The Marriage of Figaro – Festival Theatre

There is a reason why Mozart’s The Marriage of Figaro remains one of the most frequently performed operas in the world. More than two centuries after its premiere, this tale of lust, deception, privilege and revenge still has the power to delight audiences. The comedy remains sharp, the characters remain recognisable, and Mozart’s music continues to provide one glorious melody after another.

Scottish Opera’s revival of Sir Thomas Allen’s production arrives in Edinburgh following its run in Glasgow, conducted by Dane Lam and directed by Allen himself. It is a handsome, traditional staging that places its faith in the strength of Mozart’s score and Lorenzo Da Ponte’s story rather than attempting to reinvent either.

The central plot remains as entertaining as ever. Figaro and Susanna are preparing for their wedding, but their plans are threatened by Count Almaviva, who has developed an unwelcome interest in Susanna. What follows is a succession of misunderstandings, disguises, hidden identities and increasingly elaborate schemes as the servants attempt to outwit their aristocratic master.

The first half flies by. The Upstairs, Downstairs tensions that sit at the heart of the piece remain surprisingly modern, and the audience clearly relishes watching the Count’s increasingly desperate attempts to manipulate those around him. The fact that his plans ultimately unravel in spectacular fashion remains one of the great satisfactions of comic theatre.

Musically, the evening is in exceptionally safe hands. Dane Lam draws wonderfully nuanced playing from the Orchestra of Scottish Opera, who perform Mozart’s score with warmth, elegance and infectious energy. The orchestra never overwhelms the singers, yet consistently reminds us why this music has endured for more than 230 years. Quite simply, it is beautiful.

Edward Jowle makes for an engaging Figaro, combining confidence and wit with a genuine warmth that makes him easy to root for. Ava Dodd’s Susanna is equally impressive, displaying both vocal assurance and an appealing intelligence that underpins much of the opera’s comedy. Together they form a believable partnership at the centre of the production.

Ian Rucker brings a suitably arrogant authority to Count Almaviva, while Alexandra Lowe delivers some of the evening’s most moving moments, and finest vocals, as the neglected Countess. Her performance provides an emotional counterweight to the farce unfolding around her.

Special mention must also go to Simone McIntosh as Cherubino. Mozart’s adolescent page is one of opera’s great comic creations, all hormonal confusion, misplaced passion and youthful exuberance, and McIntosh embraces the role with infectious energy. Her stage presence lights up every scene in which she appears, and she captures both the comedy and vulnerability of the character with considerable charm. It is a performance that consistently draws the eye and provides many of the evening’s most entertaining moments. Whenever the increasingly intricate plot threatens to become overly complicated, Cherubino’s appearances inject a fresh burst of comic energy and momentum.

The supporting cast contribute strongly throughout, ensuring that the various strands of the increasingly complicated plot remain clear.

Where this production may divide opinion is its decision to perform the opera in English using Amanda Holden’s translation. The intention is understandable. Accessibility remains an important challenge for opera companies seeking new audiences, and hearing the dialogue directly rather than relying on surtitles undoubtedly allows the comedy to land more immediately.

Yet the decision comes at a cost. Mozart composed this music around the rhythms and lyricism of Da Ponte’s original Italian text, and however skilful the translation, some of that natural musical flow feels diminished. There were moments when I found myself wondering whether singers who have spent much of their careers performing these arias in Italian truly benefit from the change. The words may be clearer, but some of the poetry feels harder won.

The other question raised by the translation is one of pacing. If Scottish Opera is prepared to adapt the language in order to make the work more accessible to contemporary audiences, why not also consider whether the running time might benefit from a little intervention? At well over three hours, the production asks a considerable commitment from its audience.

The first half is packed with comic invention and dramatic momentum, but as the evening progresses the plot begins to revisit ideas that have already been firmly established. We understand the Count’s weaknesses long before the final act arrives, and while Mozart’s music remains consistently rewarding, the narrative itself occasionally feels stretched beyond its natural dramatic length.

These reservations should not overshadow the considerable achievements of the production. Sir Thomas Allen’s staging is elegant and accessible, the cast perform with conviction throughout, and the Orchestra of Scottish Opera deliver an evening of musical excellence.

For opera lovers, there is much to enjoy. For newcomers, the English translation may prove an inviting point of entry. Whether it fully justifies replacing the original Italian is another question entirely, but there can be no doubt that Mozart’s genius emerges intact. Even after three and a half hours, it remains impossible to leave without marvelling at the sheer quality of the music or the scale of the endeavour.

Till Saturday 6^th June

Reviewer: Greg Holstead

Reviewed: 29th May 2026

North West End UK Rating:

Running time – 3hrs 30mins (with interval)