Review: Talent weds genius Mozart's 'Marriage of Figaro'

Opening night at the Los Angeles Opera on Saturday once again
confirmed the genius of the multi-faceted Mozart and also showcased
young talent in a night of fun-filled laughter. 

From the joyous opening notes of “Le Nozze di
Figaro” (“The Marriage of Figaro”), audiences
should be aware that they won’t be experiencing a
stereotypical night at the opera. They should get ready to
have fun.

“Le Nozze di Figaro” tells the humorous story of a
servant couple about to be married. The gift from their master,
Count Almaviva (played by David Pittsinger), consists of a bedroom
next to his chambers. 

The gift is not so innocent as the groom, Figaro (Erwin
Schrott), soon finds out when he hears that the proximity of the
room is part of the Count’s plan to seduce the bride-to-be,
Susanna (Isabel Bayrakdarian).

As Figaro does his best to come up with a plan to ensure Susanna
will not be shared with another man, audiences meet the countess
(Darina Takova) and learn of her affair with a young man,
Cherubino, who is actually played by a female who can sing at the
higher registers that the libretto requires. Sound
complicated? 

The opera, albeit one of the more famous operatic works,
contains one of the most complicated story lines. Saturday’s
performance by the L.A. Opera, however, proved that with a great
cast and amazing direction, audiences won’t go home
scratching their heads and wondering what just happened.

The main characters are a refreshing pair for both the ears and
eyes. Schrott and Bayrakdarian are both past winners of Operalia,
Placido Domingo’s international vocal competition. Their
chemistry is amazing onstage, and they play the parts of Figaro and
Susanna as if they were made for them. 

Their voices remained powerful and exuberant for the
near-three-hour-long opera. Bayrakdarian is a charming Susanna and
delicately plays the part of a bride-to-be while still being able
to play the part of a crafty woman when necessary. She is well
balanced by Schrott, whose physical appearance commands the
audience, making him a perfect lead. 

But the comedic opera does have its heartfelt moments,
particularly in two pieces sung by Countess Almaviva. Even though
the countess is married to a handsome man of standing, she feels
neglected, and therefore resorts to a relationship with a young
boy. When her husband sends him away, the Countess sings of her
desire to have him back.

Takova plays the ideal countess as she blends sex appeal with a
wholesome voice that is careful not to overshadow Bayrakdarian when
they sing in harmony. But even though her aspect of the plot sounds
as if it could take a turn to becoming a Greek tragedy, audiences
are met with more laughter when her young lover returns and must be
hidden from the count.

While the set design and the conduction by Stefan Anton Reck are
also notable parts that make the whole opera more enjoyable, the
night belonged to the young stars who played their parts
wonderfully but were careful not to take away from other characters
when it was their time to shine.

-Laura Morgan