And this is coming from somebody who considers Mozart's Le Nozze Di Figaro as one of her favourite operas. This Met production does have some strong competition, the 1973, 1993 and 1994 productions and the 1975 Jean Pierre Ponnelle film, but for me it is still one of the better Figaros I've seen. It simply flies by, is always amusing and has a superb cast, one of the starrier ones since Ponnelle's film(which had the likes of Freni, Prey, TeKanawa, Montarsolo and Fischer-Dieskau) and all doing justice to their characters.
Before I get to mentioning the cast, as there is so many to critique and acknowledge, I have to say I very much liked the production values. What there is to see is nothing too fancy, but it is all nice and traditional with Susanna's Act 1 dress really suiting Bartoli, Croft looking very handsome and sexy and the Countess not too matronly. The set of Act 4 looks beautiful, and thankfully not too darkly lit. The stage direction is always busy and natural, with always something to look at, particularly in the ensembles and the end of Act 3. The camera work is suitably focused, and the picture quality is clear.
Musically, it is often so energetic that it is fit to burst. Yet there is always room for a sympathetic quality for Dovo Sono and some of the recitatives. The orchestra play stylishly, with many moments of sensitivity, and James Levine's conducting, though he rushes slightly in the Allegro Assai of the finale, very rarely plods or feels overly-broad. If there was a musical highlight, it was the end of Act 2, which was exciting and superbly sung and blended. The end of Act 4 where the Countess forgives her husband made me cry also, the music is gorgeous here and some of Mozart's most beautiful writing, making it one of the most touching of all opera scenes. The sound quality is fine, rarely favouring the orchestra over the singers and vice versa, despite that the singers in Act 2 on the left tended to sound stronger than those on the right.
The singing is wonderful. Bryn Terfel, one of the better singers today for me, is a truly terrific Figaro, just like he was in 1993. He is very charming and animated whenever in Non Piu Andrai, Se Vuol Ballare, Signor Contino or in the ensembles(especially in Act 2) and his voice is still the virile one I know and love today. Dwayne Croft is a very interesting Count, I liked that the Count is younger here and less of a prissy buffoon(as he can be), yet Croft still maintains the predatory, menacing characteristic of the character, and adds to the mix a strong sex appeal, a tall handsome appearance and one of the more masculine voices of anybody in the role.
Cecilia Bartoli is a charming and funny Susanna, if not quite one of my favourites in the role like Mirella Freni and Alison Hagley. Like Terfel she has a very animated presence if occasionally resorting to the odd facial contortion, she has an understanding for Mozart's style mainly from her Rossini expertise and her voice is agile, shows a great range whether low or high and has an appealing smoky quality to it. Renee Fleming, also one of my favourites nowadays, looks gorgeous as the Countess with a creamy, sincere soprano, superb musicality(Dovo Sono is phrased so elegantly) and a nuanced, moving presence to match.
Susanne Mentzer is one of the better Cherubinos I've seen. Federica Von Stade is still the most boyish-looking of all the Cherubinos I've seen, but Mentzer still convinces look-wise, she acts with a lot of allure and sings like a nightingale. Of her two arias, Non So Piu is moving and even throughout the range but I give Voi Che Sapete the slight edge, it shows off her musicality better and I'll be honest that I prefer the aria itself over the former. Wendy White is a very convincing Marcellina, especially in the acting stakes, though her singing has a suitably maternal sound to it. Her duet with Bartoli in Act 1 bites as it should, and the two ladies almost steal the show in the final phrases of the Act 2 ensemble as Bartoli is restrained by Terfel and does one of those cut-throat gestures as White prepares to walk away insulted.
Heinz Zednik's gestures and Count Chokula appearance is perfect for the "comic" character of Basilio, with his best moment being in the recitative and trio between him, Bartoli and Croft in Act 1. His voice is good with no signs of strain and sung with gusto when needed. Paul Plishka is not at his best(I remember his King Phillip, Fiesco, Falstaff and Alidoro with fondness) but he is still vocally sonorous and dramatically hearty as Bartolo. Daniella DeNiese is beguiling as Barbarina, Thomas Hammons amuses in his drunk state in Act 2 as Antonio the gardener and the small roles of Curzio and the two flower girls are well taken.
