Le Nozze di Figaro - MN Opera

(c) Dan Norman

This past Veterans’ Day—by the way, THANK YOU to all our brave servicewomen and men for your tremendous service to our nation—I attended MN Opera’s production Le Nozze di Figaro (The Marriage of Figaro)—the opera some say is the world’s “perfect” opera. With music composed by the famous Wolfgang Amadeus Mozart and libretto (text) written by Lorenzo da Ponte, one definitely finds a more than ideal foundation upon which to achieve perfection. Most will know the name Mozart, but perhaps da Ponte is new. Avid MN Opera goers would recognize da Ponte as the librettist for L’arbore di Diana (Diana’s Garden), which the company produced last season. Besides this little-known gem and the many other operatic texts composed by this most talented librettist, da Ponte also served as text writer for three of Mozart’s best known operas: Don Giovanni, Cosí fan tutte, and, of course, tonight’s work, Le Nozze di Figaro.

Nominally, Le Nozze di Figaro is a comedy, an opera buffa, that is ironically based on a play by French writer Pierre-Augustin Caron de Beaumarchais that is quite grave in message. To quote Emperor Joseph II in Peter Shaffer’s own screenplay adaptation of his play Amadeus:

“Figaro is a bad play. It stirs up hatred between the classes. In

France, it has caused nothing but bitterness. My own dear sister,

Antoinette, writes me that she is beginning to be frightened of her

own people.”

In sum, Figaro and his fiancé Susanna, servants of the noble Count and Countess Almaviva, are forced to outwit their unsavory master as he tries to interfere with and frustrate their coming union. The servants are not only presented here as being smarter and more cunning than their master, they are also morally superior. As said by Robert Croan, Post-Gazette Senior Editor and 2017 reviewer of this same work in Pittsburgh, “No wonder the censors balked at it in their day.”

Arizona native bass-baritone, Richard Ollarsaba, led the evening’s show in the title role, gifting our cities with a fine performance. A bit awkward at first in his negotiation of singing to both his beloved and the audience in the famous opening duettino, “Cinque . . . dieci . . . venti . . .trenta,” Ollarsaba warmed up quickly, taking a poised and broad command of his role as primo uomo. His performance of the famous melody “Non più andrai, farfollone amoroso” at the end of Act I was perfectly sarcastic, witty, and fun. And one must not fail to mention at this point the stellar and wildly wily performance of Adriana Zabala. Heralded by The Wall Street Journal as showing "tremendous stamina and boy-like flair" in her performance of the title role in the American premiere of Jonathan Dove's The Adventures of Pinocchio, Zabala performed Cherubino splendidly. Among the singer actors in this production, she ranks premier as she understood so well the bearing and swagger of a young, arrogant, handsome adolescent boy. Her understanding, in fact, was so spot on that there were times in which I forgot I was watching a female performing in boy’s clothing. If only her tone color were more like a boy soprano’s, it would have made for the perfect performance. But, that is truly splitting hairs. Zabala was astounding to watch and marvelous to hear. A true delight.

(c) Dan Norman

Shifting gears to perhaps the work’s most serious player, South African soprano, Johanni van Oostrum (singing her MN Opera debut), schooled everyone in the meaning of vocal musicianship and superb dolcissimo song. Her opening cavatina as Countess Rosina Almaviva in Act II, “Porgi amor qualche ristoro” as well as Act III’s aria, “Dove sono i bei momenti” gave testimony to her skill and landed her a favored and cherished position in the hearts of those attending—as evident at the final ovation. If ever the occasion arose for a leading lady to yield the honor of the final curtain call to another performer, this would have been it! A most effective and emotive performance.

(c) Dan Norman

Regarding Count Almaviva, Beaumarchais writes in his notes, “The depravity of his morals should in no way detract from the elegance of his manners,” and South African baritone, Jacques Imbrailo, delivered just that. Commanding the stage from beginning to end, Imbailo embodied utmost charm and vilest morality. Vocally just as commanding, his final cadences ending on low tonics resonated throughout the hall with crystal-like clarity and stirring effect.

And, finally, we come to Angela Mortellaro, debuting her role as la prima donna, Susanna. If a soprano is looking for a role dominated by arias and other solo song, she will have to look to those other than that of Susanna. Where this character shines is in her wit, charm, and sensitivity to singing in ensemble. So many times, her voice is highest, and she must take care not to overpower her fellow artists. Instead, she must complement and crown their performance, something Mortellaro accomplished well. That being said, all the actor-singers performed remarkably well in ensemble. Their knowledge of and sensitivity to one another’s lines and their level of importance to either the story or the music was surprising altruistic and refreshing.

And, finally, what is an operatic review if one fails to acknowledge the wholeness of art? Opera is truly the king of artforms for all of art comes together to produce its splendor and beauty. Music aside, the costuming by Leslie Travers was stupendous. I do feel that Susanna could have been made more distinct in her dress. There were times in which I often lost her in the chorus. But, boy, do I want Count Almaviva’s jackets (yes, plural intended) and shirt from the third act. Stupendously flamboyant, and fitting.

Stage design was likewise a remarkable sight, especially watching the stagehands transition from scene to scene—a visual delight to the eyes. Overall, the entire evening was fabulous. Michael Christie and the MN Opera Orchestra delivered a fine performance, and the house (which was unsurprisingly full) was energized and engaged throughout. I recommend one’s attendance at any of the upcoming five performances. Enjoy the show.

(c) Dan Norman

- Guest Post by Mark Anthony Rodriguez