Tuesday, November 22, 2022
HomeOperaAll the things previous is new once more « parterre field

All the things previous is new once more « parterre field

But the novelties of the night didn’t cease there; underneath Raphaël Pinchon, Mozart’s acquainted rating rang out as new, as contemporary, and as lithe as one may by no means hope to listen to it.

Pichon’s take is concise however pensive, detailed however unsentimental. From the breakneck impetus of the overture, the excessive strings glowed with a colourful ebullience, the reeds had been wealthy and plangent, and brass shone by means of with muscle and refinement. However the pallet was deployed in good measure with refined, surprising makes use of of rubato highlighting multipart orchestrations undergirding the vocal traces.

Even the secco recitatives felt new and thrilling, performed as they had been on fortepiano with Ronan Khalil’s gentle contact. With clear, virtually surgical incisions into the rating, Pinchon’s glad vivisection of Figaro yielded a efficiency uncommonly alert and unusually alive.

This was aided and abetted by James Darrah’s lucid route. Whereas most might know him for extra avant-garde interventions, this period-dress semi-staging unwrapped Mozart and DaPonte’s intricate farse with extra ease, readability, and depth of characterization than many out-and-out productions do.

Ease, readability, and depth of characterization may simply as simply describe Ying Fang’s Susanna. Her silky soprano has taken on an excellent larger richness since I final heard her in 2017 and its sweetness and ease spans her total vary. She’s additionally a spunky actress and her tackle the position was as sensible because it was domineering.

The Figaro of Polish bass Krzysztof Bazyk was congenial and technically sturdy, with arrestingly strong breath management, however he was extra “basso” than “cantante” and his typical Slavic timbre, with its taut sound and even, icy resonances, solely often gave approach to a extra supple baritone vary. His is a extra mature voice than Figaro requires, although his high-spirited appearing provided a useful stability.

If Cody Quattlebaum sought an analogous stability, it proved extra elusive. In sure moments, his tackle the predatory Depend Almaviva was really swoon-inducing with its pianissimo sweetness. However extra usually, the position was semi-declaimed with a very roughshod fervor that sounded out-of-place (and, finally, tiresome) in an in any other case meticulously measured efficiency.

Because the Contessa, Jacquelyn Stucker presents a singular case; she has a luxurious voice with low notes that appear to bob up from nowhere, and she or he’s a potent actress with a regal bearing and expressive eyes. However whether or not from nerves or a scarcity of authority with the fabric, her interpretative fingerprint is faint.

Often, although, her capacities coalesced to type one thing really showstopping: “Dove sono,” held aloft by the orchestra’s feather-light help and accented with tasteful ornaments, was an particularly delicate second.

Mezzo Paula Murrihy put her grainy, high-set mezzo to make use of as Cherubino with a vigorous “Non so più” that settled right into a touching (and musically suggestive) conclusion. Scott Conner delivered laughs as Bartolo and Antonio, Maya Kherani was an unusually plaintive Barbarina, and Mary Ann McCormick was a patchy Marcellina.

Zachary Wilder, fey and fabulous, did the majority of the comedian heavy lifting as Don Basilio & Curzio. And it was a specific deal with to listen to Basilio’s often-cut aria, particularly when carried out with such precision and zeal because it was on Thursday.

It’s a uncommon and fantastic reward to really feel like you might be listening to a well-recognized rating for the primary time; Pinchon’s palpable management of the soloists and orchestra, in addition to a crisp and exacting Handel and Haydn Society Refrain, provided simply that. With only one week earlier than Thanksgiving, this efficiency was one thing to actually be thankful for.



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