[Someone should perhaps tell the Countess that reading glasses *are* a very attractive sight? – Elenora Buratto (Countess), Christiane Karg (I presume) (Susanna), Marianne Crébassa (Cherubino) in David Bösch’s recent reading of Mozart’s “Le nozze di Figaro”, Amsterdam 2016. – Photo Credit: none other than White Shirt favorite Monika Rittershaus]
“…as if the opera’s subtitle were ‘Puffed-Up Dunderheads and the Women Who Love Them'”: Jenny Camilleri’s review for bachtrack is a delightful read (also, an exercise in artful employ of culinary adjectives, which is already half the fun).
Close second favorite: “…the sadistic Count’s only redeeming quality was Stéphane Degout’s consistently fantastic singing. His coffee-coloured baritone percolating with menace,…”
It looks our upcoming liveblog will be vastly entertaining, with lots of good singing and acting on display, while the production itself seems to have an “existentialist German-art-debate shaped white cis dude with *important* notions on gender” Smash Aesthetic slant to it – I’m guessing our recent discussion on ambivalence and kindness in “Figaro” might go the way of Aix 2012, but that doesn’t mean we won’t enjoy a snappy staging with Crébassa (who helpfully retweeted the review link) and Karg sharing the same stage. — Very much looking forward to checking out this one with my own eyes and ears!