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Posted by on Oct 1, 2010 in Reviews | 0 comments

Marriage is one thing but when is enough- enough?

WHY must we consistently dumb ourselves to sell a product? Is one so insecure in one’s talent that he/she must use overt sexual markers to make the point? I think Mozart’s work speaks for itself ‘without’ the extracurricular activity! Gheezzzzzzz…..

The Count (Bo Skovhus) and Countess (Martina Serafin) encounter each other in the dark garden. photo: Lawrence K. Ho of LA Times

The Count (Bo Skovhus) and Countess (Martina Serafin) encounter each other in the dark garden. photo: Lawrence K. Ho of LA Times

Mozart’s “The Marriage of Figaro” has been called the perfect opera. David Cairns, in his keen recent study, “Mozart and His Operas,” goes out on a limb: “For the first time music has found the means of embodying the interplay of living people.” No opera by Mozart or anyone else, the British scholar further contends, is so “in total harmony with itself.”

More a company of creative chaos, Los Angeles Opera has never seemed quite in harmony with itself. I like that about L.A. Opera, but it can also mean messy Mozart. A proposed Mozart cycle under a single director (possibly Achim Freyer) never came to fruition. Its most recent “Figaro” production (vintage 2004) wound up in the last-minute hands of Ian Judge, who has more than once come to the rescue at the Dorothy Chandler Pavilion.

That production — with a bit of Franco’s Spain, a bit of ’50s Hollywood, a bit of vulgar tomfoolery and a few real fireworks at the end — returned two years later for the farewell performance of music director Kent Nagano. Good singing and refined conducting carried the day. Get more of the cheeky details from LA Times critic Mark Swed at: http://latimesblogs.latimes.com/culturemonster/2010/09/opera-review-los-angeles-opera-revives-marriage-of-figaro-.html

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