[Met Performance] CID:350945



Le Nozze di Figaro
Metropolitan Opera House, Sat, October 18, 2003




Le Nozze di Figaro (407)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
Figaro
John Relyea

Susanna
Dorothea R?schmann

Count Almaviva
Dwayne Croft

Countess Almaviva
Anja Harteros

Cherubino
Katarina Karn?us

Dr. Bartolo
John Del Carlo

Marcellina
Jane Bunnell

Don Basilio
Michel S?n?chal

Antonio
Patrick Carfizzi

Barbarina
Monica Yunus

Don Curzio
Tony Stevenson

Peasant
Sarah Coburn

Peasant
Edyta Kulczak


Conductor
James Levine







Review 1:

Review of Jay Nordlinger in the Sun
Who Could Ask For Anything More?

Opera is a demandingly collaborative enterprise. You need singers, of course, and the conductor ? and the stage director, the set designer, and umpteen others. (Scores of others, counting the orchestra.) An excellent production is a bit of a miracle in that you must have first-rate performances from a large cast of characters. Mozart operas are perhaps more demandingly collaborative than most, and "The Marriage of Figaro" is a prime example. Last Saturday night, the Metropolitan Opera delivered a stunningly good "Marriage": not least because seven or eight or nine singers were showing abundant talent, aptness, and energy.


Where to begin? With the first couple in the opera, I suppose: Figaro and Susanna. These roles were taken by John Relyea and Dorothea R?schmann. Mr. Relyea, a Canadian, has been an up-and-comer for several seasons, making an impression in opera and oratorio alike. When he sang the Night Watchman in the Met's "Meistersinger," you noticed ? even though that part is brief and not terribly significant; even though some great low voices ? James Morris, Rene Pape ? were also on the stage, more prominently.


Mr. Relyea made a splendid Figaro, smooth and suave, musical and compelling. It does him no harm that he is handsome ? just as it does Ms. R?schmann no harm that she is pretty. This was a most attractive couple indeed (as, in fact, were others in this production). Mr. Relyea's "Se vuoi ballare" was full of style, and so were his arias to come. He is a clean singer, whose intonation is assured, and he seems completely relaxed onstage. He should be a prized Figaro ? and other things ? for years.


Dorothea R?schmann is making her Met debut this season, although she has been well-known in Europe for some time. (I heard her excel in Mozart's "Clemenza di Tito" at Salzburg this summer.) She has a live, forward sound, into which she can put numerous colors. She is a lyric, but one with real strength. She has the ability to remain clear, vocally, even when she is at her most "dramatic." Her technical control is immense, and singing?along with acting?appears easy for her. She acted delightfully and persuasively even when she wasn't singing (which is unusual). And it was almost too much that this superb high soprano showed off a very juicy, meaty lower register.


The Cherubino? She/he ? whatever ? was Katarina Karn?us, a Swedish mezzo-soprano. She owns a beautiful instrument, with a touch of smoke. Her "Non so pin" was dignified ? more dignified than most, though not dull ? and accurate. Later, she poured out "Voi che sapete" elegantly and movingly.


In the part of Count Almaviva was Dwayne Croft, the American baritone, of whom I'll say what I usually say: He is so ubiquitous and so reliably good that he may be overlooked. He appears in a thousand and one productions and is always competent, because he does not provide the "excitement" of error? and avoids unnecessary flash ? he may be somewhat taken for granted. But opera companies around the world, certainly, know his worth.


His Countess? Anja Harteros, a soprano from Germany of German and Greek parentage. She provided excitement in this way: Her "Porgi amor" was amazing. It was extremely slow ? daringly slow ? but she pulled it off, managing with ease her long, long lines, and exhibiting a stunningly beautiful piano. But then she came to "Dove sono." This, too, was extremely slow ? daringly slow ? but it broke down badly. It crashed. It was appalling. The rhythm was all wrong, and the aria lost its very life. The conductor? James Levine ? probably shouldn't have indulged her in this way (and done this to Mozart). But I considered it sort of an experiment ?and fun! Ms. Harteros, whatever her silliness, is a richly satisfying singer, with a melting, slightly dusky soprano.


Special mention-must be made of Michel S?n?chal, who played? and I do mean played ? Don Basilio. He was lisping, mincing, and marvelously ugly. He virtually stole the show, but not illegitimately (if you know what I mean). You couldn't take your eyes, or ears, off him.


John Del Carlo made a characterful Don Bartolo ? a little rough, but not inappropriate ? and Jane Bunning was a strong, even more characterful Marcellina.


James Levine had a successful night, but, oddly, it didn't start all that well. The overture is his big moment, and it was rather bland and unspringy ? without the usual punch, and crispness, and brightness. As I said, odd. But the ensuing hours were excellent, as Maestro Levine kept up a proper pace (forgetting "Dove sono") and demonstrated Mozart style. The orchestral playing in "Non pi? andrai" was notably vigorous and concise.


Jonathan Miller's production from 1998 continues to please, with Robin Guarino's stage direction gratifyingly right. "Figaro," of course, is one of Mozart's great outpourings, and everyone involved caught the spirit of it, fulfilling his part to the utmost. As Ira Gershwin might say, who could ask for anything more?



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