Opera San José’s Le Nozze di Figaro

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OSJ_TheMarriageOfFigaro_DavidAllen14* Notes *
Le nozze di Figaro (Efraín Solís as Figaro and Maya Kherani as Susanna in Act IV pictured, {photograph} by David Allen) opened at Opera San José final weekend with a joyous and really human manufacturing set in colonial India.

I used to be skeptical about transferring this piece from Seville to South Asia, as an individual with a number of marginalized identities, I am all the time cautious of utilizing different cultures for some unique aptitude. However it undoubtedly labored effectively, and Mozart’s work was extra alive than ever, and felt prefer it might belong to anybody.

It was nice that there have been many alternatives for the South Asian diaspora on this manufacturing and never simply the singers. I used to be pleased to see that choreographer Antara Bhardwaj was a cultural advisor as was the costume designer Deepsikha Chatterjee. The stage appeared beautiful, as did the clothes, and it was nice to see Bhardwaj dancing in a quartet, the geometric strains had been very pretty. Director Brad Dalton appeared to have everybody on the identical web page, it was spectacular that not solely the educated dancers however the entire forged was capable of transfer so properly (pictured, {photograph} by David Allen).

OSJ_TheMarriageOfFigaro_DavidAllen17Conductor Viswa Subbaraman stored the orchestra going at a frenetic tempo, often going off the rails however actually by no means a uninteresting second. The singers had been most great, nonetheless. Even foolish Don Basilio — tenor Zhengyi Bai — was sung with absolute delight and wonder. Soprano Melissa Sondhi was an lovable Barbarina, and gave an easy efficiency of “L’ho perduta… me meschina.” Mezzo-soprano Deepa Johnny was likewise candy as Cherubino, her first aria, “Non so più cosa son, cosa faccio” completely fluttery and lightweight and her second (“Voi che sapete che cosa è amor”) merely pretty. She was one of many tallest folks on stage so the jokes about Cherubino’s measurement had been all of the funnier.

Soprano Maria Natale was convincing because the Countess, her notes have a brass-like high quality that’s distinctive. Because the Rely, baritone Eugene Brancoveanu’s sound is extra rounded and heat, he is suitably overvalued however not a buffoon. His Act III aria “Hai già vinta la causa – Vedrò mentr’io sospiro” was transferring.

OSJ_TheMarriageOfFigaro_DavidAllen12-1This pair was a advantageous distinction to soprano Maya Kherani as Susanna and baritone Efraín Solís within the titular function. Kherani has a pure sound not not like a bell and Solís is vibrant with textural nuances. They each have great physicality and had been wonderful with the comedian timing.

Scenic designer Steven C. Kemp’s set matched the gildings of the California Theatre itself and was very detailed and ornate. There have been moderately lengthy pauses between Acts I and II and Acts III and IV, however the commerce off of getting such opulence appears honest.

* Tattling *
The 89-year-0ld girl subsequent to me was very chatty and genial. She had a buddy behind her and one other one throughout the aisle however promised to behave herself, and he or she was quiet throughout the music and conscientious about letting me get round her after I wanted to.

I cried throughout the marriage ceremony scene in Act III (pictured, {photograph} by David Allen) and on the finish of the opera. I really like this music a lot and it was good to really feel just like the individuals who put this opera on had been making area for folks like me.



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