It was left to the now veteran Diana Montague as Marcellina to bring the female cause to theatrical life, and it is a pity that, as usual, she is denied her final-act aria to underline the point.Īt Royal Opera House, London, until 21 July. Rain helps supress plant fire, but explosion risk remains. Julia Kleiter’s Countess was likewise vocally distinguished but dramatically somewhat two-dimensional. The Marriage of Figaro, Royal Opera House, review: an exceptional, exhilarating revival Louisa Saunders. Her Deh Vieni was a very beautiful piece of singing, but it did not shake the soul as this aria can. But the full dramatic range of the woman who turns the tables on the men, and on whose music Mozart lavished such special attention, is not there yet. The Marriage of Figaro 822 July 2023 Main Stage Opera and music Director David McVicar brings out the revolutionary elements in Mozart’s great comic opera of intrigue, misunderstanding and forgiveness. Joélle Harvey has the ideal warmth of voice for Susanna. But this will be remembered as the gender-fluid revival with a male Cherubino, the Korean-American countertenor Kangmin Justin Kim, who pulls it off in more senses than one. Sophie Bevan as Susanna, performs the aria Deh, vieni, non tardar in The Royal Operas production of Mozarts great comic opera of intrigue, misunderstanding. To hear two such baritones in this opera is luxury indeed. Simon Keenlyside’s Count acts everyone else off the stage, and can still sing most people off it, too. Photograph: Mark DouetĪmong the men, Christian Gerhaher’s Figaro has a master’s attention to text and vocal nuance, but he seems to be performing in a different opera from some of the more traditional interpretations around him. Gender switch … Kangmin Justin Kim as Cherubino. presence endows Figaro’s wit and wiles with convincing self-possession but, he also playfully punctures the factotum’s smugness. Servants Figaro and Susanna are filled with excitement on their wedding day, but theres a hitch: their employer.
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