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Atlanta Opera’s Winning ‘Marriage of Figaro’
The Atlanta Journal-Constitution
The Atlanta Opera is still a company in transition — even as its funny and vocally agreeable production of “The Marriage of Figaro” displays all the gains made since the move to the Cobb Energy Performing Arts Centre. “Figaro” opened Saturday and runs through May 4, closing the 29-year-old company’s first season in the new suburban venue.
Mozart’s music and da Ponte’s libretto make a supremely balanced opera, and it’s almost always a good time in the theater. The plot has lost its topsy-turvy revolutionary bite, where servants are more quick-witted than their masters, where a valet betters a nobleman for a woman’s sexual favors, and where it is the head of household who must beg forgiveness at the end. This isn’t a world where father knows best.
“Figaro” was conceived in a cultural battle zone and it’s the attitudes of “Figaro” that have won. The term “elite” is today a humiliating political put-down; the self-made man is, if not king, the personality to whom we aspire, at least publicly.
Allen Charles Klein’s set, originally conceived for Opera de Montreal, has manifestos literally framing the story, on three giant backdrops: Louis XVI and Marie Antoinette’s ornate marriage contract; Jefferson’s Declaration of Independence; the French Declaration of the Rights of Man and Citizen. The rental set reached for political points that were not, however, explored by stage director Trevore Ross, who played the action almost entirely at the actors’ level, as comedy without any grand directorial agenda.
So what endures is the wise humanity discovered in the principals’ exchanges with each other, both vocally and theatrically. In the relative intimacy of the Cobb center, it was the tight sense of ensemble where Saturday’s performance excelled.
Count Almaviva, in the original Beaumarchais play, is described as “a fairly ordinary sort of man” who was merely born of noble birth. Tommi Hakala, from Finland, embodied this description, singing with an attractive baritone and aristocratic bearing but not much charisma.
As the Countess, soprano Twyla Robinson’s voice isn’t knockout beautiful, but she warmed up to spin long lovely lines, deeply affecting for the aria “Dove sono,” recalling happiness lost.
Figaro is the title character if not the dominant presence; bass Stephen Morscheck, likable fellow, delivered his big numbers with panache, though sounded underpowered in the ensembles.
The production’s most dashing voice belonged to mezzo Sandra Piques Eddy. As the gender-reversed, sex-crazed pageboy, she sang Cherubino on overdrive, sparkling in voice, floating glorious tones.
Only Alyson Cambridge’s Susanna seemed mismatched on Saturday. There’s ping in her voice, but most of her phrases were choppy and clipped, with little to catch the ear.
The smaller roles were well dispatched, with Rebecca Kier’s Barbarina and Stephanie Novacek’s Marcellina holding strong appeal and Adam Kirkpatrick, playing two compelling character parts (Don Basilio and Don Curzio).
Perhaps the star of the evening was British conductor Kenneth Montgomery, who was making his Atlanta Opera debut, like most of the singers.
Montgomery paced the evening briskly. He supported the singers as if they were breathing together. He also drew lovely sonorities from the players in what might be called a neo-classical style. In some respects, his approach blended the heft of the modern orchestra with the tonal zest of “historically informed” performance practices by underplaying the strings and letting the woodwinds sing and squawk and offer pointed attacks. It all felt freshly scrubbed and wonderfully Mozartean.
Permalink | Comments (13) | Post your comment | Categories: Classical Music
Comments
By Brad
April 28, 2008 2:38 PM | Link to this
Yeah, if it was such a winner, then why did so many people leave at intermissions? Mozart is usually hilarious, but not at that show. I and other audience members came to the same general consensus: it was a snore with the typically second rate bad voices. Sounds like you wrote your tried and true review that you have always given the Atlanta Opera, but now there is still hope on the horizon. I guess the hope on the horizon has just replaced the WF Scott bashing paragraph. When are we really going to get an opera company in Atlanta doing good performances? I think we should replace Hanthorne!
