The Teatro alla Scala has revived the legendary production of Le nozze di Figaro by Giorgio Strehler, created for the Versailles Royal Theatre in 1973, and then adapted to the great Milanese theatre in 1981. The show represents one of the milestones in La Scala, and, as such, it has been revived countless times. Strehler’s concept still holds its value, after so many years: Ezio Frigerio's beautiful sets are still breathtaking in their clean, uncluttered appearance, the warm, raking lights (Marco Filibeck), with their sepia tones, give the stage an appropriately nostalgic feeling.
Lorenzo Da Ponte’s libretto gives an excruciating level of detail about the interaction between the characters; it is refreshing to see all these details come to life, elegantly acted out, unencumbered by moralistic references to contemporary social issues. It almost makes the 18th-century costumes look new. Naturally, some may interpret the revival of such an old production as La Scala's inability to move forward but, after the fiasco of the new Nozze production in 2016, it is hard to complain.
Conductor Andrés Orozco-Estrada’s reading of the score ironically seemed one of the most dated aspects of the show: after taking the overture at an exaggerated speed, with excessive impact from the brass, he found a more balanced sound, mellow and “reassuring”. This served well the more lyrical parts (the La Scala orchestra was simply marvellous during “Dove sono”), but it failed to properly support the dramatic action and propel it forward in the frenetic sections. Also, some of Da Ponte’s eroticism got lost in this risk-adverse approach.
The cast was led by the spectacular Luca Micheletti: his dark, beautiful baritone reached all the depths needed for Figaro (quite literally – he sounded more like a bass-baritone) with ease and confidence. His uncommon acting expertise made for a lively, charismatic Figaro, full of nuance. He was a master of repressed anger against the Count, and, after I don’t know how many dozens of performances of this opera, for the first time I really felt Figaro’s anguish and desperation, at the end, when he truly believes that Susanna is cheating on him.
Olga Bezsmertna sang the Countess with a supple, rich soprano. The beauty of her timbre made for truly lyrical arias, while she managed a lighter tone in the more playful parts (“Che soave zeffiretto”, for example). Some of her high notes tended to be a bit uncovered, but not in “Dove sono”, the Countess’ pièce de resistance, which makes me think that she will be able to work through this slight problem.
The Count was Ildebrando d’Arcangelo, whose powerful bass and smooth delivery gave authority to the aristocrat. Even his somewhat stock movements were in line with the character. He gave his best in his big aria “Hai gia’ vinto la causa”, where he showed great high notes and an agile coloratura.
Susanna, Figaro’s fiancée, was Benedetta Torre, a very young singer with a silvery, but full, soprano, with extreme ease in the top register, and a lively, sparkling interpretation. At times her recitatives seemed a little sloppy, less supported than the rest of her singing. Her big aria “Deh vieni, non tardar” was elegant and with great legato, but not very sensual, probably as an effect of the conducting.
Svetlina Stoyanova won the hearts of the whole audience as Cherubino with her perfect physique du rôle and a timbre of unusual beauty, bronzed and deep, with a delightful, natural vibrato. She did show some intonation problems, especially in “Voi che sapete”, which kind of spoiled her overall successful performance. Andrea Concetti, as Don Bartolo, displayed great sillabato in “La vendetta”.
The performance didn’t suffer from any cuts, so we also got the two Act 4 arias from Marcellina and Don Basilio, a real treat! Rachel Frenkel gave the elderly Marcellina an unusual amount of spunk, and delivered her aria “Il capro e la capretta” with a beautiful mezzo, with easy high notes, managing the intricate coloratura with expertise. Matteo Falcier was a suitably mellifluous Don Basilio, and he managed his aria “In quegli anni” with a secure high tenor. Both were very effective in the concertati.
The cast was rounded up by Paolo Antonio Nevi as Don Curzio, Mariya Taniguchi as a lovely Barbarina, Lodovico Filippo Ravizza as a rough yet elegant Antonio, and Silvia Spruzzola and Romina Tomasoni as the two peasant girls who sang graciously to the Count. At the end, when all the schemes and lies are unfolded, and the Countess has forgiven a repentant Count, all the characters sing a short celebratory chorus. The lights went on at La Scala, and the cast sang directly to us, through the fourth wall, inviting us to celebrate with them.
