Richard Eyre’s new production of Mozart’s Le Nozzi di Figaro, set in the 1930s, opened the Met season with glowing reviews. The original cast including Ildar Abrazakov, who triumphed last year as Prince Igor. He triumphed again as Figaro, and Susan Leonard who went on to sing Rosina in this season’s Il Barbiere di Siviglia, won raves for her Cherubino.
We’d seen a lackluster revival of Jonathan Miller’s Figaro a couple of years ago, and didn’t run out to this one, but I finally made it (without the better-half) on Thursday, and thanks to the Met’s FANTASTIC new rush program, I got to sit with the swells IN FRONT of the overhang for little more than the price of a movie ticket.
All but two of the featured roles have been recast since the opening, but the singers worked so well together and seemed so comfortable, not only singing but with with the dancing and physical comedy that they might have been performing with each other for years. Bass-baritone Erwin Schrott proved his true barihunk chops as Figaro. Mariusz Kwiecien played the sleazy count with petulance and more than a hint of danger. We’d seen him as an aimless Eugene Onegrin in last year’s dreadful production, so it was great to see him get into the groove here. Making her Met debut, Serena Malfi was a scene stealer as Cherubino, really enjoying the physicality of playing a boy. Her voice was faultless. I can’t imagine her NOT becoming a Met favorite within the next few years. Rachel Willis Sorensen sang the Countess. She was no slouch at the physical comedy either, but for all of the antics she brought the heart into the evening. When she sang the Act III aria, Dove Sono, lamenting the mysterious loss of love, off-stage tears may have been shed. The world’s coolest soprano, Danielle de Niese sang Susanna. I’ve seen her live twice, as Ariel in The Enchanted Island and as Continue reading Oh Susanna! Idiots at the Opera Go To Le Nozze di Figaro