Germany Mozart, Le nozze di Figaro: Soloists, Refrain and Extras of Theater Lübeck, Takahiro Nagasaki (fortepiano), Philharmonic Orchestra of Hansestadt Lübeck / Stefan Vladar (conductor). Theater Lübeck, 1.4.2024. (DM-D)

Manufacturing:
Director – Stephen Lawless
Stage and Costume design – Adrian Linford
Lighting design – Falk Hampel
Choreography – Ulla Benninghoven
Dramaturgy – Judith Lebiez
Refrain director – Jan-Michael Krüger

Solid:
Figaro – Florian Götz
Susanna – Andrea Stadel
Rely Almaviva – Jacob Scharfman
Countess Almaviva – Joo-Anne Bitter
Cherubino – Frederike Schulten
Marcellina – Virginia Felicitas Ferentschik
Bartolo – Rúni Brattaberg
Basilio / Don Curzio – Noah Schaul
Barbarina – Natalia Willot
Antonio – Steffen Kubach

On this revival of the 2023 manufacturing of Mozart’s Le nozze di Figaro, all features of the manufacturing got here collectively in full concord to create an immensely joyful expertise for eyes and ears alike. Director Stephen Lawless instructed the opera’s story, with its many twists and turns, with admirable readability and a spotlight to element. For instance, Cherubino hid behind and underneath the covers of the double mattress that Figaro and Susanna had acquired for his or her room. The Rely stood out immediately, his pink hair coiffed to make it appear to be a wig. Later, when a few of the feminine servants gathered, three or 4 kids with equally pink hair ran as much as the person who was clearly their father. This reference to Almaviva and prima nocta served as context for the sexual pressure central to the plot: the moms have been fairly snug with their kids and with the Rely, and the kids with their father, even dutifully working again to their moms when Almaviva signalled, in passing, that their ‘father-time’ was up. The rococo costumes have been lovely and elaborate, whereas the wig worn by Basilio, who carried a violin and bow always, made his character seem decidedly excessive – maybe it was a touch on the picture of Mozart conveyed by the play and movie Amadeus.

The set consisted of a round development which on one facet represented the inside, such because the room Susanna and Figaro have been getting ready for themselves or the present rooms of Countess and Rely Almaviva. Circled, these partitions grew to become the canvas for the portray of an unlimited and delightful panorama. Regardless of whether or not the setting was inside or outdoors, quite a lot of massive doorways opened within the round construction to disclose additional home windows or doorways. Sadly, for the efficiency I noticed, the set had been put collectively in such a manner that the entrances of the singers from the wings, actions behind the closed massive doorways and backstage work by the stagehands have been seen at occasions – arbitrarily and clearly not meant. This distracted from the motion onstage. For the scene within the mansion grounds, the set got here aside and thus created an additional surroundings with further areas for characters to cover in and eavesdrop. In a intelligent transfer, Countess Almaviva’s four-poster mattress grew to become a backyard pavilion when its curtains have been drawn.

Stefan Vladar, head of opera and common music director at Theater Lübeck, made the music a joyful expertise for his orchestra, the singers and the viewers alike. He paid a lot consideration to the nuances of the rating, combining focus, a excessive stage of power and a common feeling of life and celebration. Witty path and delicate conducting introduced out the most effective within the singers. Florian Götz sang Figaro with a agency vocal core offering the idea for a lot flexibility. Andrea Stadel’s voice was extra mature than many a Susanna I’ve heard over time. She just isn’t distant from singing the Countess. This introduced an attention-grabbing further dimension to the manufacturing – each Figaro and Susanna have been within the service of Rely and Countess Almaviva for a great variety of years, moderately than being relative newcomers to their positions within the hierarchy of the family. This allowed for a unique, presumably nearer, relationship between grasp/mistress and their respective servants. Stadel excelled in Susanna’s last aria. Jacob Scharfman introduced a excessive stage of musicality to his portrayal of Rely Almaviva – due to his exemplary breath management he didn’t should resort to near-shouting a few of the extra intricate shorter phrases Mozart composed for his character.

Joo-Anne Bitter began with a doubtlessly problematic, uneven vibrato, however very quickly settled into the function of Countess Almaviva and sang the ‘Dove sono’ aria with an admirable, gently flowing, full, heat and resonant voice. Mezzo-soprano Frederike Schulten is a member of the theatre’s opera studio. Cherubino is one in all her main roles for this season, and it’s a notable achievement. Her appearing abilities are appreciable, her voice recent and even, supported by a eager sense of rhythm. Casting a youthful singer as Marcellina ensures that her half is sung on the stage of magnificence an older voice could not be capable of produce. This was true for Virginia Felicitas Ferentschik, who introduced out features of the function which are misplaced in lots of different productions the place the half is given to a much-loved singer previous her vocal prime. Rúni Brattaberg is a long-standing member of the Lübeck opera firm with worldwide visitor appearances. His portrayal of Bartolo was assertive and convincing. Noah Schaul made probably the most of each the roles of Basilio and Don Curzio, as did Natalia Willot as Barbarina and Steffen Kubach as Antonio.

Daniel Meyer-Dinkgräfe

Featured Picture: Theater Lübeck © Olaf Malzahn