Until this weekend, I have continued, unabated, with my season tickets and my yearly contributions. I have been reading your columns and reviews that continually tell me that positive change is just over the horizon. Now, I feel like the ass following the carrot. Are you employed as their PR person? Nothing has changed with the exception that they are now performing in a venue farther away from me – in Cobb County. The venue is okay, but not really worthy of even a newspaper article. The opera’s quality is as shaky as it always has been. New digs, same old pile of…
I am so happy this was the last subscription series tickets that I have purchased in Atlanta. Now, I plan to spend that money on a plane ticket to go hear real professionals in New York, California, Chicago, New Mexico, or even DC. I think it is a better investment for the sake of quality. Chicago has a great season line up and I am going to buy my tickets for one of their productions today. They can thank the Atlanta Opera for that.
By Charles
April 28, 2008 6:24 PM | Link to this
I don’t know where “Brad” got his impression that the audience was “bored” by an unfunny performance. In fact the audience was so attentive that they laughed even at the subtle ironies, such as Figaro’s last-act delusion that Susanna had betrayed him. And from my perspective (my seat was on the back row, which made me grateful for the Centre’s excellent acoustics) the audience was still quite full at the 11:30 curtain calls. On the musical side, my only real complaint was the conductor took some of the lyrical moments (such as the Letter Duet) too fast.
I have no association with the Atlanta Opera. This is an independent opinion.
By Peter Stelling
April 28, 2008 8:27 PM | Link to this
If anything drove people to leave prior to the final curtain, it was the unbearable humidity in the auditorium. The performance by an excellently balanced ensemble cast was delightful. The voices were absolutely not what blogger “Brad” described as “same old second rate”. Sorry, Brad, you are an idiot. Same old “pile of…” from the typical opera bloggers. Chicago will probably give you a pair of cement galoshes after you start blogging them next year…if you can even get a ticket. The Cobb Centre is an excellently designed venue for opera; but the regular, on-site staff still have not figured out how to work the a/c, move the crowds smoothly to and from the bars during intermissions (far too few stations…I am sick of chugging my intermission beverage because I can’t get it in my hand until the bell starts ringing!) The problem is certainly not with the Opera Company…they have ARRIVED! Question is: do the people at the depot yet know properly how to run the station? I find the statement that “Hanthorne should be replaced” insulting. Dennis Hanthorne has the big picture for the future and is doing an impeccable job! Kudos to the Atlanta Opera for a fabulous first season in their new home. Hopefully the staff that maintain that home will soon learn how to make it entirely welcoming and hospitable.
By Brad
April 29, 2008 10:24 AM | Link to this
Again, you commenters say things similarly to Mr. Ruhe. It’s great. It’s fabulous, BUT….hope is still on the horizon. Chuck, since you say you sat on the last row, I assume you haven’t seen more than 1 or 2 operas ever. Mozart’s operas most often speak for themselves and are very funny. This show was very boring to those who sat in my section of seats. I guess most of it had seen it before – somewhere else.
Pete, you are most often read as the amateur reviewer of the ASO. Have you ever seen a show outside of Atlanta? Do you ever listen to recordings not on Telarc and not by the ASO? If the Atlanta Opera has arrived, then I guess Atlanta is settling with an over inflated amateur production company. That’s embarrassing. I have never seen a bad performance in Chicago - ever. The only bad “professional” opera I have ever seen is in my hometown of Atlanta. The standards are very low.
By Carol
April 29, 2008 1:19 PM | Link to this
The article about WABE’s programming elicited a response from me. I can’t be classed as a new listener, having started tuning in in the 1970s; neither can I be classed as young. I had quit tuning in to WABE when I moved to an area where I could receive other GPB stations.
This was entirely due to the more interesting programming carried on other stations, such as Terrence McKnight’s “Studio GPB”. I hope that Atlantan’s are realizing what programming is available and will be willing to ask for it.
Keep the good coverage flowing.
