Of the many great classical music events this year in New York, seven with some Jewish content particularly stood out:
1: Mozart collaborated on three operas with librettist Lorenzo Da Ponte, who was born to a Jewish family in the Ghetto of Venice. All three are among the greatest ever written, and explore issues of identity and disguise — subjects familiar to Jews throughout history. Jewish Hungarian conductor Ivan Fischer specializes in making familiar music fresh, and he certainly delivered with his brilliant, playful, semi-staged version of “The Marriage of Figaro,” the first of the three, at Lincoln Center’s Mostly Mozart Festival.
Figaro, which Napoleon called “the first cannon shot of the revolution,” is a comedy about class and entitlement (or the lack thereof). Da Ponte helped Mozart distill the layers of deception in the original Beaumarchais play. For this semi-production, Fischer distilled them further, eliminating sets and scenery entirely, except for costumes hanging overhead. One by one each “disguise” descended, spotlighting each character’s transitions.
The Budapest Festival Orchestra, which Fischer created and is now widely considered one of the finest in the world, in this production mixed authentic 18th century with modern instruments to create a remarkably vital realization of the score. Focused by these spare suggestive choices, one felt as if hearing the work as it must have felt the first time it was played.
The performance easily equaled Fischer’s thrilling bare-bones staging of “Don Giovanni” from a couple of years ago and artistic director Jane Moss is trying to convince Fischer to take on the third of the Mozart / Da Ponte trilogy, “Cosí Fan Tutte.”