At a lengthy 3 and a half hours, performed in Italian with English subtitles, this was, to be honest, a somewhat daunting proposition. More used to one hour long bite-sized Fringe morsels, an opera definitely requires a long-distance mentality rather than a sprint approach.
On reflection, Kirill Serebrenbbnikov’s take on Mozart’s comic opera, The Marriage of Figaro, would have been better as a half-marathon. The joy, humour and accessibility of the first act is worth five stars, but what follows is, frankly, incomprehensible, confused and humourless that seemingly almost forgets that there is an audience, drenching itself in opulence and superficial appearance to the point of self-destruction. The weirdly lavish mirrored art and the butchery of most of the cast in the second act is like some sort of weird fever dream that leaves the majority of the audience scratching their heads or shielding their eyes from blinding mirrors. The audience around me are either leaving with bowed heads or tutting and shaking their heads, as the production completely loses itself amidst the champagne and contemporary art it is so keen to parody.
It all started so well. From the delicious, instantly recognisable opening bars of Mozart’s musical masterpiece rising from the pit. Beyond, a beautifully lit and complex two-storey set, and, to begin with at least, a simple story that revolves around soon-to-be-married servants Figaro and Susanna, of love, jealousy, infidelities and dual identities is played out beautifully, but also with a sharp contemporary humour. Desperate text messages between characters are projected onto erect mattresses in very contemporary language. With all the quick wit of a Fringe farce, the variously clad players cavort around the upstairs-downstairs set, until at one point one dives in headlong escape, naked, through an open window, to audible gasps and howls of laughter.
The sound, the majesty, and the cost make this an event to savour! The set, props and consumes list would make any Fringe directors head spin, creating a riot of colour and movement which is a joy on the eye. The enormous stage of the Festival Theatre is full of life, the parlour/art gallery above and working basement, laundry below.
The real star of this show however is the music. James Gaffigan’s conduction of the Komische Oper Berlin is full and majestic but still allows space for the faultless voices to shine. Penny Sofroniadou is glorious in the pivotal role of Susanna, everyone’s friend but with genuine chemistry with Peter Kellner’s Figaro. Verity Wingate’s Countess carries a lot of the second half like a dead weight and makes it just about bearable and manages to round out the more bizarre elements of direction, with her husband Hubert Zapiór’s clean-freak and controlling Count, who also has his moments in the spotlight.
The highlight however comes in the shape of Patricia Nolz’s Cherubina, who absolutely nails the vocals, with shiver-inducing performances every time she opens her mouth.
In a production which shows much promise, and does many things right, this a game of two halves which ultimately scores too many own goals.
Reviewer: Greg Holstead
Reviewed: 16th August 2024
North West End UK Rating:
Running time – 3hrs 30mins (with interval)
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