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Le Nozze di Figaro
By Michael Van Duzer
Los Angeles Opera brought back an old friend with their revival of Peter Hall's production of Le Nozze di Figaro. Originally debuting in 1990 (with return visits in '94 and '97), the concept was traditional in the best sense of the word-respect for both Mozart's sublime music and the witty nuances of da Ponte's libretto. The directing chores have now fallen to Thor Steingraber and the set is beginning to show its age, but the goal remains intact.
The opera provided a homecoming for local talent Richard Bernstein in the title role. Bernstein sang Figaro in the 1997 revival and his characterization has grown considerably over the years. Always good casting for the role, Bernstein has settled into a subtler, more assured characterization that allows a freer play of emotions and psychological layers. Vocally, too, he commands the stage with admirable ease and confidence. Equally strong, as his Susannah, was Spanish soprano Maria Bayo in her company debut. Petite and fiery, Bayo sings the role with a clear intelligence that explodes the typical soubrette trappings and makes one realize that, in her, Figaro has truly met his match. Pamela Armstrong's Countess was obviously cast for the achingly beautiful sound of her solo arias but she also managed to have a great deal of fun in her flirtatious by-play with Cherubino. As the Count, Claudio Otelli unveiled a rich baritone that could use more variety.
In the supporting roles, Cynthia Jansen successfully played against type to create a tart Marcellina, while Megan Dey-Toth was a carefully sung but rather bland Cherubino. Jamie Offenbach, always a compelling performer, did his best with Bartolo but the character is vocally too far away for a good fit. Jonathan Mack's experience showed in his delightful Don Basilio and Bruce Sledge was a comical Don Curzio. Two performers deserve special mention for making the most of their brief roles; James Creswell as Antonio and Shana Blake Hill as Barbarina.
Marco Guidarini conducted the score with a deft touch that properly highlighted the comedic elements.
Los Angeles Opera, 135 N. Grand, Los Angeles. (213) 972-7219. Opens Jan. 16 with evening performances January 18, 21, 24, 30 and February 1 at 7:30. February 3 at 1 p. m. $28-148.
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