As is the norm when the opera or ballet come to town, Hull’s theatregoers set out in force to support the event.
And Thursday evening was no exception when Opera North’s production of The Marriage of Figaro, graced the Hull New Theatre stage.
Mozart’s well-known opera, premiering in Vienna in 1786 and conducted by the great composer himself, has been cleverly modernised by Opera North – meaning all the action takes place in a “modern-day crumbling pile of an English country estate”.
This update led to many amusing scenes one wouldn’t associate with 18th-century life – namely mobile phones throughout, while the visiting, country house public, led by a tour guide, revealed at least one selfie stick.
And the most notable change came with the costumes – everyone wore modern clothing, casual as well as dressy. I loved that.
As the curtain rose at 7pm, it was a fair few minutes before we heard any of the glorious singing we grew to marvel at during the 3-hour 15-minute performance.
Sung in the original Italian (the first time in Opera North’s 47-year history), two large TV screens either side of the auditorium gave us the English translation.
This was my only gripe on the night, as the screens were a tad too low down. The screen to my right was totally blotted out by the head of the lady sitting in the seat in front. Luckily, I was able to read the writing on the farthest away screen to my left.
Other operas I have reviewed at the theatre had either surtitles above the stage, or the screens were held aloft at each side.
Anyway, back to the action which all takes place on one day – Figaro’s wedding day.
The busy, non-singing opening scenes had Figaro (Emyr Wyn Jones) and his bride-to-be, Susanna (Hera Hyesang Park) arranging their possessions in a country house space, given to them by the owner, Count Almaviva (James Newby), whose gift came with his evil intent to keep her nearer, so he could seduce her at a later date.
Of course, Figaro has no idea his young love has, very reluctantly, agreed to this condition. But when he does discover the Count’s plot, his fury leads to a rollicking cycle of amusing (for us) shenanigans, involving Susanna, the Countess Almaviva (Gabriella Reyes), the Count’s page Cherubino (Frances Gregory) and, most notably, the randy Count. As well as other characters drawn into proceedings – including Figaro’s long-lost parents Bartolo (Jonathan Lemalu) and Marcellina (Katherine Broderick), whose own lives are turned upside down by the revelation they are Figaro’s parents.
This new production of the opera is fast-paced and very entertaining to watch. And thanks to the English translation, for any non-Italian speakers in the audience the story is very easy to follow.
The stage setting throughout was really nothing fancy. A huge window backdrop with a floor-to-ceiling curtain to one side; a staircase, chandelier, snooker table, bath, bits and bobs of furniture et al, all made appearances.
And from the orchestra pit came the most wonderful music, played by the Orchestra of Opera North, conducted by Valentina Peleggi, making her operatic debut with the Company. They certainly did Mozart proud.
Also making her Opera North debut is director Louisa Muller, who did an amazing job bringing The Marriage of Figaro into the 21st century and making it relatable to regular opera buffs, as well as those seeing the genre for the first time.
But the stars of the show were the glorious singing voices of all concerned – particularly the main characters.
Emyr Wyn Jones’ baritone voice was absolutely mesmerising in its richness and timbre; likewise the warm and powerful baritone singing of James Newby as the Count.
Nicaraguan American soprano Gabriella Reyes’ soprano voice in her role as the love-lorn Countess provided a beautiful contrast to the two baritones. As did the wonderful soprano singing of South Korean Hera Hyesang Park as Susanna.
And they didn’t just have singing to contend with; their oft madcap actions never seemed to tire any of them.
For over three hours these super-talents – as well as space prevents me from naming – gave us a night of intrigue, romance, mischief, seduction and revelations, as well as laughs.
And at the show’s end, the audience rewarded them with prolonged cheers, applause and whistles of approval. Bravo to all concerned.
Reviewer: Jackie Foottit
Reviewed: 26th March 2026
North West End UK Rating: