FIGARO QUA FIGARO LÀ

Cast of FIGARO x FIGARO produced by BARE OPERA

When we were new to opera we used to get Rossini's Il Barbiere di Siviglia mixed up with Mozart's Nozze di Figaro. The characters were the same, all derived from the plays of Pierre Beaumarchais; so why were the vocal ranges sometimes different? Why didn't one composer write the entire story in one opera, or even a trilogy?  Last night, in the farthest reaches of Brooklyn, we experienced a pastiche that came very close to achieving such a perfect union.

The boutique opera company known as Bare Opera is never bare of imagination, creativity, and an adventuresome spirit. For this production, Executive Producer Kirsten Scott (herself a superlative singer) assembled a fine production team and cast which brought Beaumarchais' characters to vivid life.

Director Cecilia Ligorio put a modern feminist spin on the work; the women join forces to deal with restrictive guardians and cheating husbands. Scenes from Il Barbiere are interpolated within Nozze di Figaro to give insight into the origins of the characters. Most of the important arias and ensembles are preserved with tedious recitativi deleted. The entire work came in at a swift two hours. Extraneous characters are also deleted with singers assuming more than one role.

The key to making this work was the high quality of the musical values, not to mention the acting. Characters and relationships were made crystal clear. The singers are well known to us from other productions by Bare Opera, as well as from performances with other companies. They were all beyond excellent.

The trickiest role was that of Rosina, performed by the superb soprano Liana Guberman, whose career has taken off since our first review. The role of Rosina in Il Barbiere is generally sung by a mezzo-soprano but the low register presented no problem for Ms. Guberman who was able to portray the spunky young Rosina as well as the rejected yet dignified Countess in Nozze. It always bothered us that Rossini and Mozart chose different fachs for the same character.  But it didn't faze Ms. Guberman who sounds superb in whatever she tackles.

No less impressive was the Susanna of Kristina Bachrach whom we hear often at the Brooklyn Art Song Society. It was a definite treat to see this splendid soprano in a new light. Her instrument is a beautiful one and she employs it effectively with fine color. Most importantly we believed her characterization and particularly enjoyed her "Deh vieni non tardar" in which she teases her jealous husband. 

Baritone Suchan Kim seems to own the role of Count Almaviva. His tone is a bit richer than the designation "lyric baritone" would have one expect and he absolutely convinced us as the husband who projects his own philandering nature onto his neglected wife. Watching him do a slow burn was pure pleasure. His shamefaced apology at the end touched our heart, as did the Countess' forgiveness.  Mozart ended his opera with the theme of change and redemption, not so different from last night's Christmas Carol produced by Gramercy Opera. (Review below)

One of the biggest surprises of the night was the Figaro of bass/baritone Paul La Rosa. His voice, his build, and his dramatic presentation are all muscular and, in our opinion, much better suited to opera than to lieder singing in which he tended to overwhelm the material.  He is really a stage animal! He was very severe with Cherubino in his "Non più andrai". We felt his pain when he thought Susanna was cheating on him with the Count. 

Another surprise was the performance of Francisco Corredor in the role of Don Basilio. We know Mr. Corredor as a "character tenor" and always enjoy his comedic skills.  But last night he was given the serenade "Ecco ridente in cielo"  in which Almaviva, disguised as Lindoro, sings to Rosina in Il Barbiere. This was interpolated as a flashback to illustrate how the Count's affections had waned. Mr. Corredor sang it quite well.

As Cherubino, mezzo-soprano Sophie Delphis was engaging. The scene in which Susanna and the Countess undress "him" was just a bit racier than usual and unusually well handled. We can think of no more delightful mezzo arias than "Non so piu" and "Voi che sapete".  We wished we had an instant replay button!

Bass Colin Whiteman made an excellent blustery Bartolo who softened at the end of the opera when he admitted that he loved Marcellina, a non-singing role taken by actor Paola Michelini, representing all servants everywhere.  In Ms. Ligorio's telling of the tale, the entire issue of Figaro's origins was avoided and the reason Marcellina backed out of her resistance to Figaro's marriage to Susanna was that she didn't want to marry him, she wanted to marry Bartolo.

If you are intensely devoted to the original story, this might have bothered you, but we were content to go along with all the plot changes and enjoyed ourself immensely.

The scene that the audience seemed to enjoy the most was the ensemble from the end of Act I of Il Barbiere-- "Fredda ed immobile, come una statua";  In this case Bartolo was knocked out on the floor. 

