[richidoo]

My wife and I saw Mozart's opera, "The Marriage of Figaro" last year. It was on the regular schedule for the NC Symphony, and the opera was staged in front of the orchestra on same stage by NC Opera Company.

Figaro is a comedy, so it is a great introduction to opera, even if you don't understand Italian, it is very easy to follow and enjoy. An easy crossover for classical music fans. I find most Mozart to be vastly better in person than on record, the opera was another good example. There is something magical about live Mozart. After hearing enough of it live, I can appreciate better the recordings.

[woodsyi]

So the orchestra was not the pits for you, then.   

In some ways, I like that setting acoustically.  Too often, the orchestra in the pit sounds muffed especially if you sit far away.  Some of the great recordings feature orchestra on stage and you can really hear the difference from a live recording that has the orchestra in the pit.  Now, was it staged with props and acting in front of the orchestra or was it just a concert opera?

[Tyson]

Speaking of better recordings, I recently picked up the one with Jacobs & the Concert Koln, it's outstanding, both in performance, and in sound quality.

[richidoo]

There were minimal props, just enough to tell the story, and it was well acted - very dramatic. They chased each other around the back of the stage and through the instrument sections.  Very fun.

[woodsyi]

Speaking of better recordings, I recently picked up the one with Jacobs & the Concert Koln, it's outstanding, both in performance, and in sound quality.

CDs http://www.amazon.com/Mozart-Kirchschlager-Keenlyside-McLaughlin-Rensburg/dp/B0001HZ728

or

DVDs  http://www.hbdirect.com/album_detail.php?pid=3001774

[woodsyi]

There were minimal props, just enough to tell the story, and it was well acted - very dramatic. They chased each other around the back of the stage and through the instrument sections.  Very fun.

There is certainly a lot of chasing in this Opera.   

Washington National Opera has both the Barber of Seville (Rossini's prequal) and the Marriage of Figaro for next season.  Let me know if you want tickets as I can get them before the public sale. 

[goldlizsts]

Speaking of better recordings, I recently picked up the one with Jacobs & the Concert Koln, it's outstanding, both in performance, and in sound quality.

CDs http://www.amazon.com/Mozart-Kirchschlager-Keenlyside-McLaughlin-Rensburg/dp/B0001HZ728

or

DVDs  http://www.hbdirect.com/album_detail.php?pid=3001774

Last night, it was just coincidental that I came across the Figaro excerpts CD I got seom RCA music club sometime ago.  It just got buried on the table, until it surfaced couple of days ago.  This is a DGG issue, with Harnoncourt conducting, Anna Netrebko in the lead.  I would say I didn't like this one.  The recording seemed to lack dynamics, or dramatics.  I should say, the sonics are just so-so.  The singing, decent I guess.  Again, because of the sonics shortcomings, I would say it's not outstanding.

I would also say, this is the first time I put on an opera CD in a fairly long while.  I got this CD because I think it was going for cheap, like $3.99 (with shipping $2.99 they charge, still not quite a fire sale, though cheap enough that I got roped into buying it).  I have stayed away from the Met and the NYC Opera for a long while since my opera-loving friends dispersed intothe suburbs.  I am glad there's this opera circle going now.  May be that's help light up my fire for it again.

Thanks guys.

[jzexport]

So tonight's my turn to hear it at the Pittsburgh Opera.  It's a wonderful opera. Fantastic Mozart. Great tune after great tune, including the Contessa's Porgi Amor, and fun, too.

Warmed up by listening to Levine's Met version with Hampson, Te Kanawa, Upshaw, Furlanetto, Troyanos, Plishka, et al, on DG 431619. Highly recommended for sound and performance. Te Kanawa's Porgi Amor is a treat.

Our cast won't be up to that level. How could it? But it usually is quite good and tonight we have our own local buffo bass favorite, Kevin Glavin, as Dr. Bartolo. If you ever get a chance to hear Kevin, go. He performs much outside Pittsburgh, and is hilarious in his acting on top of being a very good singer.

[pjg66]

There is something magical about live Mozart.

Amen!

Paul G.

[woodsyi]

How was it?

I went to one in DC and enjoyed it.  Dinner food was better then before and that got us into a good start.  The Opera was good and enjoyable though no one really stood out.  I found the Countess' voice tiring as I heard glints of brittle raspiness.  I often find dramatic sopranos with steely top register grating because their voices break up like bad drivers at it's limit or driven by weak amplifier at it's limit.  Like guitar distortions, it's good when used rightly in appropriate moments as an artistic expression.  You don't need that in lyrical passages.  Her voice did not actually break up, but it just was not pleasing to me.  Susanna was much more adroit and was in full control of her voice, which was smooth and pleasing. 

I tell you, I am just a tonal junkie.  My wife sitting next to me did not hear the flintiness in Countess Almaviva' voice. I think I am getting picky as I am getting older and have heard a lot of productions.   

[jzexport]

How was it?

It (Marriage of Figaro, Pittsburgh Opera, April 24) was very enjoyable. Sari Gruber, as Susanna, was the highlight for me. But, Pamela Armstrong, as the Countess, Michael Simpson, as the Count, and Oren Gradus, as Figaro, were also very good. Ms. Gruber's and Ms. Armstrong's duets were wonderful and I tried to create an aural implant so I could use them as a standard to judge my sound system. It stood up well using Levine's DG recording to my next day happiness.

As a regional opera, our performances depend a lot on the quality of the guest leads. Usually, it works. We often get, too, a lot of up and comers, including many from this performance who are starting to get engagements at major companies like the Met. I think we'll hear more of them. It's also nice for us because many have come through Pittsburgh Opera's Residence Artist program.

The staging was traditional and the opera played mostly to the cheating on a husband/wife theme and not the evil aristocrat theme.