By Márcio Bezerra
Palm Beach Opera closed its 2025 season with a outstanding production of Wolfgang Amadeus Mozart’s Le nozze di Figaro. Even by the higher standards set by the company since the pandemic, this one was exceptional, and for many reasons.
First produced in 1786, The Marriage of Figaro, as it is known in English, is not only a masterwork in the operatic genre, but its music can be easily ranked as the one of the best ever conceived, and this, to quote oneself, even by the higher standards set by its composer.
Indeed, that perfection was achieved not only through its gorgeous music, but also through the perfect symbiosis between music, text, and the action on the stage. One may argue that, not since the days of opera pioneer Claudio Monteverdi had that kind of perfection had been accomplished. And it will take two generations of composers for that kind of perfection to be found again in the works of Richard Wagner.
Back to the current production, its traditional staging, utilizing beautiful sets by Lyric Opera of Kansas City (and co-owned by Palm Beach Opera) and equally stunning costumes and makeup did not distract the audience from the action taking place, as more avant-garde productions so often do.
With a strong cast as ever — many of its principals having sung at the most prestigious opera houses worldwide — this latest offering was without question the crowning jewel of a strong season.
As Figaro, Adam Plachetka’s resonant baritone, perfect diction, and commanding stage presence provided for a perfect fit for the role. Equally outstanding, Inna Demenkova’s Susanna impressed by her vocal technique and beautiful tone, although her acting was sometimes too exaggerated. Nevertheless, her singing of “Deh vieni non tardar” was one the high points of the evening.
That exaggeration in the acting was not exclusive to her, though, as the stage direction of Stephen Lawless felt sometimes too heavy on slapstick and histrionics. There was too much jumping on the bed, too many sexual gestures, especially in the first two acts. Fortunately, the acting became more natural as the opera progressed.
Other roles were equally well sung, especially the Cherubino of agile Angela Brower, and the multifaceted portrayal of Count Almaviva by John Chest. Hailey Clark was a strong countess, her “Porgi amor” surely deserving the mini ovation she received.
Finally, Young Artist Dylan Gregg’s Antonio was not only well sung, but acted most convincingly.
The short interventions of Palm Beach Opera Chorus were well done as always. The orchestra, however, really shone under the direction of Gary Thor Wedow. An early music specialist, Wedow made the Palm Beach Opera Orchestra sound like a period instrument band. His emphasis on the woodwinds brought a clarity and lightness of playing that have not been heard in previous productions of Mozart. One can only hope to have him back for more.
Le nozze di Figaro can be seen at 2 p.m. Sunday at the Kravis Center for the Performing Arts, 701 Okeechobee Blvd., West Palm Beach. For tickets, call 561-832-7469 or visit www.kravis.org.