New York — Like the marriage at the center of the story, what may be most surprising about "Le Nozze di Figaro" at the Metropolitan Opera - the opening night gala production on Monday - is that after months of upheaval, it went on at all.
Because of contract negotiations, the 2014-15 season was in jeopardy until mere weeks ago. Even in the hours just before the gala, protestors gathered outside, railing against the upcoming production of John Adams' controversial "The Death of Klinghoffer" which they decried as anti-Semitic. The HD transmission originally planned of that performance has already been canceled.
None of this, however, was able to thwart the chance to experience the uplifting brilliance of Mozart's masterpiece - in a rendition led by music director James Levine in a new Richard Eyre production that featured several notable performances and smart choices.
Eyre updated the early action to the 1930s, inspired by Jean Renoir's film "The Rules of the Game," which was in turn based on the Beaumarchais play that Mozart's librettist Lorenzo da Ponte adapted for the opera. While not a transformative update - which is fine, "Figaro" needs none - it did provide some interesting visual elements.
Set and costume design by Rob Howell centered on an ornate bronze Moorish manor house that revolved so that the audience could follow the action from room to room. If occasionally cluttered, overwhelming or limiting in terms of space for the performers, it was an intriguing concept. Glamorous robes for Count and Countess Almaviva were also a nice touch.
While the plot turns on the servants' nuptials and the many obstacles that they must overcome, the more interesting marriage is arguably that of their masters. In this production, it certainly was.
Amanda Majeski made about as high profile a house debut as one can as the Countess. Some nerves may have been inevitable, and there were a few shaky moments. But her regal presence and distinctive soprano - warm, limpid and well-projected without sounding heavy - marked an artist with real potential.
Her "Dove Sono" - intelligently staged near an imposing, empty dining table that seemed to represent her state as a noblewoman - affectingly communicated the fragility of a young, neglected wife.
Peter Mattei, one of the Met's most consistent performers, was in great form. His Count was intense and impulsive, with a rich and fiery "Hai gia vinta la causa." His desire and genuine affection for his wife came through especially well in a touchingly staged finale.
Ildar Abdrazakov made a vocally sumptuous Figaro, with a dark, dynamic and well-supported bass, despite occasional dramatic stiffness. Interestingly, he appeared more aristocratic than his master.
Marlis Petersen's Susanna blended well with Majeski and offered a serene rendition of her final aria. Still, her soprano and demeanor were often both overly cool, and her tone sometimes became shrill and thin.
Isabel Leonard made a winsome, pure-voiced Cherubino, complete with an amusing sashay in heels and Suzanne Mentzer made a welcome cameo as Marcellina. Ying Fang's Barbarina was just as hormonally charged as the page and sung with surprising depth.
Eyre's direction was clever in scenes that tend to stretch bounds of believability - Cherubino ducking under a cloth when the count enters unexpectedly, husbands not realizing their wives are in disguise. Still, some early scenes - notably Figaro's aria "Se vuol ballare" - were awkwardly understaged.
Levine led an affectionate, detailed reading of the score that was at its best in ensembles, such as the effusive Act II finale with its frenzied whirl of activity. Yet too often, it lacked the propulsive energy that is tied so inextricably to the plot, with overly slow tempo choices and some arias that were not as well coordinated as they should have been.
This was not the absolute triumph that would have made the sweetest ending to the Met's summer drama. Still, as the piece came to its lush conclusion, it was impossible to ignore the feeling of satisfaction that comes from this beautifully constructed work. If not all went off without a hitch, nor does it in the story, and that's not enough to overshadow the talent that went into creating the piece in Mozart's day or that is on the Met stage now.
Le Nozze di Figaro
Where: Metropolitan Opera, Broadway and 66th St., New York
When: Sept. 25, Oct. 2, 7, 10, 14, 22 at 7:30 p.m.; Sept. 27, Oct. 25 at 8 p.m., Oct. 18 at 1 p.m. Continues in December with a new cast.
How much: $30-$495, call (212) 362-6000 or visit metopera.org