[Met Performance] CID:286160



Le Nozze di Figaro
Metropolitan Opera House, Thu, October 9, 1986

Debut : Thomas Hampson, Ugo Benelli




Le Nozze di Figaro (293)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
Figaro
José Van Dam

Susanna
Kathleen Battle

Count Almaviva
Thomas Hampson [Debut]

Countess Almaviva
Elisabeth Söderström

Cherubino
Frederica von Stade

Dr. Bartolo
Paolo Montarsolo

Marcellina
Loretta Di Franco

Don Basilio
Ugo Benelli [Debut]

Antonio
James Courtney

Barbarina
Hei-Kyung Hong

Don Curzio
Andrea Velis


Conductor
James Levine


Production
Jean-Pierre Ponnelle

Lighting Designer
Gil Wechsler





Le Nozze di Figaro received eleven performances this season.

Review 1:

Review of Bill Zakariasen in the New York Daily News

Computer Colorization of old black-and-white movies is a controversial subject nowadays, but there should be no argument about an operatic production at the Metropolitan Opera that really needs it-Jean-Pierre Ponnelle's color-blind vision of Mozart's "Le Nozze di Figaro," which came back like the proverbial bad penny into repertory Thursday night.

To be fair, "Figaro" enjoyed a few improvements this time. The performance was superior in most facets, while Ponnelle's direction (if hardly his sets) exhibited some new hues commensurate with Mozart's uniquely humanistic comedy.

The staging now accents humor more than revolutionary tub-thumping, while Ponnelle has made such fortunate amendations as allowing the Countess' [first] soliloquy to be sung alone, not with Susanna eavesdropping upon it.

Ponnelle has also clarified ensemble movements-most noticeably in the Act II finale-and he has simplified some costuming as well. Example: the Count no longer must sing his difficult third-act aria encumbered by an oversized robe and a Louis XIV periwig, though the fact that he now resembles George Washington implies Ponnelle these days has another revolution on his mind.

In the largely new cast, soprano Elisabeth Söderström proved a revelation as the Countess. Her age (she's pushing 60) occasionally betrayed itself in some tonal flutter, but her phrasing was a model of Mozartean style and her interpretation-heartbreaking or witty as required-made witnessing her portrayal a mandatory experience.

Debuting baritone Thomas Hampson was outstanding as the Count-he's very tall and handsome, a fine actor, and his good-sized voice was handled with an adroit technique that made child's play of the role's demands.

As Figaro, baritone Jose van Dam sang capitally and played the part with the appropriate peasant-like humor. Tenor Ugo Benelli debuted successfully as the unctuous Don Basilio, bass Paolo Montarsolo was a solid Bartolo, and repeat performers including Kathleen Battle (Susanna), Frederica von Stade (Cheribino), Andrea Veils (Don Curzio) and Loretta Di Franco (Marcellina) were up to par or better. James Levine was the ebullient conductor.



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