All in all, a great Figaro with a cast who sing and act their all throughout. 9.5/10 Bethany Cox
Before I get to mentioning the cast, as there is so many to critique and acknowledge, I have to say I very much liked the production values. What there is to see is nothing too fancy, but it is all nice and traditional with Susanna's Act 1 dress really suiting Bartoli, Croft looking very handsome and sexy and the Countess not too matronly. The set of Act 4 looks beautiful, and thankfully not too darkly lit. The stage direction is always busy and natural, with always something to look at, particularly in the ensembles and the end of Act 3. The camera work is suitably focused, and the picture quality is clear.
Musically, it is often so energetic that it is fit to burst. Yet there is always room for a sympathetic quality for Dovo Sono and some of the recitatives. The orchestra play stylishly, with many moments of sensitivity, and James Levine's conducting, though he rushes slightly in the Allegro Assai of the finale, very rarely plods or feels overly-broad. If there was a musical highlight, it was the end of Act 2, which was exciting and superbly sung and blended. The end of Act 4 where the Countess forgives her husband made me cry also, the music is gorgeous here and some of Mozart's most beautiful writing, making it one of the most touching of all opera scenes. The sound quality is fine, rarely favouring the orchestra over the singers and vice versa, despite that the singers in Act 2 on the left tended to sound stronger than those on the right.
The singing is wonderful. Bryn Terfel, one of the better singers today for me, is a truly terrific Figaro, just like he was in 1993. He is very charming and animated whenever in Non Piu Andrai, Se Vuol Ballare, Signor Contino or in the ensembles(especially in Act 2) and his voice is still the virile one I know and love today. Dwayne Croft is a very interesting Count, I liked that the Count is younger here and less of a prissy buffoon(as he can be), yet Croft still maintains the predatory, menacing characteristic of the character, and adds to the mix a strong sex appeal, a tall handsome appearance and one of the more masculine voices of anybody in the role.
Cecilia Bartoli is a charming and funny Susanna, if not quite one of my favourites in the role like Mirella Freni and Alison Hagley. Like Terfel she has a very animated presence if occasionally resorting to the odd facial contortion, she has an understanding for Mozart's style mainly from her Rossini expertise and her voice is agile, shows a great range whether low or high and has an appealing smoky quality to it. Renee Fleming, also one of my favourites nowadays, looks gorgeous as the Countess with a creamy, sincere soprano, superb musicality(Dovo Sono is phrased so elegantly) and a nuanced, moving presence to match.
Susanne Mentzer is one of the better Cherubinos I've seen. Federica Von Stade is still the most boyish-looking of all the Cherubinos I've seen, but Mentzer still convinces look-wise, she acts with a lot of allure and sings like a nightingale. Of her two arias, Non So Piu is moving and even throughout the range but I give Voi Che Sapete the slight edge, it shows off her musicality better and I'll be honest that I prefer the aria itself over the former. Wendy White is a very convincing Marcellina, especially in the acting stakes, though her singing has a suitably maternal sound to it. Her duet with Bartoli in Act 1 bites as it should, and the two ladies almost steal the show in the final phrases of the Act 2 ensemble as Bartoli is restrained by Terfel and does one of those cut-throat gestures as White prepares to walk away insulted.
Heinz Zednik's gestures and Count Chokula appearance is perfect for the "comic" character of Basilio, with his best moment being in the recitative and trio between him, Bartoli and Croft in Act 1. His voice is good with no signs of strain and sung with gusto when needed. Paul Plishka is not at his best(I remember his King Phillip, Fiesco, Falstaff and Alidoro with fondness) but he is still vocally sonorous and dramatically hearty as Bartolo. Daniella DeNiese is beguiling as Barbarina, Thomas Hammons amuses in his drunk state in Act 2 as Antonio the gardener and the small roles of Curzio and the two flower girls are well taken.
All in all, a great Figaro with a cast who sing and act their all throughout. 9.5/10 Bethany Cox
