Your guide to classical music online

Lovely New Soprano in Met’s “Ory”

Robert Levine

Metropolitan Opera House, Lincoln Center, NY; January 29, 2013—Bartlett Sher’s 2011 production of Rossini’s last comic opera, Le Comte Ory, is back at the Met. The slight plot concerns a randy young Count who, upon hearing that all of the men at a castle have gone off to fight in the crusades, arrives with his men to seduce the women; he is disguised as an ascetic hermit. His Page, Isolier (a trouser role), is in love with the castle’s Countess Adele—just the woman he, Ory, is after himself. Just as he is getting somewhere with the melancholy Countess, his tutor comes and unmasks him. The second act finds the Count and his men back at the castle, disguised as nuns—a funny enough image just to imagine—and late in the opera the Count, Isolier, and the Countess all wind up in bed together before the men return from the Crusades and the Count makes his escape.

The stage-within-a-stage set by Michael Yeargan and Sher’s concept still seem half-baked: why present it with the addition of stagehands, the obvious workings of the lights and thunder machine, supernumeraries drawing curtains, etc, when its farcical charm can work just as well without gimmickry? It doesn’t hurt either the opera or the performances, but one wonders. The brilliantly colored costumes are by Catherine Zuber.

Returning in the title role is Juan Diego Florez, as entertaining and scene-stealing as ever, with high-Cs easy and secure, with coloratura in place. Watching him prance about as Sister Colette is unforgettable. Mezzo Karine Deshayes sings Isolier with verve and charm, but she has trouble projecting in ensembles. The big news is the Met debut of South African soprano Pretty Yende, a stunning woman with real stage presence, a beautiful voice, and high notes solid and appealing. Her coloratura and staccatos are spotless. She’s a real find; the Met should treasure her. The three of them in bed for their extended, glorious second-act trio is worth the whole evening.

The normally fine Nathan Gunn seems vocally miscast as the Count’s co-conspirator and friend, Raimbaud; much of his big patter number lies in a weakish part of his voice. But he’s very much in the spirit of the opera and adds wit and charm. Nicola Ulivieri as the fun-spoiling Tutor is impressive, and Susanne Resmark, as the Countess’ companion, Ragonde, also a holdover from the original production, repeats her impressive, dark-toned, smug portrayal. Maurizio Benini leads a vivid, energetic performance. A delight!

Search Music Reviews

Search Sponsor

  • Insider Reviews only
  • Click here for Search Tips

Visit Our Merchandise Store

Visit Store
  • Ideally Cast Met Revival of Gounod’s Roméo et Juliette
    Metropolitan Opera House, Lincoln Center, NY; March 19, 2024—The Met has revived Bartlett Sher’s 1967 production of Gounod’s R&J hot on the heels of its
  • An Ozawa Story, November, 1969
    Much has justifiably been written regarding Seiji Ozawa’s extraordinary abilities and achievements as a conductor, and similarly about his generosity, graciousness, and sense of humor
  • Arvo Pärt’s Passio At St. John The Divine
    Cathedral of St John the Divine, New York, NY; January 26, 2024—When one thinks of musical settings of Christ’s Passion, one normally thinks of the