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EVERY production of Mozart's "Marriage of Figaro," one of the most frequently performed operas, invites comparison with numerous predecessors: the challenge is to keep the material fresh without losing touch with its origins. Opera companies need a compelling reason to schedule it: an anniversary, the opportunity for a stellar cast, or an intriguing new interpretation. HOT finesses
stylistic differences in
Figaro sequelBy Ruth O. Bingham
Special to the Star-BulletinHawaii Opera Theatre's reason was to present Mozart's "Figaro" this year as a sequel to last year's "Barber of Seville" by Rossini, emphasizing their origins as sequential plays by Beaumarchais.
Making that connection, however, is not as simple as it sounds. Mozart wrote his opera as a sequel to Paisiello's version of "Barber of Seville," not Rossini's; Mozart's and Rossini's operas were conceived and written 30 years apart, yielding differences in style and tone; and, perhaps most blatantly, few of the recurring roles can be played by the same person. Count Almaviva, for example, is a high lyric tenor in "Barber" but a baritone or even bass-baritone in "Figaro." Even the Countess Rosina, a soprano in both operas, requires markedly different types of sopranos.
The Marriage of Figaro:
Repeats 7:30 p.m. tomorrow,
Blaisdell Concert Hall.
Tickets $25 to $80.
Call 596-7868.
Overall, HOT's "Marriage of Figaro" finessed these challenges with grace. The intervening year, a disadvantage from an historical perspective, became an advantage, obscuring changes and making it easier for the audience to accept different performers as the same character. HOT also hired Matthew Lata to direct both operas, who strove to create connections and highlight similarities.
Lata's staging created the strongest connections, from the musicians racing across the stage at the beginning, through Don Basilio's wild hair, to the return of Dr. Bartolo's dog at the end. More subtly, Lata retained a lighthearted tone, rapid pacing, and characterizations: both Figaro and the Count played to the lighter side of their roles.
Some staging did not work (uncovering Cherubino at the end of Act I lost its inherent impact through overplaying), but in general, Lata's staging kept the story-telling clear and exciting. He also added a number of creative details, such as having Figaro pull down the front curtain to begin the opera.
"The Marriage of Figaro's" enchanting set, creatively lit by Peter Dean Beck, evoked the story's commedia dell'arte roots so prevalent in "Barber," yet provided the elegance of a Count's country chateau. Flexible enough to portray the opera's progression (from Figaro's, the Countess', and the Count's separate domains to the shared garden), the set's only disadvantage was its flimsy panels that swayed disconcertingly when moved.
Success with Mozart's opera hinges on its relationships and ensembles. Bass-baritones Mark McCrory (a charming Figaro, even when crawling on the stage or reeling from blows) and Dean Elzinga (debuting as the Count) contrasted nicely, McCrory's tone open and resonant, Elzinga's darker and more veiled. Aimee Willis (an eloquent Countess) and Jami Rogers (debuting as Susanna) did as well, Willis's arching soprano noble of line and mature in tone, Rogers's high, light lyric soprano adding a delightful effervescence rarely seen in the role.
Couples paired off fairly well, with McCrory and Rogers presenting the most vocally successful couple. Willis and Rogers delivered a lovely duet, as did Elzinga and Rogers, but the vocal pairing of Elzinga and Willis worked less well, Willis's brightness overshadowing Elzinga's darker sound.
McCrory and Willis were clearly most at home in their roles, having sung them before, but all four created strong characterizations.
Newcomer local Lea Woods Friedman (Barbarina) revealed a very promising, beautifully clear voice, Catherine Cook was a terrific Marcellina, her acting and singing equally strong, and John Mount presented an excellent and sprightly Antonio. James Scott Sikon (Dr. Bartolo), although weak in his buffo bass patter, suited his role, and Laurence Paxton (doubling as Basilio and Don Curzio) added numerous comic moments.
Sarah Helen Land (Cherubino) seems to have a nice voice that showed mostly inrecitative; her first aria was much too slow, lacking breathless excitement, and her second lacked passion. Her wobbles in intonation suggest she may simply be inexperienced.
The only other disappointment was Leroy (Bartolo's dog). As adorable as ever, he nonetheless seemed extraneous and his reluctant exit caused a missed lighting cue, so that Figaro and Susanna gave their cadential embrace in darkness. Amidst the general pairing-off, however, giving Leroy a bride was a nice touch.
Conductor Andreas Mitisek of Austria has apparently studied the performance practice movement: he alternated conducting the orchestra with skilled and sensitive accompanying of recitative on harpsichord, chose crisp tempos, and paid close attention to details.
Mitisek's breakneck tempo for the overture resulted in some ensemble difficulties that smoothed out during the first act into a lively and overall strong performance.
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