The Kennedy Center's opera house was abuzz with energy at a recent performance of Mozart's "Le Nozze di Figaro," defying the uncertainty that has shrouded the institution since Trump took over as its board chair. The Washington National Opera, one of the center's most prized constituents, had been facing an uncertain future due to governmental interference and ticket sales plummeting.
However, last weekend's production of "Figaro" was a resounding success, with the cast delivering strong performances that left the audience in stitches. Artistic director Francesca Zambello took umbrage with fans who have boycotted the venue over recent controversy, declaring "By boycotting us, you are killing art!"
The opera's production, staged by Peter Kazaras, was a masterclass in comedic timing and clever staging. The cast, led by Rosa Feola as Countess Almaviva, Will Liverman as Figaro, and Joélle Harvey as Susanna, delivered standout performances that showcased their impressive vocal range and acting chops.
Feola's shimmering soprano stole the show in her aching "Porgi amor" and hopeful "Dove sono," while Harvey brought a youthful energy to her role as Susanna. Liverman, meanwhile, proved himself to be an excellent Count Almaviva, bringing a menacing intensity to his performance.
The opera also featured a talented cast of supporting actors, including Hakeem Henderson as Don Curzio and Sir Willard White as Bartolo. Even the smallest roles were cast with care, adding to the overall sense of ensemble and cohesion on stage.
Despite the controversy surrounding the Kennedy Center, the "Figaro" production proved that opera can thrive in this environment. As Zambello so aptly put it, by boycotting the venue, fans are indeed killing art – but fortunately for music lovers, great performances like this one will continue to bring joy and beauty to our lives.
The success of this production raises questions about the future of concert operas and their place in the city's cultural landscape. With the Washington Concert Opera (WCO) continuing to thrive despite economic uncertainty, it seems that there is still a appetite for these unique events. The WCO has consistently presented three works each season, making them a vital part of the city's performing arts scene.
However, other opera companies are not as fortunate. The New York City Opera, which was once the world capital of concert opera, has seen its fortunes dwindle in recent years. With the demise of the American Opera Society and the Opera Orchestra of New York, concert operas have become a rare occurrence in the city.
In contrast, WCO continues to march on, presenting high-quality productions that showcase the talents of its singers and musicians. The company's commitment to unusual repertoire is a testament to their dedication to the art form, and their performances are always worth attending.
As for Gluck's "Iphigénie en Tauride," the Washington Concert Opera's recent production was a mixed bag. While mezzo-soprano Kate Lindsey delivered a haunting performance as Iphigénie, her bland French failed to register compellingly at times. The orchestra struggled to find its footing, with conductor Antony Walker's polite conducting lacking the propulsive spark to enliven the opera.
The most egregious mistake, however, was the wildly excessive amplification of the fortepiano, which disrupted the balance of the performance and made it sound like a piano concerto. Despite this, Lindsey's performance as Iphigénie was notable for its passion and conviction, and her chemistry with the supporting cast was undeniable.
In conclusion, the Washington National Opera's production of Mozart's "Le Nozze di Figaro" is a testament to the power of great performances to bring people together. Despite the uncertainty surrounding the Kennedy Center, this opera proved that art can thrive in even the most trying circumstances. As for the future of concert operas in New York City, it remains to be seen whether they will continue to flourish or fade away into obscurity. But one thing is certain – great performances like this one will always bring joy and beauty to our lives.
However, last weekend's production of "Figaro" was a resounding success, with the cast delivering strong performances that left the audience in stitches. Artistic director Francesca Zambello took umbrage with fans who have boycotted the venue over recent controversy, declaring "By boycotting us, you are killing art!"
The opera's production, staged by Peter Kazaras, was a masterclass in comedic timing and clever staging. The cast, led by Rosa Feola as Countess Almaviva, Will Liverman as Figaro, and Joélle Harvey as Susanna, delivered standout performances that showcased their impressive vocal range and acting chops.
Feola's shimmering soprano stole the show in her aching "Porgi amor" and hopeful "Dove sono," while Harvey brought a youthful energy to her role as Susanna. Liverman, meanwhile, proved himself to be an excellent Count Almaviva, bringing a menacing intensity to his performance.
The opera also featured a talented cast of supporting actors, including Hakeem Henderson as Don Curzio and Sir Willard White as Bartolo. Even the smallest roles were cast with care, adding to the overall sense of ensemble and cohesion on stage.
Despite the controversy surrounding the Kennedy Center, the "Figaro" production proved that opera can thrive in this environment. As Zambello so aptly put it, by boycotting the venue, fans are indeed killing art – but fortunately for music lovers, great performances like this one will continue to bring joy and beauty to our lives.
