The
Lyon Opera has a strong tradition of intelligent productions in
recent years and this inventive, well-sung Figaro is no
exception. It was filmed in the mid-nineties, when Kent Nagano
had firmly made his mark, and though it is conducted by one of
his proteges, Paolo Olmi, the playing and singing have the sort
of vitality that Nagano has made a speciality of in opera.
Although
the plot of this opera is basically simple (the Count has designs
on Susanna and tries to ruin her marriage to Figaro) am I alone
in finding the various intrigues and sub-plots unbelievably difficult
to unravel? This is where DVD comes to the rescue, and it is a
pleasure to have succinct subtitles and clear-headed direction
helping the viewer to make sense of this 3 hour-plus comedy of
errors. Of course, as with all comedy masterpieces things go much
deeper than that, and it is obvious that the director and former
actor Jean-Pierre Vincent is not going to miss a trick. The action
is set firmly in period, with a slightly stylised stage design
(huge beds, for one) that suggests the correct ambience and location
(clear hints of Spain) while being simple and uncluttered. This
allows for the stage action to flow freely and gives room for
the singers in the big ensemble finales to correctly dominate
the stage.
All
the principals are on good form. Givanni Furlanetto’s suitably
youthful Figaro is musical, very well sung and subtly acted; he
clearly understands the character, capturing the knockabout fun
as well as the grace, goodwill and sheer optimism of the part.
His Susanna is the lively, commanding and natural Elzbieta Szmytka,
who also looks the part and is in exceptional voice. They make
a very watchable couple. The experienced Ludovic Tezier gives
a multi-layered portrayal of the Count, part spoilt baby and part
bully incapable of controlling his desires. The scene in Act Two
where he is determined to break down the Countess’s dressing room
door shows the two traits colliding, and it is makes his acquiescence
at the end all the more moving. His partner is our own Janice
Watson, who delivers Porgi amour with great dignity and
rectitude, while hinting at the lovesick child underneath. All
other sub-principals are equally involving, and the delicious
comedy moments are given their full due.
The
orchestral playing is a delight, with sprung rhythms and delicate
woodwind helping to support the natural, youthful freshness of
the singing. Camera direction is understated, never intrusive
or fussy, and the attentive audience does not ruin the flow with
constant set-piece applause (they can be forgiven for Porgi
amour). There are no extras, but with such a long opera on
one disc, that seems fair enough. All in all, a highly desirable
release.
Tony
Haywood
Countess Almaviva
– Janice Watson (soprano) 