Last night, I attended the performance of The Marriage of Figaro at the Metropolitan Opera. In this production, Danielle de Niese sung the role of Susanna and John Relyea the role of Figaro.
I had the strange feeling as the opera went on that I was the only one in the audience not laughing. I did not think the opera was funny. Obviously, many others did. Admittedly, the opera as staged was amusing, clever and entertaining. And, the facial expressions and acting of Denielle de Niese were a great cause of this. I did find amusing the scene which dealt with the paternity of Figaro, Riconosci in questo amplesso. Here is the same scene played for its emotion rather than its amusement.
I left the opera feeling a bit bored, uninspired and I experienced tedium during the last parts of the opera. I also felt that the opera did not showcase Ms.de Niese as I had seen her in Orphee et Eurydice.
I was impressed with the ability of Mozart and Da Ponte to write such a complex opera with plots and sub-plots and sub-plots to the sub-plots and ancillary plots and with people constantly coming and going. I was also duly impressed with the production and staging folks who staged this opera quite flawlessly.
What thoroughly impressed me was the ensemble singing and certainly the skill of Mozart in composing such marvelous pieces. Duets, trios, quartets, sextets were all rendered beautifully. I think this is Mozart and last night's cast at their best. The previously mentioned sextet, Riconosci was one fine example. Another is the trio Susanna, or via, sortite which occurs among the Count, Contessa and Susanna, sung respectively by Bo Skovhus, Emma Bell and Danielle de Niese. Here is a video of the scene from a different production, also played more for drama than for humor.
There were several very poignant and lyrical moments in the Met's performance. I thought the show-stopper was the recitation and aria by the Countess (Emma Bell), E Susanna non vien and Dove sono I bei momenti. The recitation and aria were performed with a great deal of nuance and had the complete attention and later approval of the audience. The Countess here provides a more somber message that underlies or contrasts with the more amusing aspects of the opera.
Countess:
........Oh heavens!
To what humiliation am I reduced
By a cruel husband, who after having
First loved me, then neglected and finally
Deceived me, in a strange mixture
Of infidelity, jealousy and disdain,
Now forces me to seek help from my servant!
Where are those happy moments
Of sweetness and pleasure?
Where have they gone,
Those vows of a deceiving tongue?
Then why, if everything for me
Is changed to tears and grief,
Has the memory of that happiness
Not faded from my breast?
In reflecting on this performance of Figaro, I am reminded that even Shakespearean tragedy has its moments of comic relief. In the case of The Marriage of Figaro at the Met, one could say that even Mozart's comic relief has its moments of heartfelt tragedy.
In this video of a performance by Renee Fleming, the Countess' aria is sung with even more deep emotion.
Back on the lighter side, Isabel Leonard in the role of Cherubino provided some lovely singing, especially in the well-known arias, Non so piu cosa son, cosa faccio and Voi che sapete che cosa e amor. I again note the lack of humor is this video of Non so piu.
As I view these other versions of the production of Figaro, it appears that Figaro is played more often for its drama and its emotion. Its soul. The performance at the Met while superficially amusing, lacked the soul which I assume accounts for my feelings of boredom.