I grew up on a steady diet of musicals and Gilbert & Sullivan – not grand opera. Unless you count Pavarotti singing O Sole Mio with Bryan Adams in that iconic 1994 concert, that is. And as a Seinfeld fan, the word “opera” instantly conjures the Pagliacci episode – deranged clown and all. So, when opera comes up, my pop-culture-addled brain defaults to sitcoms and sad clowns.
When I was invited to a press screening of Mozart’s Le Nozze di Figaro, I saw it as my chance to finally get opera educated. The Met: Live in HD series brings the operas of New York’s famous Metropolitan Opera House to Ster-Kinekor and Cinema Nouveau, and for the first time, Cape Town audiences can join the global live stream at Ster-Kinekor V&A Waterfront.
Each production also gets two encore screenings, giving newcomers and seasoned fans another chance to catch the spectacle.
Launched in 2006, the series pioneered bringing high art to cinemas. With more than 31-million tickets sold worldwide, it remains one of the most successful ventures of its kind.
Mozart’s Le Nozze di Figaro is a sharp comedy of love, betrayal and mistaken identity. Figaro plans to marry Susanna, but their big day is threatened by the lecherous Count Almaviva. Through quick twists and clever plotting, they outsmart him – proof that love and strategy can topple ego. Originally staged in 1786 (talk about staying power), this revival sets the action in 1930s Seville, adding just enough modern flair to keep things fresh.
It’s an “upstairs-downstairs” tale that was wildly controversial in its day – the idea of servants outsmarting their masters was enough to get the play banned in Vienna. What struck me, though, is how much it echoes the #MeToo era: think Harvey Weinstein, but with arias.
Beneath the comedy, the men are incorrigible and constantly harassing the women, who must scheme just to stay ahead. Maybe that’s part of its longevity – more than two centuries on, human behaviour hasn’t changed all that much.
A 1786 plot with 2025 relevance
What surprised me most is how timeless the comedy is – things that were funny in the 1700s are still funny in 2025. Someone jumping out of a window and smashing a pot plant, hiding under a bed or a blanket – it’s pure tomfoolery, but the comic timing is so sharp, I was genuinely surprised by how much I laughed.
The stage design is grand, with rotating scenery that lets characters move seamlessly between rooms. Carved from dark wood, it creates a dramatic, shadowy atmosphere. The costumes, especially the countess’s, are beautiful, but with everything in dark tones of maroon, brown and black, they blend into the set, making it a bit hard to fully appreciate the details.
As you wait for the performance to start, you watch the Met audience settle in and hear the orchestra tuning their instruments – it almost blurs the boundary between you and the live experience, pulling you into the moment.
For someone new to opera, the real game-changer is the English subtitles. While I’d have gotten the gist of the play, the subtitles allow you to fully understand what’s being sung and discussed, making all the difference.
A major downside for today’s fast-paced audience is the opera’s length – it is very, very long. In 1786, the show was a grand event, but now, just under four hours feels like a serious commitment. That said, the film screening includes a much-needed interval and interviews with the stars. The elderly man next to me – clearly a regular – was fully prepared, settling in for the long haul with a bottle of red and a baguette.
The length of the performance made me wonder about opera’s appeal to younger audiences. The movie theatre was mostly filled with elderly people – though, to be fair, it was lunchtime on a Tuesday. Still, Le Nozze di Figaro is a universally good story that transcends age, if you can overlook the runtime.
What’s most valuable is that showing operas in movie theatres – whether on film or live – gives more people access to this incredible experience. “From the start, The Met: Live in HD was designed to connect the Met to a global audience,” said Peter Gelb, the Met’s general manager. “We’re thrilled to see audiences returning to cinemas in greater numbers since the pandemic.”
Ster-Kinekor has also featured plays from London’s National Theatre, and I’ve enjoyed several, including Fleabag, Good and The Crucible. Let’s hope they continue offering these experiences.
Still to come on The Met: Live in HD lineup are the repeats of Strauss’s Salome (June 1 and 3 at the V&A Waterfront) and Rossini’s Il Barbiere di Siviglia (June 29 and July 1 at the V&A Waterfront). For Joburg screenings, keep an eye on the Ster-Kinekor website.
And let’s not forget that opera is alive and well in South Africa – Aida is currently on in Cape Town until May 31, and the Johannesburg Opera has some fantastic, more intimate events at Northwards in the coming months. While it’s fun to see The Met in action, let’s also support our local talent!
All images: Le Nozze di Figaro. Pictures: Supplied.
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