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It was October 1, the third night of the current Met season, and the bill was Le Nozze di Figaro. But it wasn't just another Figaro.
Jonathan Miller's edgy though essentially conventional production, first seen in 1998, had been cleverly reheated by Robin Guarino. James Levine conducted with affectionate savoir-faire. The cast was mostly unfamiliar and, apart from the super-wily Basilio of Michel Senechal (seventy-six), mostly young. Graduating to his first title role at the Met, John Relyea made much of Mozart's macho factotum, complemented by Dorothea Roschmann as an unusually spunky Susanna. It all began nicely.
Then the curtain rose on Act II, and ...