Dancing a merry tune: Le nozze di Figaro at Glyndebourne

Affairs and flailing marriages dominated Glyndebourne’s opening manufacturing of The Wreckers continuing that cheering theme, the 2nd opera of the pageant was a revival of Michael Grandage’s luxurious manufacturing of Le nozze di Figaro, in this article supervised by director Ian Rutherford.

Rely Almaviva (Germán Olvera) and Susanna (Hera Hyesang Park)

© Bill Cooper

Grandage debuted the manufacturing 10 yrs ago, but it nonetheless packs a punch and remains delightfully crisp, a technological malfunction early on in the initially night apart. The massive rotating set alone is a feast for the eyes: Grandage brings the placing forward to the 1960s, but it stays decidedly Mediterranean, with a palette of ochres and oranges upon a fusion of Christian and Moorish architecture. Count Almaviva is resplendent in an array of bright outfits that culminate in a lovely red velvet jacket with paisley trousers. The Countess swirls and floats close to the stage in floating pales colours although Don Basilio – just about intolerably oleaginous – flaunts a examine blend that will make a person question at the sartorial conclusions of our forebears. Rutherford and Kieran Sheehan – stepping in as revival motion director – hold the choreography tight all through, with a huge volume of organic behaviour on clearly show through the tutti times, though dealing with us to some truly amusing synchronised dancing in the second 50 percent.

Cherubino (Emily Pogorelc) and Susanna (Hera Hyesang Park)

© Monthly bill Cooper

The revival benefits from a solid that is wholly invested and absorbed in the comedy – and drama – of the operate, with pinpoint timing on comedian supply and a commitment to credible and high-good quality performing. Merged with some great singing, the pageant gives us the comprehensive package deal listed here. The standout was the sensational overall performance by Hera Hyesang Park, singing Susanna, who gripped the focus in each individual scene. Park gave an outstanding convert as Despina in Glyndebourne’s Cosi lover tutte very last calendar year and she in this article bolstered her Mozartian qualifications in a overall performance that blended purity of singing with humour and humanity. There was a touch of occlusion in the singing early on, a tendency for the past couple of phrases marginally to eliminate their regularity, but by the 2nd 50 % she was a tour de power, the voice pellucid with notes like a string of pearls. Her acting much too definitely introduced the overall performance alongside one another: at periods a mirthful firecracker, at some others offering a touch of a chill as she confirmed flashes of the horror of her predicament, the concern of staying a lower-course female in a placing dominated by a lustful liege. There was true chemistry in her interactions with Figaro, sonorously sung by Brandon Cedel, in outstanding voice. Cedel is a formidable determine and gave us a much larger than lifetime barber underscored by some winning singing: there’s a touch of sugar in the better sign up that contrasts appealingly with his oaky lessen notes.

Figaro (Brandon Cedel) and Rely Almaviva (Germán Olvera)

© Invoice Cooper

Amanda Woodbury delivered a sweetly sung Countess, the phasing on “Dove sono” immaculate and the tone in the “Canzonetta sull’aria” dazzling and aromatic. She was an attractively light figure from the instead difficult Almaviva of Germán Olvera. Olvera’s singing, while classy, was at periods marginally unimposing, but his acting was remarkable (as was his alternatively snazzy legwork), providing us a Count at 1st just pushed by lust and the satisfaction of becoming ready to consider what he needed, and then by fury at being denied what he deems to be his. Emily Pogorelc’s clean soprano voice was deftly deployed in the function of Cherubino, to which she brought lively testosterone-fueled vitality. Rosie Aldridge and Peter Kálmán introduced mirthful glee to Marcellina and Bartolo, respectively.

Mozart’s Le nozze di Figaro

© Bill Cooper

In the pit, Giancarlo Andretta led the London Philharmonic Orchestra in a velvety studying of the rating. There had been a couple of moments in the first fifty percent wherever Andretta appeared to be slightly dashing the forged, but this had settled down by Act 3 and likely will be ironed out in later performances. On the whole, an inspired and entertaining revival of an excellent manufacturing.

****1