Le Nozze Di Figaro
Sometime during the 1970's opera directors decided that the general view of LE NOZZE DI FIGARO as a frivolous farce was selling Mozart's intent short. Taking inspiration from the Beaumarchais play the opera was based on, they highlighted the underpinnings of class struggle and revolutionary ferment beneath the surface of this eminently humane masterpiece. Crueler motivations and their consequences informed a series of productions with overtly political agendas. The best of these managed to reveal new dramatic depths without sacrificing Mozart's irrepressible humor.
When the Ian Judge directed production (now in it's 3rd outing at LA Opera) replaced the intellectually rigorous Peter Hall version, it was clear that the pendulum was swinging in the opposite direction. Laughs were now the focus. Judge has continued to refine the stage business by adding more gags. Some of these are revelatory--when Figaro learns that his master is after his fiancee, a straight razor appears in his hand conjuring, not only images of his earlier occupation as the Barber of Seville, but raising the specter of a vengeful Sweeney Todd. Some are merely cheap--Susanna spreading her legs for Cherubino seems forced and crude. Still, the guffaws from the delighted audience were real and as frequent as I’ve ever heard in a FIGARO performance.
The latest revival, which shared the opening weekend with the world premiere of IL POSTINO, featured an entirely new cast, most of them making their LA Opera debuts. In the pit for the opening performance, was the indefatigable Placido Domingo. Mere days from a reputed triumph with, yet, another new role in the aforementioned POSTINO opera.
The returning Principal is Daniel Okulitch who made his debut in Howard Shore's disappointing, THE FLY. Okulitch's Figaro was definitely his own creation. Unlike the strutting, charismatically extroverted singers who preceded him in this production, Okulitch favored a gangly, slower, slightly nerdy approach. (perhaps an attempt to distance himself from the “barihunk” appellation?) The result was Figaro as a bit of a cypher. Still Okulitch is a graceful and stylish singer who summoned real fervor in the final act when the crippling pangs of jealousy overcame him. As Susanna, the focus of that jealousy, Marlis Petersen made a powerhouse debut. An agile, clear-toned and remarkably eloquent soprano, Petersen also proved a riveting actress and rock-solid foundation for the opera.
As the wronged Countess, Martina Serafin revealed an expressive and surprisingly large voice with a distinct dramatic edge which made the most of her haunting solo arias. In a welcome LA Opera debut, Bo Skovhus played the Count and happily provided the production's beefcake with his bare-chested entrance. The role has long been a signature piece for the Danish baritone and his artistry and experience brought much to the role both musically and dramatically.
Renata Pokupic proved a resourceful and appropriately randy Cherubino. Ronnita Nicole Miller was a clarion-voiced and very grand Marcellina, Alessandro Guerzoni was the pompously confused Bartolo and Christopher Gillett was an excruciatingly oily (and funny) Basilio.
Domingo conducted a swiftly-paced and joyous performance.
Dorothy Chandler Pavilion September 26 – October 17, 2010
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