Tuesday night found me at the Barbican for a concert performance of this by René Jacobs and the Concerto Köln. On the whole the cast was not well known, with the possible exception of Angelika Kirschlager, who sang Cherubino. The other main parts were, on the whole, sang by youngish singers: Luca Pisaroni (Figaro), Rosemary Joshua (Susanna), Sophie Pondjiclis (Marcellina), Pietro Spagnoli (Count Almaviva) and Annette Dasch (Countess Almaviva).
There are few operas with which I am so familiar as Figaro. It was the first one I ever saw live, and before I went I was able to listen to a highlights tape and a full length CD; I also have a video in the video cupboard. And it's Mozart. Almost impossible not to like.
The orchestra played on period instruments. I have a sneaking feeling that I am rather fond of period instruments, especially in the woodwind. I certainly liked the way they sounded on Tuesday. The programme notes contained a long musing by René Jacobs about the fact that Mozart didn't put any metronome marks in, so he plays the overture very fast, and Voi che sapete extremely slowly. but I didn't notice anything amiss about the tempi.
It really is sumptuously gorgeous music, and, thus, almost impossible to single out highlights. I love Non più andrai, but the bass failed to meet the exacting standards on my favourite version, sung by José van Dam, although he was good. The Countess was exquisite in Porgi amor. I think I am torn between Angelika Kirschlager's Voi che sapete (I have sort of liked her for a while without ncessarily being a big fan) and the gorgeous sextet, Riconosci in quest'amplesso, when Figaro learns he is the natural son of Marcellina and Bartolo.
A pleasant comedy, and although most people knew the plot, it didn't stop us laughing at the right places. But it is also a strong social satire.
And sumptuously gorgeous music...
PS The only think that disconcerted me was Ms Kirsclager's strong physical resemblance to my friend Kitty, the next MP for Burnley.
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