Operatoonity.com review: The Marriage of Figaro presented by Opera Philadelphia, a co-production with Lyric Opera of Kansas City, San Diego Opera, and Palm Beach Opera
Live performance: Sunday, April 20, 2:30 p.m.
The Academy of Music
Music: W.A. Mozart
Libretto: Lorenzo da Ponte
4.5 out of 5.0 stars
The stellar performances of Susanna (soprano Ying Fang) and the Countess (soprano Layla Claire) made for a happy ‘Marriage’ at Opera Phila. | All photographs by Kelly & Massa for Opera Philadelphia
Art imitates life, it has been said. If women are the glue that holds many marriages together, surely the women performing in Opera Philadelphia’s spring production made for a happier Marriage of Figaro. Soprano Ying Fang, soprano Layla Claire, and mezzo-soprano Cecelia Hall reminded us over and over in their arias (and they have many arias in this l-o-n-g show) why we love Mozart. And how much Mozart must have loved women to give them so many glorious opportunities to be the glittering stars in his operatic firmament.
Mezzo-soprano Cecelia Hall was delightful in her trouser role as Cherubino, who is smitten with all women.
Perhaps because the show runs long, conductor Corrado Rovaris chose a presto (molto!) tempo for the most beloved overture in operatic music, a tempo to make Mozart-loving hearts race. The Kentucky Derby should only run as briskly. The music and the performance of it by the orchestra and by the principal singers, eclipsed every other aspect in this production–the silly story, the heavy and cumbersome stage units, the occasional nonsensical set decor (what was living room furniture doing in a garden scene?), the confusing costuming. So allow me to vent some minor annoyances with this production so I can turn my attention what made this show really work.
Lamentation #1: This production premiered on May 1 in 1786. The merry month of May is Mother Nature’s gift to the Western Hemisphere. May is typically a fusillade of pink and white apple and dogwood blossoms, tidy and trim tulips, fragrant lilacs, and lush peonies. It’s when the earth comes alive again and reminds us why life is beautiful. So why the dark, heavy, colorless, lumbering set pieces in this show? Even the garden set looked more like a sepulcher–like the gloomy cemetery scene from Don Giovanni–than a garden full of romance.
Lamentation #2: The costume choices, especially for Figaro, were also an annoyance. In order to get this show past the censor, the creators played up the comedy and played down the political satire. Why confuse the audience any further by dressing Figaro like every other servant or valet? It’s an overly silly story and production companies shouldn’t rely on the arrival of any of the many popular arias in this show to clarify just who is who?
Lamentation #3: Lastly why was this production so dark? I longed for lightness, brightness, and flowers. Finally, the bright green gardener shows up to blow Cherubino’s cover, but it is too little greenery too late.
Susanna (soprano Ying Fang) pretends to sing her love for the Count, as Figaro listens on, a very humorous conceit. But the garden looks more like a mausoleum hit by a tornado than a setting for romantic intrigues.
But, enough about some of this reviewer’s minor disappointments. If the voices are expected to thrill in this production, then thrill they did.
As Susanna, Figaro’s intended, Chinese Soprano Ying Fang was a sheer delight in every scene, in every way. In voice, carriage, appearance, Fang, who New York critics called “a star in the making,” was the ideal soubrette. She has a sweet clear soprano voice like a silver bell eager to make a good impression. The audience hung on every note of the renowned Sull’aria, perfectly sung with Canadian soprano Layla Claire. It was one of those treasured opera moments that would have been perfect to capture and then replay on a gloomy day in hopes of making your soul feel light and bright again.
In this scene, Susanna (soprano Ying Fang) overhears Marcellina loudly declaring Figaro will only marry her for money.
American soprano Cecelia Hall deftly delivered another jewel from Mozart’s ‘Marriage’ hit parade in her song of love “Voi che sapete.” Simply splendid in tone, pitch, and voicing! And expectations loomed high for this and all the beloved pieces from this well-known opera. In her trouser role, Hall turned in a charming overall performance and later in the show, she tossed in a few strains of “Finch’han dal vino,” replete with boyish charm and hubris as a bit of stage business. Your cleverness was not lost on this Don G. fan, Ms. Hall.
Cherubino (mezzo-soprano Cecelia Hall) serenades Countess Almaviva (soprano Layla Claire) with a song.
Cast as the lovelorn wife whose husband has a roving eye, Layla Claire sang and acted the role with sensitivity and believability–not always easy to do in an opera with an over-the-top storyline. She was brought to Philadelphia for her “virtuosic singing,” and her Broad Street debut didn’t disappoint. While the Countess doesn’t have the pluck Susanna does, she isn’t without contrivances, having agreed to exchange outfits with Susanna for the gloomy garden scene in order to trick her philandering husband. And of course she forgives him (but, without getting too political), isn’t it entertaining when women don’t let their men off the hook for the indiscretions? Politicians’ wives, take a note.
The men’s cavatinas and arias were sturdily sung by Pennsylvania’s own bass-baritone Brandon Cedel as Figaro and German baritone John Chest as Count Almaviva. Cedel’s comic timing was at its best during the scene when he learns that Marcellina is his mother and Bartolo his father.
The propensity for infidelity is hardly the most attractive quality in any man, but truth be told Chest made himself hard to resist in this scene because of his leading man qualities in voice and stature. (But resist she does because she loves Figaro.)
The Count (baritone John Chest) thinks he has seduced Susanna (soprano Ying Fang); all the while, Susanna plans to reveal his infidelity.
All the buffo or stock characters–mezzo-soprano Lucy Schaufer as Marcellina, bass-baritone Patrick Carfizzi as Bartolo, and tenor Jason Ferrante as Don Curzio–delivered scene-stealing comic turns.
Figaro (bass-baritone Brandon Cedel) comes to grips with the news that Marcellina (mezzo-soprano Lucy Schaufer) is, in fact, his mother and Bartolo is his father.
However, all the men were stellar when singing in company with the women in every Mozartian ensemble piece (and there are so many powerful ones in this show): the glorious 20-minute finale of (the traditional) Act II, the sextet in Act III , and the music and singing featured in the opera’s explosive conclusion, perfectly timed for a standing ovation.
Bartolo (bass-baritone Patrick Carfizzi), Marcellina (mezzo-soprano Lucy Schaufer), Figaro (bass-baritone Brandon Cedel) and Susanna (soprano Ying Fang) rejoice over their newfound happiness.
The applause for the ladies of the ensemble was the most generous at curtain call, and deservedly so. However all the performances were strong in this show, with many virtuosic moments. I just wish that the design elements worked in tandem with the essential springtime spirit of the show to lift the soul as much as Mozart’s well performed music.
***
Opera Philadelphia opens their 2017-18 season with a blockbuster festival, Festival O. More details available here.
