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31/10/2018 BWW Review: OPERA GRAND AVIGNON Presents LE NOZZE DI FIGARO
https://www.broadwayworld.com/bwwopera/article/BWW-Review-OPERA-GRAND-AVIGNON-Presents-LE-NOZZE-DI-FIGARO-20181025 1/3
Opera
BWW Review: OPERA GRAND AVIGNONPresents LE NOZZE DI FIGAROWesley Doucette Oct. 25, 2018
Avignon's Opéra Con�uence is a challengingspace, located some kilometers outside the towncenter near the TGV train station. It was recentlyconstructed as a temporary theatre space whilethe city 19th century opera house undergoessigni�cant restoration. The interior of the spaceresembles an exposed wood warehouse with redchairs. At the far end of the theatre, rather than theproscenium �lling out the audience view, a
yawning black screen �lls the space, with the center third cut out for the performance.This scenic letterbox effect, coupled with the added distance made by the pit orchestra,makes dramatic intimacy and scenic delicacy dif�cult. Opéra Grand Avignon'sproduction of Mozart's Le Nozze di Figaro, under the stage direction of Stephan Grögler,turned what is at times a distant screen, into an enchanting diorama in which Gröglersure-footedly welcomes the enchanting tonal and aesthetic contradictions of the 18thcentury opera.
Based on theBeaumarchais playLa Folle Journée ouLe Mariage de Figaro, Mozart, in collaboration with librettist Lorenzo De Ponte, wrote anItalian, and less politically controversial adaptation. Nozze takes place over the course ofa day at Conte Almaviva's estate near Seville. His servant, Figaro, is to marry a servantgirl, Susanna, who is the maid to the countess. The count is jealous and angry at Figaroand attempts to have Figaro married off to a much older woman, and tries to sleep withSusanna. The countess, Susanna, a young page boy, and Figaro all conspire against thecount. While this is a comedy, much of the con�ict regarding the subjugation ofwomen, which would have previously been played for laughs, has been given moregrounded emotional stakes.
Maria Miró, as Countessa Almaviva, received a grand ovation for her velveteen DoveSono. The countess is a character whose concerns could easily be dismissed as thewhims of the wealthy, though, in this performance, her hurt melancholic gaze at ConteAlmaviva is the �nal image of the play. In this moment she has pardoned a man whohas wronged her relentlessly, though, despite this forgiveness, it's clear a journey ofhealing will have to be undertaken. Norma Nahoun is both musically towering anddramatically grounded. She offers the libretto a joyous comedic immediacy. AlbaneCarrère's Voi Che Sapete was similarly greeted with mid-performance ovations. As thespurned count, David Lagares is visually imposing. As Figaro, Yoann Dubruque is acharming and aloof �gure. His voice is warm and welcoming, and his presumed "BugsBunny" like calm is well equaled with Nahoun's Suzanne. Finally, the Orchestre RégionalAvignon-Provence and Choeur de l'Opéra Grand Avignon undergird the full experienceinto a thriving artistic whole.
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31/10/2018 BWW Review: OPERA GRAND AVIGNON Presents LE NOZZE DI FIGARO
https://www.broadwayworld.com/bwwopera/article/BWW-Review-OPERA-GRAND-AVIGNON-Presents-LE-NOZZE-DI-FIGARO-20181025 2/3
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The design elements of the production span from the 18th to mid 20th century, thoughnothing sticks out as particularly analogous. Costumes by Véronique Seymat toe the linebetween the aristocratic and the burlesque, much like the opera itself. Gaëten Seurre'ssublime lighting design gives depth to the distant stage, offering the scenic action thefullness and delicacy of a doll's house. Scenic elements by director Stephan Grögler, incollaboration with painter and decorator Phanuelle Mognetti, have simple silhouettesand graspable concepts, while allowing plenty of room for scenic invention. Bolstered bystellar performances, this Nozze is at once digni�ed and vibrant, enthusiastic andmature.
Image: Poster Opéra Grand Avignon
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More From This AuthorWesley Doucette is a New York based director/choreographer currently gettinghis Masters in Theatre and Culture at the Universit? d'Avignon. Recently heworked as assistant director on Masterworks Theatre Company's inauguralproduction of "The Glass Menagerie." His director credits include Tiny Rhino,"The Rite of Spring," a studio production of Brecht/Weill's "The ThreepennyOpera," and the medieval morality play "Everyman." He is currently
undertaking a new iteration of "Everyman" which enjoyed a development presentation atDixon Place. This production will be performed upstate in 2016 under the artisticmentorship of world renowned dance/theatre artist Maureen Fleming. He is also stagemanager for Maureen Fleming Company. He writes for The Andygram Blog and is a
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31/10/2018 BWW Review: OPERA GRAND AVIGNON Presents LE NOZZE DI FIGARO
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frequent contributor to The New York Theatre Review. He was a member of The OrchardProject's apprenticeship, "The Core Company," in 2013.
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