing and hugely entertaining, there are no superfluous touches or ones that work against the libretto or confuse the drama. In terms of staging and translations, an excellent job is done making the opera and production accessible to a modern audience and to those relatively new to the wonderful world of opera.
Even with the updated 1830s revolutionary setting, the spirit of the work is very much maintained. Not just the hilarious comedy, the pathos-filled emotional elements with the Countess and fresh energy but also the darker elements and political and class conflicts are emphasised without being laid on too thickly. All the characters are interesting and have dimension and the interaction is constantly delightful, with the character relationships being more complex than one would think.
Visually, the production looks beautiful and clearly made with a lot of attention to care, detail and taste. As said it's updated to 1830s revolutionary Europe, with the sets being very elegant and handsome and the costumes effectively sumptuous.
On a musical level, this 'Le Nozze Di Figaro' is exceptional. The orchestral playing is lively, beautifully balanced in texture and lyrical, with a great mix of the rousing, the delicate, the tense and the energetic. The chorus blend beautifully and are very engaged dramatically. The conducting is both alert and sympathetic.
Can't say anything bad about the performances. Erwin Schrott is impeccable and one of the finest Figaros in recent years, beautiful, warm voice and a hugely charismatic, witty and charming stage presence. Replacing Anita Hartig, Sophie Bevan has perhaps the most difficult role of the opera, Susanna holds the action together and being on stage almost the whole time it is one of the longest roles in opera. Bevan's voice never loses its radiance or warmth and she has all the demure, charm and scheming intelligence for the role. She and Schrott make a witty couple.
Stéphane Degout's Count is very rich and sonorous in voice and he brilliantly makes the character arrogant, menacing, authoritative and sexually conflicted, the Count is much more than a brutish villain. Ellie Dehn is very heartfelt as the Countess but makes her a much stronger character than she seems to be, this is no woe-is-me character, she has steel, is willing to stand up for herself and has honest dignity.
Kate Lindsey is a Cherubino that actually convinces as a boy and she is delightfully impetuous and remarkably frisky, singing too with poignant delicacy. All the other supporting characters are delightfully sung and acted, the comedy not being overdone and the scheming suitably foreboding and witty.
Overall, sheer joy. 9/10 Bethany Cox
This 2015 Royal Opera House production may not be one of the best productions of 'Le Nozze Di Figaro' personally seen, but in pretty much every way it is a triumph. It is not quite as good as David McVicar's 2006 production that it's revived from (one of my favourite 'Figaro's' and one of McVicar's best productions, coming from somebody who appreciates his work) but boy does it come close and very nearly equals it. Of the Royal Opera House Cinema transmissions, 'Le Nozze Di Figaro' is up there for me with the best ones.
It may not be a daring or risk-taking production, nor did it need to be. In fact it's the simplicity and warmth that makes the production so good. McVicar makes the action of the story very clear, something that is crucial with such a lot going on and the danger of the action getting convoluted. H never loses sight of what is so good about the opera in the first place and keeps things intriguing and hugely entertaining, there are no superfluous touches or ones that work against the libretto or confuse the drama. In terms of staging and translations, an excellent job is done making the opera and production accessible to a modern audience and to those relatively new to the wonderful world of opera.
Even with the updated 1830s revolutionary setting, the spirit of the work is very much maintained. Not just the hilarious comedy, the pathos-filled emotional elements with the Countess and fresh energy but also the darker elements and political and class conflicts are emphasised without being laid on too thickly. All the characters are interesting and have dimension and the interaction is constantly delightful, with the character relationships being more complex than one would think.
Visually, the production looks beautiful and clearly made with a lot of attention to care, detail and taste. As said it's updated to 1830s revolutionary Europe, with the sets being very elegant and handsome and the costumes effectively sumptuous.
On a musical level, this 'Le Nozze Di Figaro' is exceptional. The orchestral playing is lively, beautifully balanced in texture and lyrical, with a great mix of the rousing, the delicate, the tense and the energetic. The chorus blend beautifully and are very engaged dramatically. The conducting is both alert and sympathetic.
Can't say anything bad about the performances. Erwin Schrott is impeccable and one of the finest Figaros in recent years, beautiful, warm voice and a hugely charismatic, witty and charming stage presence. Replacing Anita Hartig, Sophie Bevan has perhaps the most difficult role of the opera, Susanna holds the action together and being on stage almost the whole time it is one of the longest roles in opera. Bevan's voice never loses its radiance or warmth and she has all the demure, charm and scheming intelligence for the role. She and Schrott make a witty couple.
Stéphane Degout's Count is very rich and sonorous in voice and he brilliantly makes the character arrogant, menacing, authoritative and sexually conflicted, the Count is much more than a brutish villain. Ellie Dehn is very heartfelt as the Countess but makes her a much stronger character than she seems to be, this is no woe-is-me character, she has steel, is willing to stand up for herself and has honest dignity.
Kate Lindsey is a Cherubino that actually convinces as a boy and she is delightfully impetuous and remarkably frisky, singing too with poignant delicacy. All the other supporting characters are delightfully sung and acted, the comedy not being overdone and the scheming suitably foreboding and witty.
Overall, sheer joy. 9/10 Bethany Cox
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- TheLittleSongbird
- Oct 21, 2017
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