The repetitions of “già ognuno lo sa” were gradually diminunendoed, suggesting Figaro’s trepidations before the last phrase was delivered with a sense of resolve. The repeat of this section featured a stronger crescendo on the triplets with the D flat half note more accented. But then the D flat half note on “Il resto non dico” turned into a sob, exposing Figaro’s pain amidst his fury. His aria “Aprite un po’ quegli occhi” built on this anger with the opening section particularly jagged in the phrasing, the consonants firing away pointedly during the “maligni maestri d’inganni” triplets. His voice here took on a more aggressive quality, the bass-baritone pushing his dynamics to the extremes. While a lot of interpreters of this production ignore the injured foot after the initial gag, Plachetka played it through all the way to the end of the Act until the final trio of conspirators showed up.įigaro’s coarser nature would take over the spotlight in the fourth act when Plachetka pushed Maureen McKay’s Barbarina aside rather violently upon finding out about suspected infidelity between Susanna and the Count (he also threw himself into his mother’s arms and cried like a baby). When Antonio accused him of being too tall to have jumped out the window, he immediately squatted down very quickly, drawing tremendous audience laughter. When faced with Count a few scenes later, Plachetka used his tall frame to try and intimidate his counterpart into submission on a few occasions but the rebuffs he faced added to the comedy of the moment. To his sides, the two women seemed a bit dubious, a fact he was initially oblivious to. As he finished delineating every step, he sat back, his arms outstretched as he basked in his glory. #FIGARO SEATTLE OPERA FULL#The bass-baritone’s first appearance in the second act was comic gold with Plachetka sitting between Susanna and the Countess and laying out his plan, full of giddiness. His singing took on great clarity throughout the aria and he started to move with greater freedom, pushing poor Cherubino about and even knocking the poor boy to the floor at one point while playfully bullying him. It wasn’t the most promising of beginnings.īut then Plachetka returned for “Non più andrai” and started to really warm into the role. Moreover, his movements seemed a bit calculated and there was an awkwardness to his interactions with Hanna-Elisabeth Müller’s Susanna. He was a bit stiff in the opening scenes, his sound a bit grainy and unfocused in the opening duet with Susanna his “Si vuol ballare” lacked much range of dynamics and general development. In the title role, Adam Plachetka portrayed Figaro with ample breadth of emotion. 8, 2020 when Eyre’s rendition of the work returned for the 11 th time this season with an impressive cast. Audiences have a lot of fun, as was the case on Feb. But what it has proven to be over the years, is durable and a blast for audiences and performers alike.ĭespite its metallic set that seems to swallow up sound from the stage, there is no doubt that its revivals are often fantastic experiences that engage musically and visually. It does not store any personal data.Richard Eyre’s production of “Le Nozze di Figaro” at the Metropolitan Opera is far from perfect. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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