Jean-Pierre Ponnelle, production designer of 1972's "Barbiere di Siviglia," takes the director's chair this time and does a bravura job. Whereas the Barber started with an film of (a surprisingly young) Claudio Abbado conducting the overture, "Figaro" begins with action. It's not heavy action, but it does avoid the static beginning of "Barber".
Herman Prey has a return engagement as Figaro. Paolo Montarsolo also returns from Barber's cast, only this time as Bartolo rather than Basilio. Adding Mirella Freni as Susanna, Dietrich Fischer-Dieskau as Almaviva, Kiri Te Kanawa as the Contessa and Maria Ewing filling out her trousers well as Cherubino, Ponnelle presents us with nearly an all-star cast.
"Figaro" is slightly more daunting, not only because of its length (like the Emperor in "Amadeus" one is tempted to yawn during the last act), but also because of the recitatives. The major singing is done to playback, which gives the singers a chance to act. Ponnelle plays with the playback, sometimes playing it while the singers aren't singing so it appears to be going on in their heads. This is effective once you're used to it, but in early scenes with Cherubino it unfortunately has the appearance of carelessness on Ewing's part, which it is not.
All the big hits from the show are here, some with superb staging. Figaro's "Se vuol ballare, Signor Contino" is very effective. The delightful "Non piú andrai" is a bit dizzying as Figaro sings directly into the camera with the background whirling behind him, but it does emphasize Cherubino's growing panic.
Ponelle went on to do a wonderful movie of Rossini's "Cenerentola," which may be the finest opera movie ever. But his "Figaro" deserves a peek from any opera lover.
Herman Prey has a return engagement as Figaro. Paolo Montarsolo also returns from Barber's cast, only this time as Bartolo rather than Basilio. Adding Mirella Freni as Susanna, Dietrich Fischer-Dieskau as Almaviva, Kiri Te Kanawa as the Contessa and Maria Ewing filling out her trousers well as Cherubino, Ponnelle presents us with nearly an all-star cast.
"Figaro" is slightly more daunting, not only because of its length (like the Emperor in "Amadeus" one is tempted to yawn during the last act), but also because of the recitatives. The major singing is done to playback, which gives the singers a chance to act. Ponnelle plays with the playback, sometimes playing it while the singers aren't singing so it appears to be going on in their heads. This is effective once you're used to it, but in early scenes with Cherubino it unfortunately has the appearance of carelessness on Ewing's part, which it is not.
All the big hits from the show are here, some with superb staging. Figaro's "Se vuol ballare, Signor Contino" is very effective. The delightful "Non piú andrai" is a bit dizzying as Figaro sings directly into the camera with the background whirling behind him, but it does emphasize Cherubino's growing panic.
Ponelle went on to do a wonderful movie of Rossini's "Cenerentola," which may be the finest opera movie ever. But his "Figaro" deserves a peek from any opera lover.