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The Marriage of Figaro @ Severance Hall 3/23 Any opera requires suspension of the audience's disbelief for the duration. Le Nozze di Figaro by Mozart is no exception, even if done in historically accurate costumes and settings. It's most unusual, however, to observe this quality in one of the leading characters. In the production at Severance Hall this week, Count Almaviva is a rather happy-go-lucky amateur magician, and not all of his illusions work they way they should. They provide great amusement to the other cast members as well as the audience, even if not to himself. It's a masterful portrayal, by baritone Michael Volle, who certainly has the voice and appearance necessary for the role. Discovering such a comic sense of timing was the frosting on this delicious cake.

It was a BOFFO! as well as buffa, performance at Severance Hall on Monday evening. Seeing perhaps half of The Cleveland Orchestra in the pit was an extraordinary experience for many of us in the audience. (The previous such occasion was more than thirty years ago.) Music Director Franz Welser-Möst excels in large-scale productions such as this, and from his initial down-beat until he happily walked off stage after his bow with the ensembled cast, tempos were crisp with minute attention paid to the smallest details.

The international cast sang in Italian, with English captions by Jonathan Dean, projected overhead on a small screen, courtesy of Seattle Opera. The prompter was Philip Kelsey.

For the most part, the set was the bare stage at Severance Hall, with an assortment of cardboard boxes for the first two acts. Some of these, being as big as most people, provided an abundance of hiding spaces for the continually active cast, dashing around, getting into or trying to get out of, trouble. This very physical and sensual staging was created by director Timo Schlüssel, aided by the lighting devised by Christopher Shick, and wonderful costumes designed by Marianne Glittenberg. The third act Garden setting was comprised of slip-covered straight chairs, set up for the wedding, while the fourth act had a small six-horse carousel placed in a shaded grove. It was all so cleverly done that the usual, formal Baroque or Rococo settings were not even missed.

The singing throughout was routinely splendid, as was the acting. Never once did you have the idea that you were watching actors doing their thing: rather, you were observing those people on stage who were living what they were singing. As it was happening!

As the Countess, soprano Malin Hartelius was dignified yet still able to cut loose in some of the more slap-stick moments. Very much in love with her husband who has a roving eye, she plots with her maid, soprano Susanna Martina Janková, to make him realize the error of his ways. Whether singing solos or duets, these two women were totally believable, emotion evident with every luscious note.

As the Count’s servant, baritone Ruben Drole was at times a tad subdued, but then one cannot be hyper all the time! It is the marriage of Figaro and Susanna that drives the action of the play, with the occasional distraction. Among these elements are the appearance of Dr. Bartolo, a physician (Antonio Abete, baritone) and his former housekeeper (and perhaps more!) Marcellina, mezzo-soprano Diana Montague. She has loaned Figaro money, now she wants it back. Any excuse to delay the wedding is approved of by the Count, who really wants Susanna for himself.

In the meantime, the Count’s page, Cherubino (a rather randy young man portrayed winsomely and clumsily—on purpose!—by mezzo-soprano Isabel Leonard, irritates his master twice--once by a report of being in love with the Countess, and next by reportedly being caught in a rendezvous with Barbarina (the very exuberant soprano Rebeca Olvera), daughter of the Count’s gardener Antonio, (baritone Reinhard Mayr) and is sent off to an army regiment in Seville. Of course, being Cherubino, he is way-laid before leaving!

Adding to the fun (before all the hi-jinks come to a close) are tenors Martin Zysset as the music teacher Basilio, and Andreas Winkler as Don Curzio, a judge. Members of The Cleveland Orchestra Opera Chorus as household servants were prepared by Robert Porco, director of Choruses.

It does all work out well, as all the proposed marriages happen as they should, and after being convinced of the error of his ways, the Count is happily reunited with his even happier Countess. As part of the celebration the Fandango is sultry as danced by Amy Compton-Schulz and Sabatino Verlezza. The orchestra was nothing short of magnificent, and the joyous harpsichord continuo of Enrico Cacciari added greatly to the rollicking action on stage.

Joy reigns supreme. (Especially in the audience!)

There are three more performances of The Marriage of Figaro this week: tonight (Wednesday); and Friday, March 27 at 7 pm, and Sunday afternoon March 29, at 3 pm. Call the ticket office 216.231.1111, immediately for ticket availability. The next orchestra concerts at Severance Hall are April 16, 17 and 18. Call the ticket office or visit the website for more information: http://www.ClevelandOrchestra.com.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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