The stunning and spectacular Le Nozze Di Figaro

by Gwen Herat

Just like his better part of music that is soft and gentle, so was Wolfgang Amadeus Mozart whose celebrated masterpiece ‘Le Nozze Di Figaro’ and better known as The Marriage of Figaro, laid bare its spectacular genius on the stage of the Royal Opera House in London, a few months ago.

The opera in four Acts, was first performed in 1786 and debuted at the Royal Opera House in 2006 and presently, the revised version is performed to all music lovers in London. It is supported by the ROH Endowment Fund. Always a favourite with the audiences, it returns to the ROH with increased fervour and produced by David McVicar who sets the story in the late 1820s to reveal the truth and wit, the simmering tension between master and servants.

The count and countess Alamviva from the opera. Le Nozze Di Figaro (the marriage of Figaro) by Mozart

Mozart

Therefore, the symptons of revolution are not far away. The performance are world-class alternating in the roles, giving all the experts to be a part of this great opera. The award winning Collin Davies, a recognised Mozartian shares the baton with yet another great conductor, David Syrus. Once again, Erwin Schrott takes over the role of the cunning servant, Figaro.

This is enacted in such enlightened times that if the Count wishes to dance, then Figaro will make sure it is to his tune and not his master's. In the opera repertory, Mozart's music makes this one of the finest crowns with a wealth of famous melodies all sung in Italian that start from the familiar first notes of the energetic overture.

The arias include apart from sparkling overture and sung by: Non so Piu – Cherubino, Non pius andrai’ – Figaro, Porgi Amor’ – Countess, Voi che sapete’ – Cherubino, Dove sono’ – Countess,

Letter duet from Act.III) and Che soave zefiretto’ – Countess and Susannah.

Infatuations

There is Cherubino's breathless infatuations in Non So Piu Cosa Son and the prankish Figaro in Nov Piu Andrai’ as he is sent off to war but there is also the genuine despair of the Countess at her husband's infidelity, revealed lustrously in Porgi Amor, and Dove Sono. All shades of emotion portrayed through the solos, duets and ensembles, bring a Mozart masterpiece to full musical and dramatic life.

To understand a score in its historical context can be revealing the way I felt though not much inclined to operatic works. The sound world that musical textures a composer, reflects the age in which he lived. It is very easy to identify Mozart in this spirit. By that revelation, the significance of each of these arias can be identified, especially by music scholars. Some composers are remembered today for a single work and they top the charts each time a survey is made. My example on this is the lesser known in Johann Pachelbel whose Canon in D is superior to many of the compositions played in the concert Halls. Ask any composer and he will agree with me.

Rewarding music

There are some good composers who have been forgotten for various reasons and who wrote rewarding music. They may be few and probably no undiscovered Beethovens or for that matter, Tchaikovskys. One reason is that it at least takes half a century before a composer's music can be properly evaluated or viewed in historical contest. But few are exceptional like Mozart tonight and the list is endless.

Some of today's leading conductors go out of their way to bring in the lesser known compositions under their baton. One such is the principal director of the Royal Philharmonic Orchestra, Vladimir Jurowski.

One has to admit that classical music is a minority; it is not every one who dwell in it.; like me who struggles to ‘put up’ with operatic music. And they are the ones who find an opera by Tchaikovsky to be the most accessible of works who cannot understand and find difficult challenge to ears more attuned to the melodies, harmonies and rhythms of an opera by Puccini and Mozart, because this cannot be central to the tastes of people who relish classical music in their own way and terms. But for people with ordinary likes and dislikes who prefer to listen to a wide variety of music are capable of being contradictory.

One cannot blame such people or their preferences. Yet, among them are the ones who still can listen to classical music but abhor operatic.

This beautiful opera on the boards of the Royal Opera House, was a fantastic musical experience I had. The whole scenario was glittering with life, elevated by brilliant libretti and innate solos among duets and others. Singing was so gorgeous that I felt it was the type of operatic music that I did not expect. The independent intertwining melodic parts related to each other, was easy on the ears.

New Music

For me it was like the cutting edge of new music because I rarely listen to operatic music or watch an opera after running away from the Phantom of the Opera few years back in London.

But what Mozart had created tonight was so gentle and awe inspiring. It moved smoothly to the end mostly sung by the experienced classical singers. I think they all excelled in their different roles, especially Sussana (Eri Nakamura) and Figaro (Erwin Schrott) The movements to music matched the voices and the costumes were brilliant in keeping with the times.

Lighting effects created a mystery that highlighted some scenes which otherwise would have looked drab and boring. The temperament with its violent and rapid changes of mood and emotion was another highlight and the excellent qualities or classical music was fully exploited. There were no turmoil in Mozart's music, no neuroticism and no dark brooding side. It rose in its direct conservative innocence and was wonderfully uncomplicated.

Credits

Conductors: Colin Davis, David Syrus

Designs: Tanya Macallin

Lighting designs: Paule Constable

Movement Director: Leah Hausman

Cast

Figaro :Erwin Sccrott

Susanna: Eri Nakamura

Count Almaviva: Mariuz Kwiecian

Countess Almaviva: Annette Dasch

Cherubino: Christine Schafer

Bartolo: Robert Lioyd.

Bassilio: Peter Hoare

Don Curzio: Christopher Gillett

Marcelina: Mari McLaughlin

Barbarina: Amanda Forsyth

Antonio: Nicholas Folwell.