Le nozze di Figaro Review

Le nozze di Figaro is a funny and captivating storyline, transformed seamlessly and beautifully into poetic prose, and performed effusively and impressively at the Metropolitan Opera.

The storyline is not a cliche romance or tragedy, as many (I) would expect coming into an opera written so long ago. Instead, there are many comical events, many of which include miscues and ironic discoveries, such as those between the Count and Cherubino, who was masterful at playing a jester of sorts, drawing out many of the audiences laughs while not being too “over-the-top”.

The set was brilliant. While being clean and classical, it did not fail to engage the viewer with its vibrance. Like many other features of the performance, it was appealing and engaging, but most importantly served its purpose in complementing and magnifying the characters and their situations. With sets often cluttered with people hiding and running about, simplicity was absolutely a well thought out route.

The ending though, is a poor one. The Count spends over 3 hours betraying the Countess, and then, as if with the flick of a switch, the audience is expected to believe he has fallen back in love with the Count. Though playing up the satirical aspect of the opera, it is none the less too much of letdown for the casual viewer.

The tone is one of melancholy and lightheartedness, save for a few select moments magnifying a few of the characters emotion. The most notable of which takes place in Act 3, in which the Countess wonders what happened to the love between her and the Count and laments at its loss. Her voice is low and her movements work in complete synchronization with her singing, as she slowly drops to the floor, taking the viewer down with her in sympathy, as her voice drips with sorrow. Indeed the performances of the Countess and Rosanna were spectacular, both of whom playing their emotions with an understated tastefulness that was truly convincing.

The ending though, is a poor one. The Count spends over 3 hours betraying the Countess, and then, as if with the flick of a switch, the audience is expected to believe he has fallen back in love with the Count. Though playing up the satirical aspect of the opera, it is none the less too much of letdown for the casual viewer.

Nonetheless, I would certainly recommend Figaro to anybody, both experienced opera-goers and the not, as its greatest strength is its ability to entertain, a quality brought out by its comical and lighthearted nature.