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The Marriage of Figaro
Reviewed by David C. Nichols
L.A. Opera at the Dorothy Chandler Pavilion
Through April 12
RECOMMENDED:
L.A. Opera is winding up its Figaro trilogy with Mozart and Da Ponte’s immortal operatic take on Beaumarchais’ The Marriage of Figaro, in a revival of Ian Judge’s 2004 staging, its fourth rendering to date. But if the production, with its austere Franco-era sets by Tim Goodchild, New Look-meets-fascisti costumes by Deirdre Clancy and day-to-night lighting by Mark Doubleday, isn’t new, conductor James Conlon and a beautifully balanced cast make it seem fresher than ever.
Let’s start Conlon’s conducting, which is exemplary. From the first whirring measures of the overture, the L.A. Opera Orchestra and its maestro seem to breath as one organism. Conlon’s attention to dynamics and a steady inner pulse allow the comic and melancholy elements of score and libretto to unfold with the writing, not against it, and his players follow suit, with the strings and woodwinds in especially fine fettle.
So are the singers, who clearly understand their place in this one crazy day, and find considerable opportunities to use their voices to propel their acting chops. Rising superstar Pretty Yende makes a delightful role debut as Susanna, interacting easily with her coevals, gorgeous of person and tone, her climactic”Deh vieni non tardar” luminous. Roberto Tagliavini partners her well as Figaro, his physical charisma matched by understated acting and a robust, post-Pinza bass-baritone.
Guanqun Yu brings impeccable technique, subtle acting and a plangent timbre to the Countess, “Porgi amor” carefully but achingly sung, “Dove sono” a full-throated show stopper. Ryan McKinny is less domineering and more multi-faceted than many a Count Almaviva, his moment of penance at the finale a splendid bit of acting. Renée Rapier brings a delicious warmth to randy page Cherubino, convincing us by not overdoing male mannersims.
Lucy Schaufer, Kristinn Sigmundsson and Robert Brubaker are entirely proficient singing comics as, respectively, Marcellina, Doctor Bartolo and Don Basilio. Joel Sorensen’s Don Curzio, Philip Cokorinos’ Antonio and So Young Park’s Barbarina defty complete an ensemble effort that for once doesn’t feel effortful, with first-rate assistance from the L.A. Opera chorus under Grant Gershon’s supervision. If the company has ever done Figaro more correctly, I missed it, and devotees must catch this enchanting revival.
Dorothy Chandler Pavilion, 135 North Grand Avenue, Downtown; March 29, 2 p.m., April 4, 7:30 p.m.; April 9, 7:30 p.m., April 12, 2 p.m. (213) 972-8001, www.laopera.org
