Countess tries to reform her philandering husband with the aid of 3 servants just before 2 of them are to marry.
Director: François Roussillon
Conductor: Robin Ticciati
Time: 18th century
Place: near Seville
First performance at Vienna, May 1, 1786
Other performance watched: Mozart: The Marriage of Figaro (2006), 7 (Covent Garden), which includes my synopses of the 4 acts (condensing Simon's 100 Great Operas).
I identified the clothing as 1970s; featurette said 60s. Let's say '69.
I wonder if the day will ever come that this is considered quaint and unbelievable that a man would be so unfaithful, so entitled (feudal right to bed a servant!), and so abusive of his power (he had outlawed the feudal right, but reinstated it?). I think the elaborate plot to try to shame him (or make him jealous?) is supposed to be funny, but I caught more of the Countess lamenting the loss of love she used to get from the Count. (This is the scene where I have damage to the disc, lasting about 4min. <sigh>)
And why is there a subplot about Figaro's parentage? The older woman who wants to marry him is suddenly revealed to be his mother, and her employer is his father. Someday I might watch closely enough to get more details.
IL (Cherubino) is charming, especially when she's the boy pretending to be a girl. She does a lot of physical comedy, and of course sings well. All the singing is good. I just don't like the story, and it's too da** long, neither of which is unique to this production.
Other performance watched: Mozart: The Marriage of Figaro (2006), 7 (Covent Garden), which includes my synopses of the 4 acts (condensing Simon's 100 Great Operas).
I identified the clothing as 1970s; featurette said 60s. Let's say '69.
I wonder if the day will ever come that this is considered quaint and unbelievable that a man would be so unfaithful, so entitled (feudal right to bed a servant!), and so abusive of his power (he had outlawed the feudal right, but reinstated it?). I think the elaborate plot to try to shame him (or make him jealous?) is supposed to be funny, but I caught more of the Countess lamenting the loss of love she used to get from the Count. (This is the scene where I have damage to the disc, lasting about 4min. <sigh>)
And why is there a subplot about Figaro's parentage? The older woman who wants to marry him is suddenly revealed to be his mother, and her employer is his father. Someday I might watch closely enough to get more details.
IL (Cherubino) is charming, especially when she's the boy pretending to be a girl. She does a lot of physical comedy, and of course sings well. All the singing is good. I just don't like the story, and it's too da** long, neither of which is unique to this production.
Cast:
COUNT ALMAVIVA Baritone :: Audun Iversen
FIGARO, his valet Baritone :: Vito Priante
COUNTESS ALMAVIVA Soprano :: Sally Matthews
SUSANNA, her maid and Figaro’s-fiancée Soprano :: Lydia Teuscher
DR. BARTOLO Bass :: Andrew Shore
MARCELLINA, his housekeeper Soprano :: Ann Murray
CHERUBINO, a page Soprano :: Isabel Leonard
DON BASILIO, a music master Tenor :: Alan Oke
ANTONIO, a gardener Bass :: Nicholas Folwell
BARBARINA, his daughter Soprano :: Sarah Shafer
DON CURZIO, counselor-at-law Tenor :: Colin Judson
Rated (none)
Glynebourne, cond. Ticciati; 7
