Word: almaviva
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Dates: during 1980-1989
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Leading the cast, made up of various professionals from the Boston area as well as some Harvard students, is Rod Nelman as Figaro, a servant to the Count and Countess Almaviva. Ilana Davidson stars as his future bride, Susanna. In roles commonly given to 50-ish opera stars, it is refreshing to see two young leading singers play the parts of lovers who just can't quite seem to get married, no matter how hard they...
...Andrew Porter (I mean, would Susanna really call Figaro a "blockhead" in the eighteenth century?), it is Mozart in the end who gives us the most aural pleasure. Who can resist the remarkable closing scene of The Marriage of Figaro, in which Figaro and Susanna, the Count and Countess Almaviva, Marcellina and Bartolo and all other cast members join together in praise of love and happiness? It's a scene not to be missed, confirming Mozart's brilliance in choral writing and the Lowell House Opera's commendability in bringing...
...Germany's Kleist Prize. But Hitler's rise to power aborted Horvath's career, and his reputation has | re-emerged only since the late 1960s. Figaro imagines the principal characters of Beaumarchais's 18th century farce The Marriage of Figaro thrust into a postrevolutionary modern world. Count Almaviva is a tyrant on the run, his wife a conniving businesswoman, the valet Figaro a nationalist longing to return to his newly free homeland, and his lady's-maid wife Susanna a loyalist clinging to the old social order...
...garret apartments that appeared, suffused with golden light, halfway up the back wall of the stage. This technical facility never overwhelmed the text. The finale, when Figaro (Tony Plana) returned to join the junta and declared that the real measure of progress would be if the life of Almaviva (Olek Krupa) was spared, was a simply staged moment of glowing humanity, edged with doubt about whether Figaro's decency would prevail...
DIED. George London, 64, commanding bass-baritone with a rich, dark-hued voice and the dramatic presence to convey the menace of Scarpia in La Tosca, the majesty of Wotan in The Ring and the elegance of Count Almaviva in The Marriage of Figaro; after a long illness; in Armonk, N.Y. He found success quickly, with critically praised debuts at Europe's leading opera houses and New York City's Metropolitan. In 1960 he became the first American to sing Boris Godunov at Moscow's Bolshoi Theater. In 1967 a paralyzed vocal cord cut short his career; he turned...