The size of the Metropolitan Opera can be intimidating, even for seasoned artists. The distance from the podium to the stage feels like a mile, and the proscenium stretches with imposing width and height. In the realm of opera, chaos is never beneficial; however, certain pieces require especially precise discipline to make their impact. This necessity calls for conductors who can deftly manage vast orchestras across those extensive distances. Witnessing a veteran conductor make it all work is impressive, but it is even more remarkable when a newcomer like Joana Mallwitz steps into the spotlight.
This month, Mallwitz made her Met debut leading Mozart’s “The Marriage of Figaro,” a farcical comedy that can quickly veer off track without a steady hand at the helm. On Friday, during the middle of this season’s extended run—set to continue with cast changes until May 17—Mallwitz displayed calm and stylish command right from the brisk overture. Throughout the evening, she skillfully maintained a light and silky sound from the orchestra, ensuring it blended harmoniously with the charming singers instead of overshadowing them.
The yearning winds that play during Cherubino’s aria “Non so più” resonate with the character’s teenage longing. Mallwitz expertly guided those winds to soar, emphasizing true sweetness with a hint of ache. In Cherubino’s second significant number, “Voi che sapete,” her direction was characterized by elegant clarity, with each plucked pizzicato note in the strings present and unified without being overly emphasized. This balance created a spirited and forward-moving interpretation of “Figaro.”
What sets Mallwitz apart is her ability to avoid the common pitfalls that many young conductors encounter. Instead of rushing the performance toward extremes of tempo and dynamics—favoring loud and fast interpretations—she showcased her artistry through restraint. In the long, zany, and ebbing-and-flowing finale of the second act, Mallwitz patiently paced the action, skillfully releasing tension and then building it again. This approach resulted in an overall effect that was far zestier than if she had merely kept her foot on the gas.
Joana Mallwitz's debut at the Metropolitan Opera is a testament to her skill and understanding of Mozart’s work, proving that the right conductor can elevate a production significantly. As the season continues, audiences can look forward to experiencing more of her artistic vision in this timeless masterpiece.
