The Marriage of Figaro was a wonderful opera, especially for first-timers like myself. It was filled with humor, mystery and most importantly, beautiful music. The voices were all captivating and key in playing up the plot (which could have used all the help it could get). All the singers were on point with their tonality, whether they intended to show sarcasm, infatuation, flirtation or any of the other motifs of this opera. I would argue that the best singer in the opera was the Countess, portrayed by British soprano Emma Bell. She truly stole the show in her song about her husband’s infidelity and their lost passion.
Another aspect of the show that personally took my breath was the set. It was brilliantly designed to show the classical architecture and grandeur of the opera. The set was also key in the story; each set precisely reflected the characters’ standings in society. For example, Figaro’s and Susanna’s room was large, but it was also cluttered, perhaps to reflect the busy nature of their lives but also to show that the Count respects them enough to live in such a large area in his own home.
One of my main dislikes about this show was the ostentatious conductor. It was reflected in both his physical positioning as well as the music he conducted. He stood very high, so he was clearly visible during the show. He also conducted with unnecessarily powerful and flamboyant motions. His conduction of the music was also domineering; certain areas that should have focused on the singing or the actual actions onstage were overpowered by the volume and emphasis on the music.
Regardless, the opera was still brilliant. Although there were minor flaws (the rushed conclusion, the conductor, etc.) the pros definitely prevailed. This was a pleasant first encounter; it even inspired a greater appreciation for the opera. I would recommend this opera for first timers and heavy frequenters of the opera alike.
I can understand why he must be visible to both the singers and the orchestra, but this was the first time I have seen one so high up. Other concerts, even in my high school plays (the singers were always accompanied by a live orchestra and band), did not emphasize the conductor so much. Perhaps because it was his debut, he wanted to show off his talent? Regardless, I was not a fan of his because of his choices for the music.
I also mentioned that the clutter indicated a lower class accommodation, but guess I could remove the part about the Count caring for Figaro and Susanna? I still believe there was some ulterior motive for making them more or less comfortable with the choice of the space; whether it was the Count’s infatuation with Susanna or his debt to Figaro to his aid in getting Rosina, especially since you mentioned in class that there were bells for the servants everywhere in the palace. Doesn’t that imply they could be placed anywhere?
Conductors are a breed of their own. Maybe I was lucky I did not seat close enough to see him. I did not want to get into his musical interpretation since its a matter of personal taste. I go by an old Hebrew proverb: “Never argue over smell and taste”.
AS to the servants quarters, here is a fairly good summery: “Before the late 17th century, servants dined, slept and worked in the main part of the house with their employers, sleeping wherever space was available. The principal reception room of a house—often known as the great hall—would have been completely communal regardless of hierarchy within the household. Before this period only the very grandest houses and the royal palaces such as Hampton Court, Audley End and Holdenby House, had distinct secondary areas. These areas, often courtyards known as the Kitchen of Base court, were not exclusively for the servants, and neither were they inconspicuous.”
you might enjoy reading European social history. In the 70’s British TV had a few programs covering this topic: “Upstairs downstairs” , “To the Manner Born”.
The conductor roll in an Opera is to coordinate both the orchestra and the singers on stage, thus he must be visible to both. He must stand at the pit on a platform so his hands and face can be observed by the opera singers as well as the orchestra players for the ques. Check these websites to gain some insight into the type of education a conductor must acquire.
http://www.npr.org/templates/story/story.php?storyId=113551695
Also view this article on an even more flamboyant 21st century conductor. http://www.theconcertband.com/conducting.htm
As to size of apartments. We do live in New York city, where space is limited. We think that the size of a room for a servant must be smaller then for a wealthy owner. But you must remember that the counts palace did not have “small” rooms. Therefore the clutter indicates the lower class living accommodation, since they had time to clean their masters space, not their own. It is not from caring for their servants that they offered the space, but of their own need to have servants living near by.