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Le Nozze di Figaro

 

 

Composer

Wolfgang Amadeus Mozart

Libretto

Lorenzo da Ponte after Beaumarchais

Venue and Dates

Elgin Theatre, Toronto

Canadian Opera Company

6 November 1993

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Conductor

Richard Bradshaw

Production

Director: Robin Phillips

Sets: Morris Ertman

Costumes: Ann Curtis

 

 

Performers

Figaro: Gerald Finley

Susanna: Alison Hagley

Countess: Wendy Nielsen

Count: Dwayne Croft

Cherubino: Charlotte Hellekant

Bartolo: Peter Strummer

Marcellina: Marcia Swanston

Basilio: John Kriter

 

 

 

Notes

 


 

 

 

 

 

 

What the critics say

 

 

 

Urjo Kareda, Opera News, 5 March 1994

 

A distinguishing feature of Brian Dickie's brief but important term as general director of Canadian Opera Company, before his recent abrupt departure, was his use of Canada's leading theater directors to shape new productions. The latest of these was Robin Phillips, whose Le Nozze di Figaro in the intimate Elgin Theatre (Nov. 6) reflected a probing, meticulous dramatic intelligence. Apart from advancing the action into Edwardian times -- Phillips' preferred era for its suppressed yet charged eroticism -- the director took a straightforward approach, built from intensive absorption of the text. With fine singing actors, as well as conductor Richard Bradshaw's similarly attentive (though somewhat rougher) approach, the production achieved a rare clarity and definition. In Morris Ertman's simple yet stylish architectural-drawing sets, stage groupings were always fluid, expressive, witty.

 

Charlotte Hellekant's Cherubino, gracefully sung, wonderfully free in physicality and transparent in feeling, dominated the performance. Alison Hagley's Susanna also was giving and candid, though somewhat insecure in intonation. Wendy Nielsen, who sang the Countess with glowing warmth, maintained a touching integrity and looked elegant in Ann Curtis' stunning costumes. Gerald Finley provided a tough, aggressive Figaro, building an arc of accumulating anger over the four acts, to be transformed only in the final duet with his wife. Peter Strummer (Bartolo), Marcia Swanston (Marcellina) and John Kriter (Basilio) achieved rounded, amusing portraits, real persons rather than cartoons. Only Dwayne Croft's unalluring Count was disappointing; though incisively sung, his performance offered too few variations and shadings on monomaniacal jealousy.