DOWNTOWN
NEWS
May
31, 2004
OPERA
REVIEW
By Rob Kendt
CONTRIBUTING
WRITER
All
good things must come to an end.
This
is not among the many lessons of Mozart's masterpiece The Marriage of Figaro, which concerns itself
more with the end of old contentions and the beginning of new contentments. But
it is an adage that comes to mind as director Ian Judge's new postmodern Figaro assumes the L.A. Opera
repertory spot held for more than a decade by Sir Peter Hall's beloved
traditional version, first staged in 1990 and memorably headlined for all three
of its revivals--in 1994, 1997, and 2001--by hard-working local star Richard
Bernstein.
If
Judge's sleek, glamorous new production doesn't quite measure up to the
five-course meal of tenderness, wit and well-earned ardor that Hall's Figaro became, it may yet win
us over after a few more laps around the repertory schedule.
For
now, there is plenty to savor in this new rendition, from Tim Goodchild's
imposing sets to the considerable star wattage--in other words, sex appeal--of
its leads. Indeed, with hunky, strapping Erwin Schrott as willful servant
Figaro and dark, lovely Isabel Bayrakdarian as his fiancee Susanna, it's easy
to feel the heat in this kitchen. The imminent marriage of these two fine
specimens, neither of whom Baz Luhrmann would hesitate to cast, seems to send
everyone around them into paroxysms of lust.
Their employer the Count (David Pittsinger) wants to pull
rank and claim preemptive conjugal privileges with Susanna; the libido of young
page Cherubino (Sandra Piques Eddy) alights on any female in sight, though his
adolescent desires center on the indulgent, flattered Countess (Darina Takova),
who otherwise would like to see her husband's straying attentions return to
her. There's also a comic subplot involving a busybody (Anna Steiger) and a
supercilious doctor (Michael Gallup) with their own designs on Figaro's honor.
Judge's take on all this maneuvering is scintillating,
saturnine, and also strangely cool, almost cynical--more Schnitzler than
Shakespeare. On its face, Lorenzo Da Ponte's libretto might bear out this more
jaundiced view of human folly, but Mozart's music will have none of it. Instead
his radiant score encompasses a universe of human feeling far beyond mere
jealousy, injured pride and sexual satiety. As mocking as it is earnest,
compassionate as it is passionate, Mozart's music knows these characters, and
tells their story, more surely than any words could. It's probably the best
opera score ever written.
Under conductor Stefan Anton Reck, the music sails along
at a fast but not insensitive clip; the music's moments of quiet benediction,
usually involving the Countess, register with exceptional grace. Apart from
Piques Eddy's warbly soprano as Cherubino--a "pants" role typically
sung by mezzo-sopranos--the vocal performances are excellent, though their
choral blend is often just shy of that blinding, bracing precision with which
Mozart's rousing climaxes can velvet-hammer us into senseless delight.
This
is particularly a shame in some large-group scenes, in which the acting
performances essentially stop while all eyes onstage follow Reck's relentless
baton.
Goodchild's
extremely tall sets offer some fascinatingly forced perspectives, though it's not
always clear why so much force was needed. And the huge chandeliers that hover
above like two-dimensional samovars are not, you'll pardon the pun, especially
enlightening. One must admire the stylish insouciance with which costumer
Dierdre Clancy moves freely through periods, from 1950s to 1770s and back,
without distraction.
I
don't mean to sound churlish about this new Figaro on the Music Center
block. It's an entirely credible and attractive production of one of Western
culture's greatest works. Once the starry flash of its opening fades, this
stark, sexy roundelay will have its true test, like any marriage must: the test
of time. So, even as I wistfully recall the deep satisfaction of the old-school
Marriage, I welcome these newlyweds and wish them all the best.