nozze di figaro hai gia vinta la causa sheet music

This cast certainly was it worked very well in ensemble too. Whilst there is no reason to be ageist about this, Figaro responds well to a cast of young singers-always, of course, provided they are capable of navigating its treacherous waters. Wind came naturally to the fore, balance not always as expected, but there was really no ground for complaint-and every ground for gratitude that this was happening at all, let alone so well. The score was necessarily given in a reduced orchestration by Jonathan Lyness, which, lack of double wind notwithstanding, often tricked one into thinking one was simply hearing a small orchestra. This was definitely Mozart’s comedy, not Rossini’s. There was room to breathe and to reflect: not so much a matter of speed, or even tempo, as of understanding and communicating the relationship between words, melody, harmony, and, this being opera, gesture. Crucially, Jackson and his players conveyed an underlying melancholy, sometimes something darker still, as necessary counterpart to high spirits. There were none, however, when I was not swiftly convinced by Jackson’s choice: even Susanna’s emergence from the wardrobe, which showed a due sentiment of wonder can sound faster than I had believed.Ī keen ear for orchestral detail, sometimes interpretative such as a cartoonish descending cello line, more often straight from the score, was in evidence throughout. There were, quite naturally, occasions when I initially wondered whether an initial tempo, at odds with how I might hear in my head, would work. The trick is to make them work: largely, if anything but simply, a matter of ensuring a steady underlying tempo, which can certainly be varied, whilst at the same time hearing and conveying the act and ultimately the entire opera as a whole. In most cases, there will be various solutions. Everyone will have his own ideas concerning tempi. Instead, what we heard was an imaginative, wisely comprehending performance of Mozart’s score. The City of London Sinfonia was on good form, conducted by George Jackson, who fell prey to none of the traps readily walked entered by many of his peers. There is nowhere to hide, least of all in musical terms. In reality, it requires, like all Mozart, excellence in every respect.

One might think one could hardly go wrong with The Marriage of Figaro, though all too many recent productions have proved otherwise. Glorious weather helped, of course-quite a change from an earlier visit to Glyndebourne with altogether necessary overcoat and umbrella-but the achievement of Opera Holland Park first of all in putting on a season at all, let alone with its customary artistic success, deserves the highest praise. What a welcome return to Holland Park this proved to be.

Opera Holland Park Chorus (chorus master: Richard Harker) Takis (designs), applied on the set for La traviata by Cordelia Chisholm

Nozze di figaro hai gia vinta la causa sheet music