Students impress with Mozart’s ‘Figaro’

Pfleeger Concert Hall filled with the sound of Mozart last weekend during the three-day performance of “The Marriage of Figaro” (“Le Nozze di Figaro”) presented by the Rowan Opera Company, directed by Marian Stieber and conducted by Salvatore Scarpa of the Rowan University Opera Orchestra. ˇ Each performance started at 8 p.m. and was sung mostly in Italian with English subtitles, telling a story of hate, revenge and undying love.
First performed in 1786, “The Marriage of Figaro” was designed to make fun of the upper class and attacked the command of unworthy men born into a higher class of society. The Italian libretto (words) by Lorenzo Da Ponte was based on the play “Le folle journee ou Le marriage de Figaro.” The roughly three-and-a-half-hour opera is comprised of four acts and is based on the play by Beaumarchais written in 1784.
Very fast string and harpsichord lines packed the concert hall with triumphant entrance music and cued the much-awaited opera to begin.
The first act titled “an Empty Room in the Castle” comes across very humorously because of outstanding performances by Rowan student actors Bradley Chwastyk (Count Almaviva), John Lyden (Figaro) and actress Crystal DiGiovacchino (Susanna).
Figaro has asked for Susanna’s hand in marriage, but the Count tries to invoke his commanding privileges to sleep with her on their wedding night, a feudal right. ˇ
Figaro plots his revenge but has his hands tied with Marcellina, played by Kathi Stetser, an old swindler employed at the castle who wishes to marry him for money. The Count, stalling for time to work his plans for seducing Susanna, bitterly accepts Figaro’s praise and promises to marry them later.
Act 2, “the Bedchamber of Countess Almaviva,” is one of deceit, chaos and greed as Figaro proposes to Susanna and the Countess Almaviva, played by actress Stephanie Quimby. He plans to deceive the Count with a letter supposedly from the Countess addressed to an unknown lover while Marcellina files an official complaint against Figaro for the money he owes her.
Difficult dialogue and movements between actors and actresses during parts of the performance were awe-inspiring and witty. ˇRowan performer Chwastyk was thrilled to play Count Almaviva in the show even though some of the work was complex.
“Learning Italian for the show was challenging, but dealing with another language always is,” said Chwastyk. “I listened to a lot of CDs of other performers and read books about opera; it helped a lot.”
“The Great Hall of the Castle,” the opera’s third act, begins with Susanna informing the Count that she will meet him in the garden that night. ˇOn her way out, the Count overhears Susanna assuring Figaro that his problems with Marcellina will be over soon; the Count assumes he is being manipulated and vows revenge.
The Countess, still deeply in love with her husband, dictates a letter to Susanna inviting the Count to the garden to meet her.
“My favorite scene in the Marriage of Figaro would have to be the Finale of act three,” said Chwastyk, “It’s exhausting, but I love it.”
“In the Garden” is the fourth act and presents the spectacular conclusion of the opera. Figaro is notified about Susanna’s expected rendezvous with the Count and feels he is being betrayed. The Count arrives and confesses his unending love to Susanna and accuses his wife, the Countess, of infidelity. ˇ The Count, on bended knee, meekly begs forgiveness when the real Countess appears. ˇMoved by his words, the Countess accepts his public confession and they all leave as friends.
The opera ends with the joyous celebration of the wedding of Figaro and Susanna.
The cast displayed terrific stage presence throughout the entire classic production. A review from the text of Nathan Broder, G. Schrimer of the very first performance of Mozart’s opera stated, “At the end of the opera I thought the audience would never have done applauding and calling for Mozart.”
The performers, musicians and production staff of this performance deserve the same recognition.