Word: cherubino
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Dates: during 1990-1999
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...opening song, "Im Fruehling" (In Spring), seemed only a bright little ditty. Still, the performance was commanding, mostly because Goode's reserved dynamics suited Upshaw's light voice well, "Du Liebst" was was a fine show for a voice equally suited to the roles of Susanna and Cherubino. Upshaw is far bolder than most vocalists in dramatizing the meaning of the words with gestures and expressions, and she diverted many pairs of eyes from reading the program to staring at the stage. "Die Junge Nonne" (The Young Nun) offered, if nothing else, an opportunity to hear Upshaw intone each syllable...
...Mozart Overture to "Le nozze di Figaro" fits right into the Valentine theme with the opera's classic comedic plot, replete with anticipated marriages, star-crossed crushes, and a character named Cherubino. Like the opera, the overture too is a classic. It is a sweeping, theatrical piece with sudden dynamic changes and deft technical work in the string section, all of which were handled perfectly by the orchestra. The effect produced by the period instruments on a piece normally performed by a much larger orchestra was interesting; the thin, pure sound of the violins juxtaposed with the raw yet perfectly...
...droit du seigneur, which traditionally allowed the lord to deflower any bride on her wedding night, he is tempted to revive it in Susanna's case. Though a philanderer, the Count is fanatically suspicious of his innocent wife, the Countess (Kate deLima), and her naive admirer, the page Cherubino (Amy Buckley Brown); in his jealousy, he orders Cherubino off to the army, to the ladies' distress...
Every character gets a solo aria or two to set out his or her essential nature: Figaro is clever and good-hearted, the Countess is heart-broken, the Count is imperious, Cherubino is perpetually lovesick. Almost without exception, this cast handles the famous arias beautifully Saccente has a strong voice and stage presence, and none of Figaro's comic nuances escape him; he is excellent in the patter of 'Aprite un po, Figaro's attack on female infidelity, and in the touching final duet with Susanna. Benaim, as the Count, has perhaps the most pleasing voice in the cast, combining...
...festival emphasizes Mozart and, in general, ensemble works. Glyndebourne has more arresting and ambitious productions in its warehouse. But if the Figaro sets were pedestrian, the cast lived up to the company's formidable reputation for ensemble excellence (though there were standouts, notably Hagley and Marie-Ange Todorovitch, as Cherubino). Poor Renee Fleming, as the Countess, was stuck with the staging's only coarse moments. Somehow director Stephen Medcalf thought to dramatize the lady's unhappiness by portraying her in a kind of sexual heat. While Susanna is singing "Dei vieni non tardar," Mozart's heavenly, healing, last-act aria...