McVicar's `Figaro’ Is Delightful, Relevant

Giorgio Caoduro, left, and soprano Shin Young-ok appear as lovers in David McVicar’s production of ``Le Nozze di Figaro.’’ /Seoul Arts Center

The Opera Theater of Seoul Arts Center celebrated its grand reopening Friday with Mozart’s ``Le Nozze di Figaro (Marriage of Figaro),’’ which continues through Saturday. Hot young singers sizzled in the heartfelt, very relevant rendition by David McVicar, which will appeal to both opera newcomers and educated fans.

Some say that ``Figaro’’ is overly performed in Korea, where the repertoire is indeed limited for a genre that is considered an acquired taste, even among classical music fans. The majority of the audience of any given show here are new to opera. Mozart’s wholesome happy ending nevertheless satisfies Koreans’ need for reconciliation, a sentiment that is reflected in local traditional folk tales, even the most sinister.

The Royal Opera House Covent Garden production, performed for the 250th anniversary of the birth of Mozart in 2006, was revived by Justin Way in the fully packed, renovated theater (now modernized while retaining its classic, red and gold décor). Opera goers won’t be disappointed sitting in the comfortable new seats while marveling at the sight of beautiful young singers in an elegant set. The 19th-century French chateau setting, with exceptional lighting techniques, effused with warmth, while the Korean Symphony Orchestra, led by Ion Marin, offered tasteful, harpsichord-ridden music.

McVicar changed the setting of ``Figaro’’ to French Revolution of 1830, and so the philandering Count’s outdated, feudalist attempt to claim the virginity of Susanna, the lovely bride-to-be of his servant Figaro, seems all the more distasteful. The opera’s Enlightenment Age concern with respecting physical and spiritual love for marriage is all the more pertinent in modern Korea, as Mozart’s notion of love as a ``democratizing force’’ amid a complex, Shakespearean scenario appeals to a culture obsessed with TV soaps featuring star-crossed romances triumphing over social class gaps and family feuds.

Baritone Giorgio Caoduro _tall, handsome and not yet 30 _ was perfect as the saucy Figaro, with his charming presence and refinement. While his singing in the first half of the production was rather flat, his chemistry with beloved soprano Shin Young-ok was nevertheless palpable. At 47, Shin retained her svelte dancer’s physique and girlish charm and was convincing in her role as the blushing bride Susanna. She gave a consistent performance that showed why she’s a leading singer at the Metropolitan Opera.

The Count and Countess were also played by attractive young singers. Yun Hyung, a baritone who has appeared opposite opera greats like Renee Fleming since being discovered by Placido Domingo, was dashing, with measured expressionism and a clean, fluid voice. As the Countess, soprano Sara Jakubiak was striking with her supermodel good looks, but her performance of the famous aria in Act II was less than stellar compared to her lovely vocals in the other parts of the opera.

David Dong Qyu Lee, an internationally acclaimed countertenor barely over 30, was at the center of the comedy. Chosen as a Next Generation Artist by The Korea Times, he was uncompromising in his role as Cherubino. It was indeed a spectacle to see an actual man play the male part usually assumed by mezzo-sopranos. Lee’s impish demeanor and his towering, masculine physique, clearly not quite fitting for a man who’s supposed to be prettier than a woman, gave way to a rumble of laughter throughout the performance, though with Lee’s usually perfect pitch slightly off during the first half of the production.

McVicar’s sexually charged rendition _ though it must be stressed that it was much more comical than erotic _ evoked much laughter from the crowd. But certain parts by the Scottish director, who had stirred up controversy with explicit orgy scenes in other productions, were slightly raunchy for the reserved Korean audience. And yet, the opera, like the director said, steered away from traditional slapstick for a ``more heartfelt, painful reading of the text.’’

``Figaro’’ was indeed an inviting opera that was most appropriate for a festive theater reopening. Three more performances will be held at 7:30 p.m. on Tuesday, Thursday and Saturday at Seoul Arts Center. The audience is invited to watch, listen and participate with a clap of the hands and a bout of laughter. Tickets cost from 40,000 won to 200,000 won. Call (02) 580-1300.