An all-star solid, a brand new music director, and a returning stage director gave us Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte’s The Marriage of Figaro (1786, Le Nozze di Figaro) in full measure. Washington Nationwide Opera’s manufacturing, working by November 22, gives every little thing you may want from traditional opera buffa. The expression on my face modified with the drama on the stage, however the smile in my coronary heart started with the primary notes of the overture and lasted by the standing ovation on the finish. Entertaining, rewarding, enriching, this one checked all of the bins, traditional opera at its greatest, artwork that entertains and embeds itself in your coronary heart! Kudos to WNO’s Inventive Director Francesco Zambello, Normal Director Timothy O’Leary, and everybody concerned for bringing this treasure to DC in such high quality trend.
The betrothed couple, Susanna (Joélle Harvey) and Figaro (Le Bu). Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
Mozart and Da Ponte collaborated to provide three operas, all nonetheless well-liked in the present day: along with Figaro, Don Giovanni (1787), and Così fan tutte (1789). As was the case with all their collaborations, there’s extra afoot than comedy; the social change rippling by society at the moment was additionally a goal of the operas. The ruling class on the time didn’t take effectively to such themes in efficiency artwork, and such works confronted roadblocks in attending to the stage. Within the pre-opera speak by Ken Weiss, Principal Music Coach of the Cafritz Younger Artist Program, he identified that by making Spain its setting, as an alternative of Vienna the place it was first carried out, and modifying Beaumarchais language from the play (The Mad Day, or The Marriage of Figaro) that the opera is predicated on, allowed Figaro to get previous the censors and the emperor. There may be one other well-known opera(s) primarily based on a Beaumarchais play, The Barber of Seville, containing most of the identical characters at an earlier time.
Cherubino (John Vacation) and Countess Almaviva (Rosa Feola) share a second. Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
In Figaro, the wooing of Rosina by Depend Almaviva in The Barber of Seville is now previous, and the Depend has been messing round; Countess Rosina is distraught. Depend Almaviva now wishes to mattress Susanna, his spouse’s servant, supposedly justified by droit du seigneur (proper of the lord). Figaro, servant of the Depend and Susanna’s husband to be, joins forces together with his betrothed, the Countess, and a love-struck web page, Cherubino, to outwit the Depend. Dr. Bartolo, whom had tried to maintain Rosina for himself within the earlier chapter, and Marcellina, his housekeeper, are a part of a sub-plot, with Don Basilio, Don Curzio, Barbarina, and Antonio all making appearances. Plots and subplots are begun and go astray, and hilarious surprises abound in classical opera buffa model, which is to say, in classical commedia dell’arte model. Regardless, it was a superb plot system for Beaumarchais to make the purpose fairly clearly that the Aristocracy had extra management over their topics, even their our bodies, than needs to be granted; this was an argument roiling aristocracies of the continent at the moment. It permits Da Ponte and Mozart to carry us to the conclusion that each rulers and topics are flawed human beings and that love conquers all, with the one path ahead being to ask for and provides forgiveness and transfer on. Because of the distinctive likability of the music and the themes of human susceptibility to transgression, the recurring want for forgiveness, and the righting energy of affection, we proceed to embrace The Marriage of Figaro.
l to r: Depend Almaviva (Will Liverman), plots with Marcellina (Elizabeth Bishop), Don Basilio (Rodell Rosel), and Dr. Bartolo (Sir Williard White). Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
Did I point out the all-star solid? Figaro has 4 main roles, seven substantial supporting roles, and a refrain. The phrase for this solid general is stellar. Lyric soprano Joélle Harvey proved to be an ideal Susanna, in each singing and appearing. She has a phenomenal voice, sings expertly, and is a charmer on stage. This was her first look with WNO; she was a late addition to the solid when the beforehand scheduled soprano needed to withdraw. Ms. Harvey has beforehand garnered excessive reward for her Susanna on the Royal Opera Covent Backyard and for her Pamina on the Met Opera. The function of the Countess was sung to perfection by worldwide famous person soprano Rosa Feola. She sang with unbelievable feeling and wonder in a job that’s the emotional middle of the opera. Her “Porgi, amor” mourning her husband’s infidelity was touching. She and Ms. Harvey sang a drop-dead lovely “Sull’aria”, an all time favourite of mine. Ms. Feola, who has starred at each the Met Opera and La Scala, appeared as Juliette for WNO in 2023. Bass-baritone Le Bu, who is comparatively new to main roles in staged opera, impressed from his first look on stage with a powerful, commanding voice; we seem to have a brand new main expertise on our fingers. He gave us a extra reactive than reflective Figaro however carried out effectively general. He’s within the Lindemann Younger Artist Growth Program on the Metropolitan Opera. In 2022, he gained the Met Opera Laffont Competitors and in 2024, gained the celebrated worldwide Operalia competitors. The Depend was performed by baritone Will Liverman, well-known to opera followers in DC, Philadelphia, and NYC. He sang fantastically, giving us a decided, offended Depend when foiled, then displayed a extra interesting vary of feelings within the second half of the opera.
