Mozart's 'The Marriage of Figaro' from LA Opera

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Saturday, September 05, 2015

Pretty Yende as Susanna and Roberto Tagliavini as Figaro. Pretty Yende as Susanna and Roberto Tagliavini as Figaro. (Craig T. Mathew / LA Opera)

Saturday at 1 pm, join us for the latest installment of Los Angeles Opera's journey through playwright Pierre Beaumarchais' Figaro trilogy. Last week, we brought you Rossini's The Barber of Seville. Today, it's Mozart's sneaky comedy The Marriage of Figaro, recorded in March.

Mozart's beloved story is centered on a single frantic day in the life of Aguas Frescas, the castle of Count Almaviva (baritone Ryan McKinny). The count has designs on Susanna (soprano Pretty Yende), maid of the countess (soprano Guanqun Yu). Susanna is to be married this very day to the count's valet, Figaro (bass-baritone Roberto Tagliavini), but that doesn't stop the nobleman from pursuing a tryst with her. However, secretly, Figaro and Susanna—aided by the countess—conspire to teach the philandering count a lesson.

Ian Judge's 2004 production of Figaro is set in the middle of the 20th century in Franco-era Spain. James Conlon conducts.

Cast:
Figaro: Roberto Tagliavini
Susanna: Pretty Yende
Count Almaviva: Ryan McKinny
Countess Almaviva: Guanqun Yu
Cherubino: Renée Rapier
Doctor Bartolo: Kristinn Sigmundsson
Marcellina: Lucy Schaufer
Barbarina: So Young Park
Antonio: Philip Cokorinos
Don Basilio: Robert Brubaker
Don Curzio: Joel Sorensen
Conductor: James Conlon

LA Opera Chorus, Grant Gershon, chorus master

Opera Strip:

As you listen to The Marriage of Figaro, check out a graphic comic strip of the opera, provided courtesy of Sinfini MusicSee the full opera strip on the Sinfini Music website.

The Marriage of Figaro in comic strip fashion. Click above for full strip.
The Marriage of Figaro in comic strip fashion. Click above for full strip.

Comments [9]

kate

Very entertaining music. My parter and I loved the evening with Susanna

valluvan matrimonial

Sep. 13 2015 12:20 PM
concetta nardone from Nassau

I also remember Bartolo singing Il Birbon Figaro, VINTO sara.
Fred, are you there? Please illuminate/
Thanks

Sep. 06 2015 08:59 AM
Concetta Nardone

I remember Dr. Bartolo singing "Il birbon Figaro MIO sara" rather than Il Birbon Figaro Vostro sara.
Am I correct?

Sep. 06 2015 07:17 AM
Concetta Nardone from Nassau

I think the count's aria as well as Basilio's should be eliminated. they sound like they were tacked on. Opera can drag in spots and this would help. those arias are not that great. no disrespect to Mozart so don't get angry.

Sep. 05 2015 04:06 PM
Concetta Nardone from Nassau

Thank you Mr. Eisenberg.
Beautiful music for a fine summer day.

Sep. 05 2015 02:50 PM
Larry Eisenberg from new york city

For Mozart, a humble kudo,
DaPonte's witty libretto,
They brighten our day,
With young voices in play,
In the Marriage of Figaro.

Sep. 05 2015 01:52 PM

2 hours of very tedious music just to get to the last 12 minutes, a really heavenly finale, Salieri thought it was worth the effort. I do too, but only if the cast is worth it.

Sep. 05 2015 01:00 PM
Concetta Nardone from Nassau

Is the Tagliavini related to the late Ferruccio Tagliavini? Beautiful opera despite the updated version.Whenever I hear praise for the musical
Les Miz, I always correct the person and reply that Les Mis tries to be an opera but fails. I then add that Marriage is an opera, Tosca, etc. I know that I am off topic.
There is also some sadness in this opera.

Sep. 05 2015 07:22 AM
Jim Koenig from Los Angeles

All well and good-- except the cartoon doesn't have Beaumarchais's (the playwright) or the librettist's story right. Cherubino is a totally smitten teenage extended member of the household (not a servant) He is totally enamored with the Countess and wants to follow her around like a puppy-dog and serenade her. Susanna and the Countess play around with him and dress him in girl's clothes. When the count shows up, they first hide him under some clothing on a chair, then in the closet/dressing room. The Count was furious that the door to the closet is locked and suspects the Countess of infidelity. He goes to get tools to break the door down. As he's about to break down the door, Susanna opens it from the inside and steps out "innocently.". Cherubic has jumped out of the dressing room window and run off through the garden still dressed as a girl. It is the Count who is hot for Susanna and wants to reinstate the "droit du seigneur" (outdated Lord of the Manor's right for the first night (and virginity) of a servant in his household. (That doesn't exactly work in Franco Spain). If they're going to get all "clever" and set the story in another century-- so be it-- but get the story right and as Tim Gunn says "Make it work." I would love to see a Pedro Almodovar Nozze di Figaro. This one-- not so much--

Sep. 03 2015 03:50 PM

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