Le Nozze di
Figaro Opera Pacific, 2000
David Gregson - Opera News
With the insertion of two or three intermissions, Mozart’s Le Nozze de Figaro is long enough to make jaded opera goers jam the exits
before the Act IV garden scene. But with one twenty-five-minute intermission, a few standard cuts, some
cleverly designed mobile sets, and very brisk tempos, the entire playing timeclocks in at a mere three
hours. So Opera Pacific proved…in Segerstrom Hall at the OrangeCounty Performing Arts Center. Under
conductor John DeMain’s nimble direction and with a capable assemblage of skilled ensemble players, this
Figaro was so lithe and airy, so swift and funny, so wonderfully sung that
only an incurable curmudgeon could complain about its length.
Not at all new to the operas title role, bass-baritone Richard Bernstein
proved an engaging, agile presence. His voice seems to have gained in resonance of late, making his
singing more pleasurable than ever. From “Se vuol ballare” through to the final “Aprite un po' quegli
occhi,” he showed a masterful command of vocal line and diction. Perhaps it was thanks to the influence
of stage director Tim Ocel (replacing an ailing Colin Graham) that Bernstein's comic persona never
stooped to easy slapstick. Humanity counted more than shtick.
As Figaro’s intended, soprano Christine Brandes too avoided superfluous
comedy, winding up the evening with a meltingly beautiful “Deh! vieni.” As Cherubino, Israeli mezzo
Rinat Shaham threw herself into her trouser role with conviction. Her “Non so piu” and “Voi che sapete”
were radiant. Meanwhile, physically towering over everybody else in the cast was the strangely lovable
Count of baritone John Hancock, whose “Perdono”s were genuinely believable. Though the voice displayed
a woolly quality, his singing was consistently attractive, and he put splendid bite into his Act III
“Vedro mentr’iosospiro.”
Marie Plette replaced the originally scheduled Ainhoa Arteta as the Countess.
Though experienced in the part, Pierre was the least compelling member of the cast. In her two big
arias— “Porgi amor” and “Dove sono” —she demonstrated considerable technical skill but lacked emotional
involvement. Judith Christinmade a hilarious Marcellina (denied her final aria), Bruce Baumer an
amusing though slightly underpowered Bartolo, Matthew Lord a lyrical Basilio (also denied his final
aria), Andrew Fernando an agreeably comical gardener and Christine Suhan enchanting Barbarina. With
period costumes and minimalist period sets by Canadian Susan Benson, the scenes blended into one another
like lightning, and although the show was not overtly played for laughs, the opening night audience was
in stitches through-out.