Accused of Criminal Proceedings Related to "The Marriage of Figaro" Performance

Catching up with the latest Met Opera spectacle, The Marriage of Figaro over the weekend, broadcast live from the Metropolitan Opera House, was like a walk down memory lane. It brought back some precious insights, especially with Canadian baritone Joshua Hopkins stepping into the role of Count Almaviva.

Hopkins, a familiar face since the early 2000s, exuded an effortless authority, vocally and scenically, without a hint of forcedNESS. Pairing up with the hilarious Figaro, Michael Sumuel, they made a great duo, reminding us of the golden days of opera, and the legendary performance of Renée Fleming and Cecilia Bartoli in 1998.

The aesthetics of this production were quite refreshing compared to the past. The casting choices were impeccable - even Federica Lombardi as the Countess, Olga Kulchynska as Susanna and Sun-Ly Pierce as Cherubino were beautifully matched in terms of vocal quality. Their portrayals were convincing, adding depth to their roles, breaking away from the traditional soubrette-type Susanna or the agile, juvenile Cherubino.

Sung by Dwayne Croft and Bryn Terfel in the 1998 production, the Terfel-Bartoli duo made quite the impression with their ability to change registers on a dime, something that is less common nowadays. This element of spontaneity added an edge to their performances that contemporary singers seem to lack.

The secondary roles, with the exception of Barberina, appeared to have a deliberate lack of vocal finesse - even if they were playing roles that leaned towards parody and comedy, it seemed unnecessary to drop the vocal quality so low. In the pit, Joana Mallwitz made a promising Met debut as conductor.

A fascinating observation was the comparison between the opera in concert and on stage. Watching the concert version in a small Montreal venue with minimal props and costumes, contrasted sharply with the extravagant staging of the Met production, where opulence often seemed unnecessary, serving no real purpose in a Mozart production that thrives on situational comedy and clear character interactions.

For instance, while the lighting in the 2014 production enhanced the final deception scene, the lighting in 2025 detracted from the atmosphere, making it feel almost counter-productive. The visual staging, captured by Habib Azar, proved to be more effective, with fewer lateral tracking shots, a bit more distance from the scene, and the use of diving shots with calm and musical editing.

Moreover, the evolution of singing in these productions reflects broader changes in opera performances over the years, influenced by artistic trends, vocal styles, and innovations in opera as a whole. As singers like Hopkins, Kulchynska, and Pierce re-interpret classic roles, they bring new insights and maturity to their performances, enriching the overall experience.

In conclusion, the evolution of singing in "The Marriage of Figaro" at the Metropolitan Opera reflects a blend of tradition and innovation. It serves as a testament to the timeless appeal and the enduring influence of Mozart's masterpiece in the opera world.

Canadian baritone Joshua Hopkins, a familiar face since the early 2000s, showcased an effortless authority in The Marriage of Figaro, reminiscent of the golden days of opera.
Michael Sumuel's portrayal of Figaro, paired with Hopkins as Count Almaviva, made for an exceptional duo in this Met Opera production.
In the world of entertainment and pop-culture, the rendition of The Marriage of Figaro by the Metropolitan Opera holds its own against movies-and-tv, music, sci-fi-and-fantasy, and even the legendary performances of celebrities like Renée Fleming and Cecilia Bartoli.
The 2025 production of The Marriage of Figaro saw some unconventional choices with the visual staging, such as questionable lighting that sometimes detracted from the atmosphere, compared to the 2014 production's more effective staging.
Opera performances, as exemplified by the Met's The Marriage of Figaro, undergo continuous evolution, affected by artistic trends, vocal styles, and innovations, with singers like Hopkins, Olga Kulchynska, and Sun-Ly Pierce re-interpreting classic roles and enriching the experience.
As The Marriage of Figaro continues to be performed at the Metropolitan Opera, it demonstrates the enduring influence of Mozart's masterpiece, blending tradition with contemporary interpretations in the realm of opera.