Рецензии прошлых постановок
4Yet the novelties of the evening did not stop there; under Raphaël Pinchon, Mozart’s familiar score rang out as new, as fresh, and as lithe as one could never hope to hear it. Pichon’s take is concise but pensive, detailed but unsentimental. From the breakneck impetus of the overture, the high strings glowed with a colorful ebullience, the reeds were rich and plangent, and brass shone through with muscle and refinement. But the pallet was deployed in good measure with subtle, unexpected uses of rubato highlighting multipart orchestrations undergirding the vocal lines. Even the secco recitatives felt new and exciting, played as they were on fortepiano with Ronan Khalil’s light touch. With clean, almost surgical incisions into the score, Pinchon’s happy vivisection of Figaro yielded a performance uncommonly alert and unusually alive.
The Handel & Haydn Society, at the modern extreme of its current chronological and temporal range, brought an exquisitely played and sung, and very well-blocked and costumed Marriage of Figaro to a nearly full Symphony Hall on Thursday and a sold-out one on Friday. Ira Pedlikin, VP of Artistic Planning and Concert Production, had collaborated with conductor Raphaël Pichon in hiring the cast and creative team. After two rewarding weeks of rehearsal, but with only a couple of days to do the blocking in Symphony Hall, the cast, conductor, and fortepianist melded as if long-time collaborators with the responsive and sonorous H+H orchestra and chorus The beloved Harry Christophers has left the H+H Period Orchestra and Chorus in fine fettle. Responding to Raphaël Pichon with conviction and advanced chops, the orchestra earned the laurels and rose petals that Basilio had strewed so carelessly. Whether in Janissary frenzy, aristocratic restraint, or consoling reverence, Pichon nailed every nuance of this evergreen moral fable. Everyone in the sold-out house realized that we had collectively experienced a great and memorable night in the musical theater firmament.