The chamber orchestra was conducted by the renowned Sesto Quatrini, protégé of Fabio Luisi and now appointed Principal Conductor of Bare Opera, which makes us very happy. His arrangement for a dozen instruments worked exceptionally well with Music Director Laetitia Ruccolo at the piano and Victoria Wolf Lewis as Concertmaster.

What impressed us was how well integrated was the music of Rossini and that of Mozart. The two operas were separated by 27 years with the Mozart premiering in 1786 and the Rossini in 1813. An audience member untutored in music would never have noticed any disjunction, so seamlessly was the music blended.

The excellent titles were devised by Technical Director George Del Barrio and the costumes were designed by Raxann Chin--simple modern street attire adorned with jackets of the historical period.

The action was staged in several areas of a large warehouse so that no set changes were needed. The audience was seated in two areas at right angles to each other so that sight lines were good. The orchestra was behind one of the seating areas which worked well.

If you love Mozart, see it!  If you love Rossini, see it!  If you love a good time, see it!

(c) meche kroop

BARE OPERA ON A BARE STAGE

A Brilliant Success for Bare Opera

Well, the stage wasn't entirely bare; there were three benches and enough newspaper to remind us of our former neighbor "The Hoarder". The staging of Rossini's first opera was unusual with rows of seats on either side of the theater facing inward with the stage at one end and marvelous Maestro Sesto Quatrini and his fine chamber orchestra at the other.

Stage Director Cecilia Ligorio had some fine ideas and utilized both the stage and the central playing area, giving the singers lots of room to tell this humorous story. Maestro Quatrini at one end could conduct in full view of singers, musicians, and audience members. The only problem was that at times one felt as if one were watching a tennis match; if one needed to read the titles at the top of the stage this head swiveling became constant. But there is no denying that the experience was up close and personal, making it very very special and full of impact.

Rossini was only 18 years old when he composed La cambiale di matrimonio, which premiered in 1810 in Venice. (And what's YOUR 18-year-old doing tonight?). The libretto by Gaetano Rossi is a farsa comica, based on an earlier play which was probably based on commedia dell'arte. 

There is a mercenary older man, played with bluster by baritone Suchan Kim, who always turns in a great performance. There is a rebellious daughter, portrayed by the superb soprano Liana Guberman. There is her impoverished lover, effectively sung by terrific tenor Sungwook Kim. And there is a wealthy suitor from Canada (!) sung by the fine baritone John Allen Nelson. And of course there are two clever servants--Norton (the fine Colin Whiteman) and Clarina (the very gifted Kirsten Scott).

The successful introduction, written by Assistant Director Elias Markos, was delivered by the spunky mezzo-soprano Ms. Scott (who also happens to be the Executive Producer and Co-Artistic Director). Ms. Scott is not only a superb singer but also made an impressive interlocutor, explaining in English what the opera is about.

A wealthy English merchant wants to arrange a marriage between a wealthy Canadian and his daughter, who is in love with a poor fellow. The servants  help the young lovers to defeat the father's plan.

The directorial concept rapidly dealt with any reservations an audience member might have about watching something so old-fashioned as to be based on a man selling his daughter. Cast members read aloud articles from the plenitude of newspapers scattered about, dealing with such issues taking place contemporaneously in several foreign cultures as well as sex-trafficking closer to home. This introduction allowed the audience to experience the work as relevant and also to enjoy the high jinx and the music.

And what music! There is something quite exciting about hearing a composer's earliest works. One could hear the influence of Mozart and one could also hear the origins of Rossini's prodigious gifts. There was a gorgeous romantic duet for Ms. Guberman and Sungwook Kim. There was a face-off duet between Mr. Suchan Kim and Mr. Nelson. And there was a marvelous oppositional duet when Mr. Nelson tries to court the unwilling Ms. Guberman. The two servants also got plenty of stage time for frisky involvement and sang so well together.  And there was a terrific ensemble number as well.

Costumes by Laura Kung were modern and suited the characters.  Mr. Suchan Kim wore a "grandfather sweater", Mr. Sungwook Kim wore a motorcycle jacket, and Mr. Nelson was dressed like a clueless rube in plaid pants.

Music Director (and pianist) was Laetitia Ruccolo whom we just heard Thursday night at the Classic Lyric Arts Gala. Lighting Design was by Anthony Tornambene.

We are feeling particularly grateful to Bare Opera for bringing this work to our attention and for casting such superb artists; we were given all the best of musical and dramatic values, brought up to date without sacrificing the original intent--to entertain!

(c) meche kroop