We'd love to hear your thoughts, feelings, opinions, comments, and questions about Seattle Opera's Nozze di Figaro. If you have questions for a specific member of the cast or crew, I'll do my best to get and post an answer...but it might not be immediate.
Just--thanks to all the cast for beautiful job--superbly balanced, beautifully sung.
Also thanks to the set designer for not letting the (beautiful) set upstage the music, and to the director for keeping the action to Mozart's brilliant comic timing.
This production truly honored the music. I thoroughly enjoyed it.
Question for Mr. Kazaras: I thought I saw a witty touch (I attended the 5/8 performance) in the first act in the scene where Figaro brings the peasants in to serenade the count.
One of the women was clearly very pregnant. I thought I detected a hint of some knowing eye contact between the count and the woman, suggesting that this woman was one of the count's conquests.
I enjoyed the performance on Friday night. The costumes wowed me, and my foot often danced during the tale. There were times I thought the supratitles were off, but you all know better than I! Thanks for the blog, It will be fun to participate in the process for the RING! Cheers, Robin B.
I've heard that it was announced before Friday's performance that baritone Julian Patrick had died, and that Friday's performance was dedicated to his memory. However I haven't seen any published obituary or death notice for Mr. Patrick.
I was wondering if someone from Seattle Opera might make a blog entry about him.
A question for Maestro Williamson: It is my understanding that one of the more revolutionary moments in Nozze is the accompaniment of Figaro's first recitative by both harpsichord and strings (because string accompaniment to a recitative was reserved for noble characters). What went into your decision to use harpsichord alone as accompaniment to the recitatives? Thanks, and bravo!
I've been away from this blog for a while because of a hand injury, but got my cast off yesterday. (Don't expect the same level of activity from me, though!)
Mr. Grant, yes, the libretto has Figaro say "Susanna and I today are the first to cultivate the fruits of your wisdom"...meaning that the Count enjoyed his "right of the first night" with all those ladies in the chorus who give him flowers and bow to him in that Act 1 chorus. You may remember the dirty looks their male partners shoot the Count as each introduces his wife.
Robin, the titles in a comedy often come up late in order to time the audience's laugh properly into the music. And the big arias, like most bel canto or opera seria arias, feature so much repetition eventually the titles go away so you can just enjoy the singing.
We'll be back before long with information about the scoring at Figaro's first recit, and with a memorial to Julian Patrick.
And so we bid a fond farewell to Seattle Opera's 2008-2009 season. Fortunately, the Ring Cycle is coming up, and next season features three great Verdi operas and a world premiere.
Herzlichsten Dank, Seattle Opera!! For the best "Le nozze de Figaro" production I have seen on either side of the Atlantic, and I've seen several in Germany that I'd rather NOT have seen, but Peter's is "ganz klasse"!! The only fault for me was at the very start: Figaro is singing measurements "cinque, dieci, ..., quaranta tre", but he isn't measuring anything!! Why not the chair or the distance of where the bed will be to the Count's door; despite his proffered renunciation of his "first right", the Count still harbored hopes of bedding Susanna! Addio, Win
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I also want to applaud your blog.
ReplyDeleteI have been thoroughly enjoying both reading it and being able to share my own passion for opera.
Thank you for making Figaro a more enriching experience and for bringing your expertise to us.
Just--thanks to all the cast for beautiful job--superbly balanced, beautifully sung.
ReplyDeleteAlso thanks to the set designer for not letting the (beautiful) set upstage the music, and to the director for keeping the action to Mozart's brilliant comic timing.
This production truly honored the music. I thoroughly enjoyed it.
I attended the Sunday afternoon performance and loved it. What a wonderful production. Bravi, bravi!
ReplyDeleteGood job on the supratitles, Jonathan--and it was a pleasure to meet you in person at intermission.
Question for Mr. Kazaras: I thought I saw a witty touch (I attended the 5/8 performance) in the first act in the scene where Figaro brings the peasants in to serenade the count.
ReplyDeleteOne of the women was clearly very pregnant. I thought I detected a hint of some knowing eye contact between the count and the woman, suggesting that this woman was one of the count's conquests.
Or am I reading too much into this?
Joel Grant
I enjoyed the performance on Friday night. The costumes wowed me, and my foot often danced during the tale. There were times I thought the supratitles were off, but you all know better than I! Thanks for the blog, It will be fun to participate in the process for the RING! Cheers, Robin B.
ReplyDeleteHello-
ReplyDeleteI've heard that it was announced before Friday's performance that baritone Julian Patrick had died, and that Friday's performance was dedicated to his memory. However I haven't seen any published obituary or death notice for Mr. Patrick.
I was wondering if someone from Seattle Opera might make a blog entry about him.
A question for Maestro Williamson: It is my understanding that one of the more revolutionary moments in Nozze is the accompaniment of Figaro's first recitative by both harpsichord and strings (because string accompaniment to a recitative was reserved for noble characters). What went into your decision to use harpsichord alone as accompaniment to the recitatives? Thanks, and bravo!
ReplyDeleteI've been away from this blog for a while because of a hand injury, but got my cast off yesterday. (Don't expect the same level of activity from me, though!)
ReplyDeleteMr. Grant, yes, the libretto has Figaro say "Susanna and I today are the first to cultivate the fruits of your wisdom"...meaning that the Count enjoyed his "right of the first night" with all those ladies in the chorus who give him flowers and bow to him in that Act 1 chorus. You may remember the dirty looks their male partners shoot the Count as each introduces his wife.
Robin, the titles in a comedy often come up late in order to time the audience's laugh properly into the music. And the big arias, like most bel canto or opera seria arias, feature so much repetition eventually the titles go away so you can just enjoy the singing.
We'll be back before long with information about the scoring at Figaro's first recit, and with a memorial to Julian Patrick.
Wishing you a speedy and complete recovery, Jonathan. I'm glad to hear your cast is off.
ReplyDeleteAnd so we bid a fond farewell to Seattle Opera's 2008-2009 season. Fortunately, the Ring Cycle is coming up, and next season features three great Verdi operas and a world premiere.
ReplyDeleteThank you Seattle Opera.
Joel Grant
Herzlichsten Dank, Seattle Opera!!
ReplyDeleteFor the best "Le nozze de Figaro" production I have seen on either side of the Atlantic, and I've seen several in Germany that I'd rather NOT have seen, but Peter's is "ganz klasse"!!
The only fault for me was at the very start: Figaro is singing measurements "cinque, dieci, ..., quaranta tre", but he isn't measuring anything!! Why not the chair or the distance of where the bed will be to the Count's door; despite his proffered renunciation of his "first right", the Count still harbored hopes of bedding Susanna!
Addio,
Win