Susanna (Joélle Harvey) emerges because the shock noise maker within the closet whereas the Depend (Will Liverman) and Countess (Rosa Feola) are poised for motion. Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
A shock casting by Washington Nationwide Opera for the function of the younger, hormone-driven Cherubino was one of many causes I used to be wanting ahead to attending this efficiency. Mozart wrote this half for a mezzo-soprano in a pants function, a lady taking part in a person’s function. As an alternative, WNO solid extremely regarded countertenor John Vacation, who has the tessitura to sing the function. He has a phenomenal voice and sings with precision. Mr. Vacation was humorous, efficient, and persistently glorious within the half, and I loved him as including a novel component, although I nonetheless want it as a pants function, at the least if it’s not Mr. Vacation. The remaining performers in supporting roles even have spectacular biographies. Bass-baritone Sir Williard White and mezzo-soprano Elizabeth Bishop not solely sang effectively however had been a relatively charming pair along with being amusing. Tenor Rodell Rosel as instructor Don Basilio was a real hoot as the focus of humor. Soprano Lauren Carroll, a Cafritz Younger Artist, as Barbarina, tenor Hakeem Henderson, a Cafritz Younger Artist, as Don Curzio, and bass Kevin Thompson as Antonio, all contributed considerably to the efficiency. Mozart is a grasp at composing ensemble singing. Figaro at instances consists of not solely duets and trios however ensembles of 4 to 7 singers. This solid, with their tight singing, carried out the ensembles in a extremely fulfilling trend.
Susanna (Joélle Harvey) and Countess Almaviva (Rosa Feola) put together Cherubino (John Vacation) to look as a lady. Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
This efficiency was Robert Spano’s first as confirmed Music Director for WNO, although not his first as conductor. Below his path, the Washington Nationwide Opera carried out Mozart’s rating fantastically. When it comes to quantity, coordination with the singers, and emphasis, I loved each minute and by no means felt something was askew. I loved the WNO refrain led by Steven Gathman which primarily stayed within the background for this efficiency.
Director Peter Kazaras additionally directed this manufacturing staged by WNO in 2016. The set, at instances, was spectacular, with columns and lighting; kudos to set designer Benoit Dugardyn and lighting designer A. J. Guban. The colourful interval costumes by Myung Hee Cho had been pleasant, including to the manufacturing’s appeal. The stream of the four-act opera, altering units with the motion, supposedly accomplished on simply sooner or later, was effectively performed by Director Kazaras. The had been many small touches that conveyed the humor and the feelings. I might need appreciated the Depend’s contrition to be a bit of extra successfully introduced. The modifications created from the 2016 manufacturing had been effectively thought-about.
An ensemble quantity sung by Susanna (Joélle Harvey), Figaro (Le Bu), Marcellina (Elizabeth Bishop), Dr. Bartolo (Sir Willard White), Antonio (Kevin Thompson), Barbarina (Lauren Carroll), and Cherubino (John Vacation). Photograph by Scott Suchman; courtesy of Washington Nationwide Opera.
I’ll add a few of my textual content from a earlier report on this opera: “The outdated saying is that energy corrupts, and absolute energy corrupts completely; energy has been corrupting mankind since Adam and Eve. Composer Wolfgang Amadeus Mozart and his librettist Lorenzo Da Ponte, nevertheless, additionally noticed that human beings are able to magnanimity, reform, redemption, and plain silliness, in addition to corruption, however most significantly, they understood that the therapeutic grace is love. The staff’s profound perception that human goodness is a piece in progress, coupled with their eager humorousness, supplied us with tales through which we will see and snicker at ourselves. Coloration these tales with Mozart’s capability to put in writing music of nice magnificence and appeal that absolutely illuminates the human coronary heart, and classics emerge, beloved in all ages.”
There are a number of works of efficiency artwork moreover opera that I watch again and again. With the vacations approaching, I consider “It’s a Fantastic Life” with Jimmy Stewart, which additionally tugs at my heartstrings each time I watch it. Reside opera is a bit of totally different; no two performances are the identical. By attending an opera repeatedly, one hopes every time that the staff will get it proper, so it may be loved as anticipated or in a brand new means, whereas having fun with what new performers carry to the roles. WNO’s 2025 manufacturing of The Marriage of Figaro gives simply what we would like, nice music, nice singing, and a efficiency that enlightens and touches the center.
The Fan Expertise: Washington Nationwide Opera scheduled performances of The Marriage of Figaro for November 14, 15, 16, 18, 20, 22. Cafritz Younger Artists carried out all roles for the November 15 efficiency. Performances are sung in Italian with English supertitles proven over the stage. The efficiency lasted about 3 hours and quarter-hour with a 25-minute intermission. Pre-opera talks are given within the Opera Home one hour earlier than performances.
The digital program e book The Marriage of Figaro is on-line and will be accessed at this hyperlink. Soprano Yaritza Vélez is listed in this system as Susanna. Nevertheless, she needed to withdraw and the function, as famous above, is performed by soprano Joélle Harvey.
As a heads up, WNO’s new 20 minute operas of the American Opera Initiative incessantly promote out. Get your tickets for January 24 early. WNO will carry out the household opera The Little Prince on Dec 12-14, Tremonisha March 12-22, The Crucible March 19-29, and an operatic model of West Facet Story on Could 8-23.
Kennedy Middle parking is usually plentiful, with charges round $25 per day, with a small low cost for Kennedy Middle members when reserved forward of the day. The Metro to Foggy Backside and the free purple Kennedy Middle buses, working from there to the Kennedy Middle each quarter-hour, are a superb choice. There is a bonus in arriving a bit early. KC incessantly has a number of performances on its totally different levels overlapping, which may create site visitors jams and generally safety checks when VIPs attend.
There are snack stands in the principle foyer, and on the Terrace stage, the KC Café affords meals cafeteria-style at average costs; high quality eating is on the market on the Terrace stage within the Roof Terrace Restaurant; a reduction is on the market to KC members. Meals and drinks besides water usually are not allowed contained in the opera home, however you should buy reusable capped containers along with your drinks that you would be able to take inside. Take the container again with you in your subsequent KC go to to get a reduction in your drink.
