Down for the Count
An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
Adam Plachetka
21 pieces since 2013 — in 11 roles, at 4 companies, most often at Metropolitan Opera.
21
pieces
11
roles
4
companies
14
years
By role
13 pieces as Metropolitan Opera — stats above show all coverage for Adam Plachetka.
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Dreamers with empty hands
It’s autumn in New York, baby.
Nervous system theater
Like a sommelier of male entitlement, Peter Mattei paired with precision moves from a wide-ranging vocabulary of gesture.
The clue whose meaning we avoid
We watch Peter Grimes being made into a deviant— a process that can take place through the mechanism of the law, but often happens outside of it through social processes.
A crazier day
Saturday’s performance of Le nozze di Figaro at the Met mined the humor from Mozart’s divine setting of Beaumarchais’s play about a crazy day in the Almaviva household.
Seria effect
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Midwinter marriage
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
Better than the sum of its parts
Is there any opera more bullet-proof than Le Nozze di Figaro?
Let your love flow
Saturday afternoon’s performance of Le Nozze di Figaro at the Met was awash with contradictions.
Strangers in the night
One needs liberty in order to be a libertine.
The help
As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.
Forgiveness
It was odd, if not downright uncomfortable, to watch Le Nozze di Figaro at the Metropolitan Opera.
His cup runneth over
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.