Le Nozze di Figaro

It would be a waste of time to write a post about how the Metropolitan Opera's new production of Le Nozze di Figaro is a "good" or even a "great" production. It's the Met. They have not had a truly bad opera in years. It would be equally pointless to comment on how great the cast was as front-runners in opera news are heading up the show. Saying that this is a great production would not be enlightening or surprising. Due to the advent of the internet, I have already seen quite a few "great" versions of Le Nozze di Figaro, including a few previous renditions from the Met. However, this particular production is not just a "good" production. Thanks to the creativity and direction of the directing and design, this might be one of the best shows the Met has ever offered.

The design of this show is novel and fresh. The first thing one notices when they sit down is the set. Reminiscent of a castle and yet modern, there are two smaller towers on either side of the stage and a larger tower in the center. As the familiar overture plays, the cast begins acting out scenes that might have taken place in the castle. The floor under the center tower begins to rotate, revealing that there are actually four larger center towers, each representing a room of the Count's castle. All the scene changes go from one room to another, which means that there do not have to be any breaks in the story or music. Instead, every transition is remarkably fluid. Likewise, the costuming and directing also takes the classic story in a new direction. Instead of using classic or current costumes, the theme of clothing is like the 1940s, complete with suits and flash bulb cameras.

With its all-star cast, impeccable direction and the Met's quality, this production of Le Nozze di Figaro is one of New York's best.