Last time I saw John Dexter’s 1979 production for the Metropolitan Opera House, that was the Met’s 67th performance of the opera. Eight years later, I am to discover that this evening’s performance happens to be… the 69th. I wrote then that the Met could not produce a soprano like Margaret Price, a tenor like Francisco Araiza or a bass like Kurt Moll as in the good old days, but the cast gathered for the occasion was probably the best available in 2008. I am not sure that I can write the same today. For instance, Pavol Breslik is a superb Mozart tenor. My experience of seeing his Belmonte in 2009 was that it was impeccable. Even if he had become less impressive in this role almost a decade later, he would still be superior to Paul Appleby. To start with, the American tenor’s voice is basically grainy in sound and unfortunately not ingratiating per se. He does have easy high notes, can produce clear runs and seems to be having fun (what is always important in this repertoire). However, his singing is emphatic, short in legato and his phrasing turns around fussy pronunciation, explosive top notes and the kind of graceless ardour one never expects in this repertoire.
In her opening aria, Albina Shagimuratova sounded a bit metallic and vibrant in a way one used to associate with Slavic sopranos. But that was a first impression. Her soprano is unusually full and radiant and, once she warmed up, she proved capable of sculpting her phrases with poise. Although the expression is generalized and her German is not truly spontaneous, she sang Traurigkeit with affection and produced many stunning moments in Martern aller Arten. There, she found some trouble with the (very) low notes and needed extra breathing pauses, but one can excuse her all that: her voice has extraordinary projection, she is not afraid of in alts and produces her coloratura a tempo with relatively little blurring. By the end of the opera, she had the audience on her side. Kathleen Kim too has bright and firm high notes, but her German is sketchy and her intonation can be problematic in the middle register. Both sopranos blended well in ensembles.
Hans-Peter König’s voluminous, glitch-free voice and talent for comedy made him an almost ideal Osmin. The superlow notes in his big aria were true in pitch, if recessed, and yet the fioriture did not truly work. With theatrical flair, he turned this in his favor and, if we consider that there is nobody remotely close to Kurt Moll these days, one could say that he has little competition in this role. He made a good stage partnership with debuting tenor Brenton Ryan (Pedrillo). His voice is a bit thick and dark, but he managed to do fine in both his arias.
James Levine can do little wrong in Mozart. His tempi were animated, coherent with both musical and theatrical demands and, even if the orchestra was a bit rough-edged, he could keep textures always clean and structurally transparent. As always (and very understandably with these extremely difficult vocal parts) he made concessions to his singers, but without spoiling the fun for the audience.