Word: cherubino
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Dates: during 1960-1969
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...Cherubino's role-a woman must impersonate a boy-is extraordinarily tricky. Peggy Everitt's slight but colorful voice was perfect for the part, and her saucy portrayal of the page clicked...
...Curzio, melted smoothly into the ensembles (his aria was wisely omitted, as was Marcellina's). David Cornell's Bartolo was strong but a little clumsy and headstrong. Angus Duncan as Antonio was marvellously and bitterly ironic. He also had one of the most brilliant lines of the translation: describing Cherubino's leap from a window, he testifies, "I'm sure that he wasn't on horseback, for no horse from the window came down." But of all the minor roles, Juliet Cunningham's Barbarina was best. Her fourth act cavatina ("I'ho perduta, me meschina") had just the right touch...
John Adams coordinated the ensembles perfectly. The duets between Figaro and Susanna were all well balanced and blended; Susanna and Cherubino's "Aprite, preste aprito," one of the most bubbly spots in the score, came off with the proper mixture of fright and humor...
John Lithgow's staging was restrained (for Lithgow) and stylized. His blocking moved well, and the choreography had moments of brilliance without upstaging the music. The panic preceding Cherubino's leap from the window, the third act choral dance, and the intricate comings and goings of the last scene were the best...
...Teresa Stratas is not yet the most famous soprano around, but standing a flat 5 feet, she is surely the smallest. Performance by performance, review by review, she has been inching to stardom. As Cherubino in the Metropolitan Opera's Marriage of Figaro last December and as Liu in Turandot, she won the kind of acclaim that prima donnas are made...