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PAGE TWO-The Bayfield Bulletin-July 15,1965
"FIGARO" REVISITED
By Harold B. Pepinsky
Ohio State University
The Marriage of Figaro is offered again this
year as part of the Festival at Stratford. I saw a
delightful performance of that lovely opera on Mon-
day night.
Wolfgang Amadeus Mozart composed the music for
Figaro only a few years before his death in 1791,
and it was produced in Austria just about a year
prior to the outbreak of the French revolution in
1789. One thinks of the opera as Mozart's, despite
the collaboration of a lesser dramatist, Lorenzo
Da Ponte, who wrote the libretto upon which the
music is based. The story of Figaro was well known
in Mozart's day and had been presented on numerous
occasions,under various authorships,and mainly as
drama. Indeed, two years earlier Beaumarchais had
written and produced such a play in Paris, only to
have its further presentation there immediately
banned. Officials of the dying ancien regime in
France were fearful of the play's revolutionary im-
plications:(1) that a member of the nobility could
be depicted as an indecent fellow,(2) that his lech
erous intentions toward an attractive young--and
we are given to understand,virginal--servant girl
could be exposed,and(3) that he could be publicly
both thwarted and ridiculed in his attempt at sed-
uction and by members of his household of servants
with the connivance of his wife. Da Ponte and Moz-
art adapted their opera from the play by Beaumarch-
ais, and its story--complicated by an absurd maze
of subplots--is essentially as I have described it.
Today, the opera is to be enjoyed as a light comedy
whose music is appropriately light in its texture
yet incredibly and unremittingly beautiful.
What one sees and hears in the production at St-
ratford is enhanced by superb overall direction.
Stage and costume designs are exquisite, and the
choreography is a pleasure to behold. The singers
can act, and in this way they support each other;
those who should be handsome are. Fortunately too,
the musical direction is of high quality; the en-
semble singing alone is wonderful. One is espec-
ially grateful for fresh young voices and except-
ionally clear diction. If the purist is jarred at
first by the English translation, he must be grate-
ful for the obvious and ready response of a North
American audience, which seems to be enjoying it-
self hugely by virtue of its ability to understand
and appreciate what is going on. The purist may ob-
ject also to the agularity of Maestro Bernardi's
overture, in which the delicacy and integrity of
Mozartian phrasing are sacrificed at times to ach-
ieve what appears to be a kind of hoped-for contras
t effect. But the result is more mechanical and
less musical than it need be. And,the purist may
wince slightly at gratuitous,though rare,flcutisms”
in the ornamentation of arias, especially by the
female singers.But these distractions are minor and
are more than offset by the positive qualities of
a brilliant production.
Finally, I should like to comment briefly on the
excellence of the renovated theatre as a vehicle,
for such a production as this. Except for an unfort
unate masking effect that the orchestra exercises
upon those seated in the first few rows--and that
is a remediable architectural blunder--the acoust-
ics appear to be excellent. Inside, the Avon thea-
tre has the pleasing decor and intimacy of a Europ-
ean concert hall or repertory theatre building,and
these things add greatly to one's appreciation of a
fine performance. By contrast, the poor acoustics,
exacerbated by the occasionally sloppy and overly-
rapid diction of the players, in the Festival Thea-
tre are inexcusably bad--all the more so because
such defects also are remediable.
In fine,I liked the opera and its production the
other night. You will,too, I think, if you are one
for whom good music and good theatre have charms.
You have until August 28 to find out for yourself
whether my verdict is one with which you can agree.
igalliirth Vatirtin
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