By Peter Stelling
April 29, 2008 3:00 PM | Link to this
Brad, we’re just going to have to agree to disagree. Atlanta’s my hometown, too; I grew up attending the tour offerings of the MET at the Fox. It was a poor venue for opera, but the great voices of the time could be heard there. I lived in NYC for four years back in the late ‘60’s, early ‘70’s. Every chance I got, I was in the audience at the MET and heard the greatest voices of the second half of the last century. I never went to Avery Fisher because everyone knew the acoustics there were rotten (as a matter of fact, the place was gutted and reworked for the second time while I was living there), but I did take in quite a few concerts in Carnegie Hall. More recently, before the Euro went through the roof, I travelled Europe and have seen opera in Budapest, Prague (two of the three houses), Vienna, Munich, Milan, Venice, Dresden, Berlin (both houses) and Paris (all four). Don’t write me off as someone without experience as a critical listener. I have also taken in several performances of Chicago Lyric and agree with you that their performance standards are of the highest calibre. Santa Fe is another favorite of mine. They have discovered so many of today’s rising stars through their great apprentice program.
AO is making great strides. They are so far beyond the level of performance they used to give (admittedly, part of this due to venues with rotten acoustics in the past), I don’t understand why you fail to recognize and acknowledge the enormous progress that has been made right here at home. By the way, your response was a very civil one, and I apologize for the less than polite remarks I made in my earlier blog.
This is a healthy dialogue; it benefits the health of the arts in our city.
By Rachel
May 4, 2008 7:43 PM | Link to this
Brad-
While I respect your opinion (actually, I don’t, I think you’re pretentious and full of s**, but I must make an effort at civil conversation), I wholeheartedly disagree. I attended the performance on Friday night and could not have been more entertained, and the audience around me was equally enthusiastic.
I live in Chicago (and work at the Lyric both on and off the stage) and will agree with you that it’s an incredible company with very high standards that consistently puts out good work. I found the production in Atlanta to be no lesser in quality. Smaller in scale, perhaps, but thoroughly enjoyable and well done.
I find it amusing that you list the cast as “second rate” and then name off a list of houses which, you say, cast better singers without realizing that each of the singers in this Figaro cast has sung at one or more of these houses. Should you doubt me, let me elucidate for you:
Alyson Cambridge (Susanna) has sung both at Washington National and the Met, where she will return next year.
Sandra Eddy (Cherubino) has sung with the Lyric, LA Opera, and the Met.
Stephen Morscheck (Figaro) has sung at the Lyric, Santa Fe, LA Opera, and Washington National.
Tommi Hakala (Count) has sung with the Met and San Francisco.
Twyla Robinson (Countess) has sung on the stages of the Met and San Francisco, in addition to having a huge concert career, and will make her Seattle Opera debut as Contessa next season.
Stephanie Novacek (Marcellina) has sung with Houston Grand and the Lyric.
Peter Strummer (Bartolo) has sung with the Met, San Francisco, WNO, and HGO.
Adam Kirkpatrick (Don Basilio) has sung with Santa Fe.
I don’t know, sir, how you can say this is a second rate cast, particularly with the way they sang in this production. Ms. Robinson’s Dove sono was divine and, for me, the highlight of the evening. A second rate bad voice she is not, and the same can be said of the rest of the cast as well.
Perhaps you should get your ears checked. I know a lovely ENT here in Chicago if you need a recommendation. Unfortunately, I know of nothing that can treat meanness and spite, so you’re on your own there.
All best, Rachel
By Peter Stelling
May 4, 2008 10:32 PM | Link to this
Rachel, all I can say to you is, thanks, and BRAVISSIMA!
By David
May 7, 2008 8:42 AM | Link to this
I attened the Marriage of Figaro on Friday and Saturday, and it was wonderful. The orchestra was fantastic and had a very modern feel. The singers were fantastic and they protrayed the characters very well. Brad, do you sing opera? It is the most difficult kind of singing in the world, as I am a young aspiring opera singer. You can’t judge people so harshly for the talents they posess, but encourage and inspire them. The singers at ATL Opera were fantastic, funny, and really got the audience laughing. It was a fantastic performance, don’t listen to brad.
By Christy
May 8, 2008 6:03 PM | Link to this
Well said, Rachel!
