BWW Reviews: 'Bravo!' FIGARO and Ivan Fischer's Budapest Festival Orchestra at Mostly Mozart
From its earliest days, Lincoln Center's Mostly Mozart Festival has included opera among its offerings, although I recall no production being quite so acclaimed as Iván Fischer's DON GIOVANNI of two seasons ago. With so much to live up to, the director-conductor's vision of Mozart's LE NOZZE DI FIGARO had its work cut out for it, seen on August 13 at the Rose Theatre. More than a concert version but less than a fully staged production, this was a FIGARO that charmed the audience with some good singing and lively staging, but was somehow less than the sum of its parts.
Two different animals
It is sometimes hard to remember that Mozart's LE NOZZE DI FIGARO and Rossini's BARBIERE DI SIVIGLIA are first-cousins, based on two parts of a saga by French playwright Pierre-Augustin Caron de Beaumarchais, because they are such different animals. FIGARO definitely has a serious streak--whether about class struggles and droit de seigneur or married life and the question of fidelity--but BARBIERE is decidedly a romp that keeps the same matters as no more than an undercurrent. And though Figaro gets title billing in both, he drives BARBIERE forward, while Mozart was more inclined to make him one of several equals in the opera.
A stellar Figaro
Still, FIGARO needs a stellar Figaro to work properly. Luckily, the role was put in the good hands (and the darkly handsome voice) of German bass-baritone Hanno Müller-Brachmann, whose casual demeanor belied his control of the action. Even though the voice of Romanian-American soprano Laura Tatulescu was a little small for the part-particularly in the dry acoustics of the Rose--she is an attractive performer who gave real life and style to the role.