Glyndebourne, Sussex George Hall
Saturday October 14, 2006
The Guardian
One of the most sophisticated games ever played by a composer and librettist with an audience, Mozart's opera was damned as trivial by the 19th century, but steadily came into its own in the 20th, when the cracks that open up and finally shatter the certainties of its two pairs of lovers began to intrigue directors. But it's never easy to get the balance of comedy and seriousness right. Nicholas Hytner's summer Glyndebourne production, with an uneven cast, didn't quite do so. Revived here with impeccable discrimination for Glyndebourne on Tour by Samantha Potter, working with an ensemble of singers more finely balanced both vocally and dramatically, a closer approach to the heart of this enigmatic and endlessly fascinating piece is achieved.
One of the most sophisticated games ever played by a composer and librettist with an audience, Mozart's opera was damned as trivial by the 19th century, but steadily came into its own in the 20th, when the cracks that open up and finally shatter the certainties of its two pairs of lovers began to intrigue directors. But it's never easy to get the balance of comedy and seriousness right. Nicholas Hytner's summer Glyndebourne production, with an uneven cast, didn't quite do so. Revived here with impeccable discrimination for Glyndebourne on Tour by Samantha Potter, working with an ensemble of singers more finely balanced both vocally and dramatically, a closer approach to the heart of this enigmatic and endlessly fascinating piece is achieved.
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