Word: figaro
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...allow every word to be distinct. Opera houses tend to have a thin resonance, partly because of the heavy use of carpeting and fabric, which trap sound instead of distributing it, and partly because singers like things that way. Judging by the opening performance of The Marriage of Figaro, Christie got his wish. The theater is handsome without being ostentatious. The interior is stark, but the warm pine walls save it from being dreary, impeccable modern. According to acoustician Derek Sugden, "Wood can be death unless it's stiff and thick. A softer grain will absorb low frequencies, which means...
...Figaro was chosen to inaugurate the building because it was the opening opera in 1934. Then as now, the 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...
...stars at Glyndebourne are the conductors -- Bernard Haitink led Figaro -- and the directors. Sir Peter Hall has done some of his best stagings here, as have Trevor Nunn and Jonathan Miller. But the key to Glyndebourne's success is the dozen or so coaches who prepare each opera meticulously. Beneficiaries liken their teaching to having a superb master class every day. Christie notes that "coaches have an awkward job mediating between the conductor and the singer. They need a feeling for what's best for the composer." Their ranks tend to be drawn from people on their way to becoming...
...sylvan atmosphere and the magic spells buttress the film. Egerman is very much like Bottom; he plays an ass throughout the movie, but at the end, after Anne has run off with Henrik, he is made human again. The film also contains echoes of Beaumarchais' The Marriage of Figaro and allusions to Jean Renior's classic 1939 film, "The Rules of the Game...
...SOPRANO AT THE MOVIES. Her finely colored voice with its firm vibrato is not elitist, and she sings this collection of songs that have made their way into films with a passion and abandon that would make Madonna envious. Garrett's plaintive Voi che sapete, from The Marriage of Figaro, and her flirtatious plotting in Quando m'en vo, from La Boheme, are the answer for those looking for substance in their tunes...