Mozart’s Le nozze di Figaro is commonly billed as a newbie’s opera due to its zany plot, well-known overture, and slapstick comedy. The Lyric Opera of Chicago’s latest run of Figaro lived as much as its celebrated standing whereas additionally platforming one of many strongest ensembles the corporate has seen in the previous few years. A lot of that is because of various Lyric debuts together with the conductor Erina Yashima, Peter Kellner (Figaro), Federica Lombardi (Countess Almaviva), and Gordon Bintner (Rely Almaviva).
Barbara Gaines’s manufacturing itself is, in a single phrase, cute. The Rely and Countess’s staged shenanigans earlier than Act II had been admittedly gimmicky, however welcome for this commedia per musica. Lombardi’s indignant pursuit of the Rely—culminating in an amusing second the place she tore down the opening curtain—performed off completely towards Yashima’s balanced and nimble conducting of the overture. In an opera the place tempi can actually make or break essentially the most sentimental moments, particularly the Countess’s “Porgi amor” and “Dove sono,” Yashima held management over the recitatives with the light pacing wanted to stability out the galloping comedian bits.
For an viewers that has seemingly by no means discovered a tragic second they couldn’t chortle at (right here I’m pondering of the giggles I’ve witnessed through the Lyric’s latest Aida and Rigoletto), it was refreshing to lastly have an opera worthy of their chuckles. Many of the manufacturing complimented the numerous antics spearheaded by the servants—most memorably the absurd armoire out of which Cherubino bursts forth throughout Act II whereas hiding from the Rely and the numerous statues within the pretty nighttime backyard scene—nevertheless it considerably failed the duet “Sull’aria.” By merely putting Susanna (Ying Fang) and the Countess on the ground, they eschewed the standard desk and chair for the letter writing scene, however additionally they left nothing as a substitute. Perhaps they had been making an attempt to vogue the 2 girls as equals? In any case, it got here throughout as an afterthought. However in truth, it’s fairly tough to bungle Le nozze di Figaro, and the comparatively conventional manufacturing was a neon replace to the opera’s standard eighteenth-century trappings.
From the second Fang and Kellner opened with Susannaa and Figaro’s duet “Cinque, dieci, venti” it was clear that we had been witnessing not solely a good forged, but in addition a glowing group of singers. Kellner together with his strapping and agile bass-baritone voice eased his approach by means of “Se vuol ballare” and the numerous ensembles with sufficient vigor to nonetheless present up sturdy for Figaro’s Act IV “Aprite un po’ quegl’occhi.”
It’s arduous to think about a greater comedian accompaniment to Fang’s plucky Susanna—to not point out the soprano’s personal skilled dealing with of the marathonic function. Her center register and messa da voce are to be envied by each soprano (together with this one), however her pianissimo in “Deh vieni non tardar” demonstrated that she’s in a league of her personal on the subject of Susanna. Lombardi, indignant sufficient to hunt revenge towards the Rely however directly playful along with her servants, was a chic Countess with a shocking legato and limitless vibrato that made for a heartbreaking “Dove sono.” Collectively, Yang and Lombardi had been ideally forged.
Lest I give the flawed impression, this isn’t to say that each facet was shining. The mezzo-soprano Sarah Mesko(Marcellina) by no means fairly managed to meld her voice with the remainder of the principals. It all the time sounded considerably misplaced and received misplaced within the Act II finale. However in any case, Marcellina is a little bit of an odd duck within the opera along with her unwelcome pursuit of Figaro, and the vocal incongruity added to her quirky character. Whereas Gemma Nha introduced a spunky power to Barbarina and stuffed “L’ho perduta” with the best stage of musicality one may probably carry to such a dinky piece, it’s tough to not really feel as if the cavatina’s solely function at the moment is to supply a second for younger artists on stage.
For an opera that fairly frankly has an overabundance of notable moments and characters, Nicholas Newton deserves a point out for his witty portrayal of Dr. Bartolo and pleasant patter throughout “La vendetta.” Cherubino, performed by Kayleigh Decker, was as charming as all the time with Decker delivering a heat golden tone for “Voi che sapete.”
In fact, no Figaro is with out his Rely, and we’re lucky Gordon Bintner was in Chicago to make his debut with the notorious libertine. Between his highly effective entrance in Susanna’s chambers throughout Act I, “Hai già vinta…Vedrò mentre io sospiro,” and pitiful pleas within the finale “Contessa perdono,” Bintner created a dreamy model of the Rely who was extra enchanting than predatory. We not solely heard a fantastically positioned and wealthy bass-baritone voice, but in addition a beautiful actor with a towering presence.
I solely hope that the Lyric invitations these singers again for future productions so we will proceed to listen to this stage of musicianship. For now, this Figaro has revived my urge for food for the 2025 Lyric season.
Images: Liz Lauren