By Get Over Yourself, Ruhe
June 4, 2008 10:39 AM | Link to this
Let us review this season by first realizing that the pit orchestra was out of control and blastingly loud at every performance. Did not seem to matter who was holding the baton. This is an issue that the AO biggies need to deal with and sooner is better than later. Perhaps the mastreos cannot hear the balance from the pit? Somebody needs to say it and there you are, I said it.
Mr. Ruhe’s knowledge of singers obviously lacks first hand experience and insight. I seriously wonder if he knows how to read even simple music. Music 101: does he understand what “ppp” on the score means? Does he even realize that the singers are not miked the same way as musical theater production? Who or what is providing and informing Mr. Ruhe’s commentary and bashing of these outstanding professional singers? Is he really this ignorant and willing to use the jealous opinion of some mystery audience person? What is going on Mr. Ruhe? And there has been an odd published imbalance of high praise for some singers who barely carried very minor, almost forgettable roles, while forgetting to mention other polished performances. And high praise for the puppetry gaudy set of Hansel and Gretel. And failure to realize that the beauty of the costumes and set of Cold Sassy Tree was in the simplicity. ( I personally wondered if the AO blew it’s budget on the Turandot set, but hey, why not? It was the first production at the beautiful Cobb location and they needed to start the season with a bang.) However, Mr. Ruhe seems sadly unable and inadequate to properly review the opera productions. The AJC needs to retire this ill-informed blabber or subscriptions to the AJC will suffer. I am not renewing mine after it runs out. And one more thing: if I had been a guest artist with the AO, I would leave and choose not to return in the future. The same opera singers are written up with high acclaim in other major cities and receive warm reviews by professional journalists who are qualified to be putting pen to paper. Why would they return here only to be hatefully bashed by the village idiot in the city’s only publication? They don’t need it. And Atlanta does not need Mr. Ruhe.
By Get Over Yourself, Ruhe
June 4, 2008 10:47 AM | Link to this
Let us review this season by first realizing that the pit orchestra was out of control and blastingly loud at every performance. Did not seem to matter who was holding the baton. This is an issue that the AO biggies need to deal with and sooner is better than later. Perhaps the mastreos cannot hear the balance from the pit? Somebody needs to say it and there you are, I said it.
Mr. Ruhe’s knowledge of singers obviously lacks first hand experience and insight. I seriously wonder if he knows how to read even simple music. Music 101: does he understand what “ppp” on the score means? Does he even realize that the singers are not miked the same way as musical theater production? Who or what is providing and informing Mr. Ruhe’s commentary and bashing of these outstanding professional singers? Is he really this ignorant and willing to use the jealous opinion of some mystery audience person? What is going on Mr. Ruhe? And there has been an odd published imbalance of high praise for some singers who barely carried very minor, almost forgettable roles, while forgetting to mention other polished performances. And high praise for the puppetry gaudy set of Hansel and Gretel. And failure to realize that the beauty of the costumes and set of Cold Sassy Tree was in the simplicity. ( I personally wondered if the AO blew it’s budget on the Turandot set, but hey, why not? It was the first production at the beautiful Cobb location and they needed to start the season with a bang.) However, Mr. Ruhe seems sadly unable and inadequate to properly review the opera productions. The AJC needs to retire this ill-informed blabber or subscriptions to the AJC will suffer. I am not renewing mine after it runs out. And one more thing: if I had been a guest artist with the AO, I would leave and choose not to return in the future. The same opera singers are written up with high acclaim in other major cities and receive warm reviews by professional journalists who are qualified to be putting pen to paper. Why would they return here only to be hatefully bashed by the village idiot in the city’s only publication? They don’t need it. And Atlanta does not need Mr. Ruhe.
By Al
August 17, 2008 4:30 PM | Link to this
I agree with many of the previous comments. How sad it seems to have this beautiful new venue, acclaimed singers, world-acclaimed conductors, solid chorus, great orchestras, and then the AJC prints their reviewer’s articles and the spell is broken. Seems to create an unwelcome and hostile aura around productions that are actually splendid, beautiful, and finally something Atlanta can be once again proud of. But no, the AJC delights in printing this biased person’s nonsense. Shame on the AJC. And lots of “sorrys” to our guests. Please come back. The PAYING audiences love you!