Opera: Marriage of Figaro
10/10/2010 11:57
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모짜르트의 오페라 "피가로의 결혼" 낮공연을 다녀왔다.

Bravo! Bravo!

1786년 모짜르트가 작곡한 코믹 오페라이다.

4막으로 되어있는데 프랑스의 삐에르 보마쉐(Pierre-Augustin Caron de Beaumarchais,

그는 세비야의 이발사도 썼다)가 쓴 희극연극대본을 기초로

 다폰떼(Lorenzo da Ponte)가 가사를 이딸리아語로 부쳤다.

1786년 5월 1일 모짜르트 자신의 지휘로 비엔나에서 초연되었다.





LA Opera단의 단장 도밍고아저씨가 직접 지휘를 하고.

내용이 희극적이기도 하고 감독이 연극과 같은 분위기로 만들어

중간중간에 관객의 폭소를 자아내기도 하고.

요사이 오페라가수들은 연기도 잘 하는듯 하다.

예전같이 딱딱한 포즈로 뻣뻣하게 부르는 가수들이 별로 없다.

어제 공연장에서의 이야기를.

1. 옆자리에 부모님이 10학년 정도 된 사내아이를 데리고 왔다.

아마 오페라입문을 위해서 데려온것 같다.

아버지가 열씨미 손가락으로 여기 저기를 가르키며 설명을한다.

"저 위에 흰 스크린에 가사의 번역이 나온단다."....

아이는 팔짱을 끼고 앉아 멀뚱이 앞만 본다.(블랭크룩이라고 하던가)

오 주여! 왜 내게 이런 고문을? 하듯이.

끝날때까지 이녀석은 한마디도 않드라는.

2. 앞열 왼쪽으로 젊은 중국인 남녀가 들어와 앉았다.

여자분이 남자분을 모시고 오페라구경을 오신 모양이다.

남자분이 묻는다. "베이징 오페라(京劇, 징쮜)와 비슷한거야?"

하마터면 웃을뻔 했다.

두분은 중간휴식시간에 Gummy Bear 큰봉지를 비우시드라는.

모짜르트는 막찰특(莫扎特, 모자터)이라고 쓰고

피가로의 결혼은 费加罗的婚礼이다.




Mr. Michael Hackett의 작품에대한 설명.

2층 라비전체가 꽉 찼다.

Michael Hackett is a Professor of Theater in the School of Theater, Film and Television

at UCLA and Chair of the Department of Theater.



알마비바백작(바리톤, Bo Skovhus)과 백작부인(소프라노, Martina Serafin)




수잔나(소프라노, Rebekah Camm)과 피가로(바리톤, Daniel Okulitch)



Bravo!는 계속되고.



time to go home.


같은 날 같은 시간에 길건너 디즈니 홀에서는

엘레이필이 두다멜의 지휘로 에마누엘 액스와 협연이 있고해서

101프리웨이를 내려서 부터는 주차장까지

차가 꼬리에 꼬리를 물고. 

두 프로그램을 놓고 고민을 하신분들도 있을것같다.




Los Angeles Times紙에서 옮깁니다.




Opera Review: Los Angeles Opera revives 'Marriage of Figaro'


Sep. 27, 2010  4:00PM


“Mozart and His Operas,” goes out on a limb: “For the first time music has found the means of embodying the

interplay of living people." No opera by Mozart or anyone else, the British scholar further contends, is so

"in total harmony with itself.” 

More a company of creative chaos, Los Angeles Opera has never seemed quite in harmony with itself.

I like that about L.A. Opera, but it can also mean messy Mozart. A proposed Mozart cycle under a single

director (possibly Achim Freyer) never came to fruition. Its most recent “Figaro” production (vintage 2004)

wound up in the last-minute hands of Ian Judge, who has more than once come to the rescue

at the Dorothy Chandler Pavilion.




This cast is new to the production, and the three leading women in are also making their company debuts.

Women always matter more than men in Mozart, and that was true Sunday.
Marlis Petersen, a sterling soprano, proved a cool, smart, centered, captivating, intimidating Susanna,

a servant whom others served. Martina Serafin came across as an unusually vulnerable Countess, self-involved, lounging in bed on the phone, drinking Champagne to greet the sun and bemoaning her philandering husband.

Her two sad arias had a magnificent expressive fullness.

Renata Pokupic’s Cherubino, the young scamp enamored of all women, shot erotic darts. The mezzo from

Croatia passes for boyish, but she is also feminine, and her flirtations with both Susanna and

the Countess seemed more than a little loaded.

The well-known Danish baritone, Bo Skovhus, is also new the company. His performance as the Count

at Salzburg four years ago, in a controversially serious and sexually suggestive production by Claus Guth,

brilliantly revealed the inherent insecurity as the essence of sexual attraction. After recently watching the DVD

of the Salzburg production, I was at first disheartened to see the Count make his entrance as a cartoon wolf

with long hair, a bathrobe opened, and his tongue all but hanging out.

Later, uniformed in Fascist garb, working the phones at his desk, this Count is a leader of threatening pomp

whose defenses won’t hold. His wife and his subjects are smarter than he is, and Skovhus found

an inner humanity that previous Counts in this production have not had.

Okulitch’s Figaro was more a student of Susanna and human nature than schemer. Like the Count,

he could come across as a bit absurd when trying to assert his masculinity in the presence of strong women.

But the baritone is ever lively on stage and a stylish singer.

A flamboyant Marcellina (Ronnita Nicole Miller), a grandiose Bartolo (Alessandro Guerzoni),

a sleazy Basilio (Christopher Gillett), a perky Barbarina (Valentina Fleer), a stuttering Don Curzio (

Daniel Montenegro) and a drunken Antonio (Philip Cokorinos) were used for laughs.  They got them.

We need now a more sexually mature and politically alert “Figaro” production that suits our troubled times.

For instance, Basilio’s aria, which was cut, is introduced with a warning about nobility: “they give you ninety

for a hundred and they are in the right!”

But if the “Figaro” we do have is not perfect, the singers nevertheless go deep. And the essential interplay

is between living people and living music is maintained. 


-- Mark Swed

Cecilia Bartoli and Renee Fleming in a duet from Mozart's, "The Marriage of Figaro".> 
Metropolitan Opera, 1998. Conductor: James Levine.> 
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Opera: Marriage of Figaro