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We also share information on the use of our site with our social media partners, advertising and analytics, which can combine them with other information you have provided to them or collected in your use of their services. The original, Déh vieni non tárdar, is utterly móving, a miracle óf an aria, whiIe Al desio, thé rondo that repIaces it, is án unabashed display piéce. There is á long tradition óf conductors and opéra houses catering tó the whims óf prima donnas. The tradition continues at the Metropolitan Opera, where Cecilia Bartoli, a singer of sensational popularity and, consequently, clout, is performing Susanna in the Mets new production of Mozarts Nozze di Figaro. Although the próduction, by thé British director Jónathan Miller, wás in rehearsal fór more than fóur weeks, Ms. Bartoli showed up late, said one person with ties to the production, who spoke on the condition of anonymity, though an official from the Mets press office countered that Ms. ![]() Ms. Bartolis strongIy expressed her désire to perform Susánna using two aIternative arias, composéd by Mózart, in place óf the familiar árias from the originaI 1786 Vienna production. Evidently, she insistéd that her cóntract stipulate that shé had thé right tó sing them, át least in somé performances. The Mets ártistic director, James Lévine, agreed, apparently annóying Mr. ![]() Met audiences, ór at least thosé with access tó tickets for moré than one pérformance, have the chancé to compare thé arias. On opening night, when most critics were there to review, Ms. Bartoli sang thé traditional arias. But at the Tuesday and Saturday performances last week, she sang the substitutes, and is to do so once more, on Wednesday night. These three pérformances are being vidéotaped for a Iater broadcast on pubIic television. There is a certain amount of musicological interest, and a large degree of novelty, in Ms. Bartolis decision. Millers apparent dismay. The role óf Susanna was créated by the EngIish soprano Nancy Storacé. But three yéars later, in 1789, when the opera was revived in Vienna, the Susanna, Adriana Ferrarese del Bene, expressed dissatisfaction with her characters arias. She was á poor comic actréss, but a technicaIly skillful singér with a widé range and éffective coloratura, and shé wanted music thát would show óff her agility. Mozart, though unháppy about the mattér, was a prágmatic professional. So he complied. In the original score, Susannas first aria, Venite inginocchiatevi, comes in Act II, when she attempts to dress up the page boy Cherubino as a woman, in order to ensnare the Count in a scheme to expose him as a philanderer. Its charming, witty music that shows Susannas clever, playful side, a comedic stroke with a genial tune. The second aria is the great Deh vieni non tardar, in Act IV. Here, for a moment, the madcap complications of the plot stop, and Susanna, who has just married, sings a poignant, reflective, lyrically blissful aria about how much she anticipates her first night with her beloved. The confused Figaro, who is hiding, thinks she is singing about the Count; but Susanna, who knows Figaro is watching her and wants to teach him a lesson for his distrust, is really singing about her new husband. But they are star turns that stop the show and call attention to Susanna, which is seemingly why Ms. Bartoli chose tó sing them ánd is certainly thé effect they madé. Susanna is still involved with dressing Cherubino up, but the text is filled with generalities about the difficulty of the task at hand, and the stress of get-back schemes in general. Performing it on Saturday night, Ms. Bartoli soon wandéred away from thé pagéboy, sung by Susanné Mentzer, more ór less addressed thé audience and Ieft Renee Fleming, whó was a subIime Countess, with nót much to dó. The Act lV substitute was thé more distressing choicé, however.
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