By Jane Rosenberg
Los Angeles. Before there was Bergman’s Smiles of a Summer Night, before Renoir’s Rules of the Game or Sturges’s The Lady Eve, there was Mozart and Da Ponte’s The Marriage of Figaro. Through beautifully delineated characterizations, both musically and poetically, Mozart’s tender and often hilarious opera reminds us what it is to be human – to love, to rage, and to accept our weaknesses.
Though we may marvel at the machinations of the plot, which contains more confusion, deception, and disguises than an episode of I Love Lucy, like all heartfelt comedy, love and reason finally prevail: Figaro, Susanna, and Countess Almaviva foil the count’s attempted seduction of Susanna on the night of Figaro and Susanna’s wedding; the lustful Cherubino escapes punishment to love another day; and Rosina and the count reconcile.
A gifted cast, assembled for LA Opera’s revival of an earlier production, was supported by the sublime colors and textures fashioned by James Conlon and his musicians. The evening was a true symbiosis of voice and orchestra.
Though the opera’s title bespeaks Figaro as the driving force behind the chicanery, it is really the two women, Susanna and Countess Almaviva, who unite to bring about the happy conclusion they so richly deserve.
Nowhere else in the opera is the class equality that Beaumarchais advocated so apparent as in the relationship of the two women. For all Figaro’s intelligence and interference, Almaviva still remains the master – Figaro and the household tiptoeing around him at every turn. However, between Susanna and the countess Rosina there is no power struggle but rather sisterhood. They deeply understand the workings of the human heart and it is their alliance that makes all things right.
In her debut as Susanna, Pretty Yende, first impressing LA audiences as Micaëla in Carmen in 2013, brought a warmth and richness to her singing, which underscored the humor and intelligence of her characterization. With her agile voice, she was particularly beguiling in her Act Four aria, “Deh, vieni, non tardar.”
Guanqun Yu, as Rosina, appeared here this season as the same character in Corigliano’s The Ghosts of Versailles. Affecting in both operas, she was a lustrous presence capable of soaring top notes contrasting with the darker harmonies needed to express her pain over her husband’s philandering, so keenly illustrated in her second aria “Dove sono.” And together Yende and Yu melted hearts in the Act Three letter duet.
A bass baritone working primarily in Europe, Roberto Tagliavini’s warm, shaded, and expressive instrument had the power to convey all of Figaro’s dynamics from smooth patter to simmering rage. His acting, however, could use some fine-tuning in a role where one expected wily grace and a bit of swagger.
Ryan McKinny, however, never falls short in the acting department (apparent also in his portrayal of Stanley in Streetcar Named Desire seen here in 2014). He is all the arrogant, entitled count – handsome, sensual, and duplicitous – which made his comic sequences all the funnier. Nor did his singing disappoint with his pleasing, lyrical baritone.
As Cherubino, Renee Rapier was appropriately lustful, bringing a goofy, awkward, adolescent quality to the role and was affecting in her Act Two canzone, “Voi che sapete.”
Setting the piece in the 1950’s neither detracted from nor added to the opera’s enjoyment, though one felt a slight uneasiness when Almaviva donned a military uniform. Was he a member of Franco’s regime? The circle skirted dresses of Rosina and Susanna, and the highly styled, extravagant ensembles of Marcellina were certainly a nod to the fifties and in keeping with their characters. The attractive interior sets of Act One, Two, and Three, gave way to the sparse outdoor set of Act Four. The lack of a lush garden was compensated for by the colorful fireworks display both vocal and pyrotechnic at the opera’s conclusion.
As Marcellina, who is foiled in her attempt to wed Figaro when she discovers he is none other than her lost child, Lucy Schaufer (seen here as Berta in The Barber of Seville and as Susanna in The Ghosts of Versailles) proved again that she is a marvelous comedic actress and singer of considerable power and finesse. The rest of the cast, including Kristinn Sigmundsson as Doctor Bartolo, Robert Brubaker as Don Basilio, So Young Park as Barbarina, and Philip Cokorinos as Antonio, were delightful.
With The Marriage of Figaro LA Opera, under the superb direction of Maestro Conlon, has completed its Figaro trilogy, an enlightening and warmhearted gift to Los Angeles.
The LA Opera production of The Marriage of Figaro continues through April 12.
Figaro: Roberto Tagliavini
Susanna: Pretty Yende
Count Almaviva: Ryan McKinny
Countess Almaviva: Guanqun Yu
Cherubino: Renée Rapier
Doctor Bartolo: Kristinn Sigmundsson
Marcellina: Lucy Schaufer
Don Basilio: Robert Brubaker
Don Curzio: Joel Sorensen
Barbarina: (3/21 – 4/4) So Young Park
Barbarina: (4/9 – 4/12) Vanessa Becerra
Antonio: Philip Cokorinos
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo Da Ponte
Conductor: James Conlon
Director: Ian Judge
Scenery Designer: Tim Goodchild
Lighting Designer: Mark Doubleday
Costume Designer: Deirdre Clancy
Chorus Master: Grant Gershon
Original Choreographer: Sergio Trujillo
Choreographer: Chad Everett Allen
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Photos by Craig T. Mathew courtesy of LA Opera.
To read more opera, dance and music reviews by Jane Rosenberg click HERE.
Jane Rosenberg is the author and illustrator of SING ME A STORY: The Metropolitan Opera’s Book of Opera Stories for Children. Jane is also the author and illustrator of DANCE ME A STORY: Twelve Tales of the Classic Ballets.