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
16 pieces since 2012 — in 6 roles, at 4 companies, most often at Metropolitan Opera.
11 pieces as Metropolitan Opera — stats above show all coverage for Maurizio Muraro.
View allAn uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
A muted and merry carousel ride out of feudalism in the Met’s production of Le nozze di Figaro
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.
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.
It was odd, if not downright uncomfortable, to watch Le Nozze di Figaro at the Metropolitan Opera.
I am, perhaps instinctively, skeptical of those who commit suicide.
Beaumarchais clearly delighted in this unobtrusive realm.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
There is a truism that there are no small parts, only small singers. Last night’s Così fan tutte has made me consider another possible truism: there are no bad productions, only miscast productions.
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
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