Mozart’s ‘Le Nozze di Figaro’ – Royal Opera – ROH
17 Jun 2010 Leave a Comment
in ROH Reviews
Where do I begin? Upon leaving the Royal Opera House after David McVicar’s 2006 production of Le Nozze di Figaro, I felt, as a reviewer, that there was one major flaw with this production: McVicar had left me with nothing to criticise. I tossed and turned, trying to sleep that night, haunted by the idea that this might be – dare I say it? – a perfect production, and that if that was the case I would actually have to say, in my review, that it was perfect. Having had almost two days to reflect I have decided that there are one, maybe two minor things (which didn’t even occur to me during the performance), that perhaps could have been better. But in the grand scheme of things I will be extremely surprised if I ever see a better production of Mozart’s masterpiece (said by many to be “the most perfect opera ever written.”)
All the designs, costume and set, were the work of the talented Tanya McCallin. She is also responsible for the sets for the Carmen, also currently playing at the Royal Opera House. It is evident that she favours large pieces of scenery, creating walls, and often with a very limited palate, which so far seems to work very well for everything she does. Not only was the household of the Count and Countess grand, but it also moved with beautiful fluidity, making every scene change a joy to watch. Furthermore, Paule Constable’s lighting design illuminated these sets magnificently. Mostly creating the effect of daylight, every time a window was thrown open the light that filled the stage was just breathtaking.
Upon this spectacular stage was an equally spectacular cast; returning to the role of Figaro after playing him during this production’s premiere was Uruguayan baritone Erwin Schrott. I cannot begin to imagine or dream of a more perfect Figaro. His voice filled the opera house with rich low tones and soaring high notes. Furthermore his physicality as an actor was superb; almost every moment he was onstage made me smile or laugh. He was just brilliant.
Playing opposite as his Susanna was Jette Parker Young Artist, Eri Nakamura. One of the greatest joys about being a regular at the Royal Opera House is being able to to see the JPYAs grow and evolve into these great roles, and for me, none is more enjoyable than Nakamura. From the Fifth Maid in Elektra to Musetta to Susanna, she never fails to impress me. Her voice is light and agile, but also carries weight and meaning. Like Schrott her physicality was superb, sweet and funny, her scenes with the Countess and Cherubino were especially brilliant, not to mention the Count.
As Bartolo and Marcellina, Robert Lloyd and Marie MacLaughlin were also wonderful. Ever entertaining and funny their voices were beautifully matched and their scenes were a joy to behold.
Replacing the originally advertised Christine Schäfer as Cherubino, was Lithuanian mezzo Jurgita Adamonyté. Although I initially felt that she was too feminine to play the young lover, Adamonyté very quickly turned into a rascal of a young man, and utterly proved herself in Cherubino’s aria “Voi che sapete”, when her voice floated over the audience, and her eyes were bright with joy. Even with the uncertain start, she very quickly won me over.
Mariusz Kwiecien’s Count Almaviva was something else entirely. Stern and sexy, he played the man of power and the seductive playboy with equal talent and relish, flashing smiles and terrifying frowns. I was utterly entranced and almost had a hard time understanding why Susanna wasn’t in love with him. His voice was deep and rich as it flowed over us all, and every time he sang with someone else he enhanced their voices as well. I particularly enjoyed his scenes with the Countess, sung by German soprano Annette Dasch. Together they were fabulous, fighting over and sharing the tension equally, and alone, Dasch was equally wonderful. From her dramatic entrance at the start of Act II, through her aria “Porgi amor” and beyond, she was full of a beautiful sorrow, just allowing the audience a glimpse of the strong woman behind her glittering eyes. Furthermore, her voice was spectacular, receiving applause almost every time she sang.
Finally, one small mention must be made of Amanda Forsythe’s Barbarina. Forsythe’s voice was beautiful and she completely brought this small part to life.
The Chorus of the Royal Opera House, directed by Renato Belsadonna, were on top form, filing in as Mozart intended, and warming the whole theatre with their voices and smiles alike. Meanwhile Sir Colin Davis was working his magic with the orchestra. I was only sad not to be able keep my eyes off the stage and give the orchestra some time as well, but they truly were wonderful, supporting and complimenting the singers throughout. Furthermore, I have never heard the overture (which happens to be one of my favourite pieces of music) sound quite so good.
I cannot find enough adjectives to praise this production. Needless to say McVicar is a master of his art. The only part of the direction which didn’t completely satisfy me was his decision to make every funny event a moment of passing subtlety. It may be a cheap shot, but I look forward to the Count’s reaction when he discovers Cherubino in Susanna and Figaro’s room, and with McVicar I didn’t get the almost-pantomime hilarity of the moment. On the other hand, since every other director out there seems to have that covered, perhaps it is nice to see someone deal with comedy a little differently.
Without a doubt the best Mozart I have ever seen, and am ever likely to see. An incredible evening and one which I hope they will revive again and again and again and again…
David McVicar's production of 'Le Nozze di Figaro', ROH 2006
