* 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 shifting this piece from Seville to South Asia, as an individual with a number of marginalized identities, I am at all times cautious of utilizing different cultures for some unique aptitude. But it surely positively 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 completely satisfied to see that choreographer Antara Bhardwaj was a cultural marketing consultant 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 traces have been very beautiful. Director Brad Dalton appeared to have everybody on the identical web page, it was spectacular that not solely the skilled dancers however the entire solid was capable of transfer so properly (pictured, {photograph} by David Allen).
Conductor Viswa Subbaraman stored the orchestra going at a frenetic tempo, sometimes going off the rails however actually by no means a uninteresting second. The singers have been most fantastic, nevertheless. Even foolish Don Basilio — tenor Zhengyi Bai — was sung with absolute delight and wonder. Soprano Melissa Sondhi was an lovable Barbarina, and gave a simple 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 light-weight and her second (“Voi che sapete che cosa è amor”) merely beautiful. She was one of many tallest folks on stage so the jokes about Cherubino’s measurement have 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 Depend, baritone Eugene Brancoveanu’s sound is extra rounded and heat, he is suitably overrated however not a buffoon. His Act III aria “Hai già vinta la causa – Vedrò mentr’io sospiro” was shifting.
This pair was a wonderful distinction to soprano Maya Kherani as Susanna and baritone Efraín Solís within the titular position. Kherani has a pure sound not in contrast to a bell and Solís is shiny with textural nuances. They each have fantastic physicality and have been glorious 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 relatively 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 woman subsequent to me was very chatty and genial. She had a good friend behind her and one other one throughout the aisle however promised to behave herself, and she or he was quiet throughout the music and conscientious about letting me get round her once 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 have been making area for folks like me.
