On March 24, “Le Nozze di Figaro” was offered at the Philharmonie Luxembourg in a concert version with the Basel Chamber Orchestra conducted by Giovanni Antonini.

A chamber orchestra is not only well-suited to the Grand Auditorium of the Philharmonie Luxembourg, but also allows us to better appreciate Mozart’s orchestral structure than with a symphony orchestra, thanks to a clearer understanding of the relationships between the orchestral sections, while also revealing more openly the imperfections of the performers. Tonight, for example, the winds, especially the bassoons, seemed almost distracted in their playing, and the Overture is virtually treated as if it were a violin concerto, with the first violin as its principal performer. Although Mozart often used the concertante form, even in his quartets, it does not seem to be the most appropriate here. Above all, the orchestra’s main fault is that it plays very fast, thus damaging Mozart’s lacework. The tempo giusto in Mozart’s operas is one of the most difficult things, and many conductors, not least Karajan and Neville Mariner, have failed to find it in every version. Even Erich Kleiber is still too quick, despite his dizzyingly elegant mastery of the orchestra. It’s that he doesn’t confuse speed and haste with them, which the Italian conductor does right from the overture. It takes him a long time, during which the arias temper his haste, to get anywhere near it.

The performers, while not ideal either, nevertheless managed to offer an agreeable version of their characters. Canadian bass Robert Gleadow‘s Figaro, as is often the case with him, is very playful, perhaps too much so, exaggerating the valet’s comedia dell’arte character. Nevertheless, his articulation and diction are spot-on, and his firm, tender timbre makes Figaro almost a caricature. He pairs well with German soprano Nikola Hillebrand‘s Susanna, whose assured suavity characterizes the supple intelligence of the maid. The opening duet of the first act is thus particularly well typified, with characters of complementary character. And the Figaro solo that follows shows Figaro’s humor in all its appropriateness. Beyond the duets with Figaro, those with Susanna and Countess Almaviva show that the union of women is opposed to the dispersion of men. However, German soprano Anett Fritsch as the Countess lacks the ribbon of high, fresh notes during “Susanna, or va sortite.” But her solos, especially the one during which she confesses her love for the Count, “E Susanna non viene,” with her almost mezzo tessitura, are remarkable.

German mezzo-soprano Anna Lucia Richter as Cherubino characterizes the young teenager who discovers his libido, but unfortunately she misses the first “Voi che sapete” by singing it so fast that even the surtitles can’t follow. The second time she sings it more slowly, but still too quickly.

German-Italian mezzo Anna Doris Capitelli as Marcelline is more to our liking. Her duet with Susanna is particularly successful. And we likewise appreciate South Korean soprano Shinyoung Kim as Barbarina, whose freshness does not contrast with the intelligence of Mozart’s women.

Anglo-Irish tenor Joshua Spink and Italian baritone Riccardo Novaro successfully portray their characters, with a cartoonish drollery that is particularly captivating.

Count Almaviva, played by Austrian bass-baritone Florian Boesch, is undoubtedly the most successful character, as he doesn’t try too hard to draw out his features, which makes it easier to grasp him. He lets the dark side of the character shine through in his libidinous moments, hinting at the Don Giovanni and Don Alfonso of Cosi to come.

More than the arias, however, it’s the recitatives that hold the attention, giving the evening a more sung-theater than opera feel, but one that’s a lot of fun. A highly entertaining evening.