Le Nozze Di Figaro

[Conchis]

This opera contains some beautiful music (of course) but

1) the plot is far too complicated;

and

2) it's far too long.

Some might also argue that it isn't funny (I don't think it is) but then very few comic operas are.

When I listen to it, I just let it wash over me and, on that basis, I enjoy it. I'm currently listening to the classic Kleiber recording, considered by many to be the finest ever made. I've yet to hear Otto Klemperer's recording (not highly rated), which I'd probably like even more.

Thoughts?

[Stanfordian]

This opera contains some beautiful music (of course) but

1) the plot is far too complicated;

and

2) it's far too long.

Some might also argue that it isn't funny (I don't think it is) but then very few comic operas are.

When I listen to it, I just let it wash over me and, on that basis, I enjoy it. I'm currently listening to the classic Kleiber recording, considered by many to be the finest ever made. I've yet to hear Otto Klemperer's recording (not highly rated), which I'd probably like even more.

Thoughts?

Hello Conchis,

You are so right about complicated opera plots and like many stage works: operas and musicals are often too long for their material or for comfort. Yet I am still passionate about them. When the opportunity arises I rarely give up a chance of attending an opera or musical. I have many wonderful memories of attending operas at Dresden, Berlin and Munich, musicals in Manchester and many local musical productions. Only last month I attended Fidelio and La Forza del Destino (talk about a complicated plot) in Dresden and Le nozze di Figaro a couple of weeks ago at Blackpool, all leaving me with many fond memories. The opera production that has lodged most in the memory was an outstanding Bayerische Staatsoper staging by Martin Duncan of Die Entführung aus dem Serail at Munich in March 2017.

Incidentally my favourite recording of Le nozze di Figaro is Bohm in 1968 at Berlin on DG. Bohm such an impressive Mozartian!

[french frank]

I think it’s remarkable that Beaumarchais’ play was still banned in Austria when Mozart and da Ponte decided to turn it into an opera. They had to make changes to omit some of the revolutionary ideas. It’s often shortened slightly - arias of Don Basilio and Marcellina(?) omitted. Not sure that any opera is really ‘intended’ to be funny.

[Bryn]

. . . Not sure that any opera is really ‘intended’ to be funny.

[Conchis]

I think it’s remarkable that Beaumarchais’ play was still banned in Austria when Mozart and da Ponte decided to turn it into an opera. They had to make changes to omit some of the revolutionary ideas. It’s often shortened slightly - arias of Don Basilio and Marcellina(?) omitted. Not sure that any opera is really ‘intended’ to be funny.

I think Puccini's Gianni Schicchi probably was.

Both Die Zauberflote and Don Giovanni (WAM's moste 'serious' comic opera) feature moments that are 'meant' to be funny and maybe contemporary audiences did indeed laugh at them. They are a bit forced and heavy-handed by today's standards.

[Barbirollians]

The Glyndebourne touring production of the 1990s was funny.

[Richard Tarleton]

This opera contains some beautiful music (of course) but

1) the plot is far too complicated;

and

2) it's far too long.

Some might also argue that it isn't funny (I don't think it is) but then very few comic operas are. ................

Thoughts?

There is an entertaining chapter on the opera in Ernest Newman's More Opera Nights (1954), immediately after his essay on Barber. Suffice to say Newman was not a fan of da Ponte ["an Italian Jew, originally of the name of Emanuele Conegliano.... ] - he does a demolition job on the plot of Cosí in Opera Nights. Re the pin episode, "Da Ponte makes a sorry mess of this episode" (which of course Beaumarchais makes perfect sense of ).

One of my three or four favourite operas - I was lucky enough to see Kiri in her breakthrough Countess at ROH in 1972 (IIRC, Raymond Leppard was conducting that night), which is probably why my favourite recording is the Solti with its all-star cast.

[Mal]

There's so much great instrumental music, you could spend your whole life listening to nothing else, so why not give up on Opera? No more struggling with complicated, unfunny plots in a foreign language!

[Eine Alpensinfonie]

I think Figaro is superb from start to finish. The more you get to know it, the better it becomes.

I did see one appalling Opera North production in York, where the attention-seeking director had the characters hiding behind trees that were small hand mirrors in the shape of trees. Added to this were the recitatives, accompanied on an amplified harpsichord.

[Bryn]

How about the 1994 BBC production as a 'musical'? All three acts easily found on YouTube:

[Stanfordian]

There's so much great instrumental music, you could spend your whole life listening to nothing else, so why not give up on Opera? No more struggling with complicated, unfunny plots in a foreign language!

Ha, ha!!!!!!

[Stanfordian]

I think it’s remarkable that Beaumarchais’ play was still banned in Austria when Mozart and da Ponte decided to turn it into an opera. They had to make changes to omit some of the revolutionary ideas. It’s often shortened slightly - arias of Don Basilio and Marcellina(?) omitted. Not sure that any opera is really ‘intended’ to be funny.

Oh, yes they are!

For example the magnificent staging of 'Don Pasquale' from the Metropolitan Opera with Anna Netrebko as Norina and the late John del Carlo as Don Pasquale on DG, DVD/Blu-ray. A must!

[french frank]

Since there was so much dissent I meant that unlike farce, theatrical ‘comedy’, it is not (in my view!) the raison d’être of opera to be funny. As it happens, I think Figaro is funny - and not a moment too long.

[Richard Tarleton]

You are so right about complicated opera plots and like many stage works

OT, I wonder how many seemingly complicated plots could be reduced to a single sentence - along the lines of: "Gypsy throws wrong baby onto fire". You never know, if it catches on it might be worth a thread of its own - let's see

Another Verdi favourite of mine is Simon Boccanegra - now that's a tricky one.

Back to topic - the key role in the opera is, of course, Susanna (Lucia Popp in the sublime Solti recording) - discuss

[Stanfordian]

OT, I wonder how many seemingly complicated plots could be reduced to a single sentence - along the lines of: "Gypsy throws wrong baby onto fire". You never know, if it catches on it might be worth a thread of its own - let's see

Another Verdi favourite of mine is Simon Boccanegra - now that's a tricky one.

Back to topic - the key role in the opera is, of course, Susanna (Lucia Popp in the sublime Solti recording) - discuss

Oh, I agree Il trovatore and Simon Boccanegra are tricky plots.