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...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...

Author: /time Magazine | Title: OPERA: Smiles of A Summer Night | 6/13/1994 | See Source »

...Todorovitch, who is based in Paris and not an old festival hand, found herself crying when the orchestra struck up God Save the Queen on opening night. "I thought that, after 60 years, they had the courage to try and improve on success. I thought the music doesn't change -- Mozart is always the same -- but here are all these young singers who are making him fresh again." Of all opera houses in the world, perhaps only Glyndebourne, with its setting and its devotion to singing rather than to stars, can evoke such tears...

Author: /time Magazine | Title: OPERA: Smiles of A Summer Night | 6/13/1994 | See Source »

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