The success of this production raises questions about the future of concert operas and their place in the city's cultural landscape. With the Washington Concert Opera (WCO) continuing to thrive despite economic uncertainty, it seems that there is still a appetite for these unique events. The WCO has consistently presented three works each season, making them a vital part of the city's performing arts scene.
However, other opera companies are not as fortunate. The New York City Opera, which was once the world capital of concert opera, has seen its fortunes dwindle in recent years. With the demise of the American Opera Society and the Opera Orchestra of New York, concert operas have become a rare occurrence in the city.
In contrast, WCO continues to march on, presenting high-quality productions that showcase the talents of its singers and musicians. The company's commitment to unusual repertoire is a testament to their dedication to the art form, and their performances are always worth attending.
As for Gluck's "Iphigénie en Tauride," the Washington Concert Opera's recent production was a mixed bag. While mezzo-soprano Kate Lindsey delivered a haunting performance as Iphigénie, her bland French failed to register compellingly at times. The orchestra struggled to find its footing, with conductor Antony Walker's polite conducting lacking the propulsive spark to enliven the opera.
The most egregious mistake, however, was the wildly excessive amplification of the fortepiano, which disrupted the balance of the performance and made it sound like a piano concerto. Despite this, Lindsey's performance as Iphigénie was notable for its passion and conviction, and her chemistry with the supporting cast was undeniable.
In conclusion, the Washington National Opera's production of Mozart's "Le Nozze di Figaro" is a testament to the power of great performances to bring people together. Despite the uncertainty surrounding the Kennedy Center, this opera proved that art can thrive in even the most trying circumstances. As for the future of concert operas in New York City, it remains to be seen whether they will continue to flourish or fade away into obscurity. But one thing is certain – great performances like this one will always bring joy and beauty to our lives.
the cast did an amazing job, especially Feola and Harvey, and I loved how the supporting actors added to the overall energy of the show 
Interesting that it's proof that opera can still thrive despite controversy surrounding the venue 
The success of WCO is a great sign for the future of concert operas in NYC 
! I MEAN, WHO DOESN'T LOVE A GOOD MOPPET OPERA ANYWAY?! SERIOUSLY THOUGH, IT WAS AMAZING TO SEE SUCH TALENTED PERFORMERS LIKE ROSA FEOLA AND WILL LIVERMAN SHINE ON STAGE. THE CAST'S CHEMISTRY WAS ON POINT AND THE PRODUCTION WAS TRULY A MASTERCLASS IN COMIC TIMING AND STAGING 
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I'm so glad to see the Kennedy Center's opera house coming back to life after that uncertain time under Trump 
. The recent performance of "Figaro" was truly amazing, with the cast delivering top-notch performances that left everyone in stitches 
. It just goes to show that art can thrive even when faced with controversy and uncertainty 
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. With the Washington Concert Opera (WCO) continuing to do well, it's clear that there's still a demand for these unique events 
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. It really made you feel like you were part of a larger ensemble, rather than just watching individual performers shine 
. And let's not forget Francesca Zambello's passionate statement about boycotts killing art – it's so true! 
I mean, who cares about the drama surrounding the Kennedy Center? The music spoke for itself! 
Francesca Zambello is a genius, and Peter Kazaras's staging was pure magic 
. And can we talk about Rosa Feola's voice?! 
. Not to mention the supporting cast, they were all on point 
! The recent performance of Mozart's "Le Nozze di Figaro" was absolutely stunning, and I'm loving how Francesca Zambello is calling out fans who are boycotting the venue over controversy. Like, boo to that negativity 
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. And what's with the "art can't survive without our love and attention" nonsense? Like, I get it, opera needs funding, but does that mean we need to compromise on quality just to stay afloat? 
. The cast was incredible, especially Rosa Feola as Countess Almaviva – her voice is like butter for the soul 
I'm literally still reeling from that incredible performance of Figaro at the Kennedy Center last weekend! The energy in the opera house was electric, it felt like the whole audience was on their feet cheering for more 
I mean, girl is giving me LIFE! The cast delivered performances that were straight fire, Rosa Feola's voice was literally butter for my ears 
and Will Liverman's comedic timing had me dying laughing 
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. And to the fans who are boycotting the venue, I feel you, but come on guys, art is what makes life worth living 
. It's like they're slowly disappearing into obscurity, and it's hard not to feel a little guilty about that 
. I'm so glad to see the Kennedy Center's opera house buzzing with energy again - it's a reminder that art can thrive in even the most uncertain times 
i was just watching a vid of cats playing the piano and i swear they r naturals lolol like who knew cats cld rock like that? anywayz back 2 opera thingzz... i think its kinda sad that the NYC Opera is strugglin but i guess the WCO is doin its thang 
the cast was literally on fire 
but i guess you can take the boy out of new york city and put him in washington dc and hell still be able to bring some magic to the stage