The Marriage of Figaro – Royal Ballet and Opera

The name may have changed but the production values remain as high as ever, with the optimism and energy of Mozart’s satirical and deeply human four-act comic opera, an adaptation with Da Ponte of Beaumarchais’ banned 1778 play about warring masters and servants, offering the perfect start to a new season, and is delightfully brought to life in director David McVicar’s latest revival of his own 2006 production, conducted this time by Julia Jones.

As the day of Figaro (Luca Micheletti) and Susanna’s (Siobhan Stagg) wedding arrives, it becomes clear that their master, Count Almaviva (Huw Montague Rendall), is keen to exercise his ‘droit du seigneur’ – his right to bed a servant girl on her wedding night – and they conspire with the forsaken Countess (Maria Bengtsson) to outwit her husband and teach him a lesson in fidelity. Plans however are thrown awry when Bartolo (Peter Kálmán), seeking revenge against Figaro for thwarting his own earlier plans to marry Rosalina, tries to force Figaro to marry Marcellina (Rebecca Evans), a woman old enough to be his mother, much to the amusement of Don Basilio (Adrian Thompson). As if things couldn’t get any worse, the amorous teenager Cherubino (Ginger Costa-Jackson) pitches up infatuated by anything in a skirt, followed by the young Barbarina (Isabela Diaz) who is equally infatuated with him. Throw in a drunk gardener (Jeremy White), Don Curzio (Alasdair Elliot), a couple of bridesmaids (Caroline Modiba; Miranda Westcott) and The Royal Opera Chorus, and what follows is a myriad of twists and turns as deception counters scheming and misunderstandings foil conspiracies as the plot delightfully unravels.

McVicar’s previous revival was only last year with a youthful Italian main cast; here he has opted for a blend of stellar international stars alongside a mix of upcoming British singers to deliver a deeper, more intense production focused on the comedy of the situation the characters find themselves in rather than comedic performances per se, and on the whole it works.

Tanya McCallin’s set design with lighting from Paule Constable remains visually impressive and magnificent in stature with the seamless scene changes still a joy to behold, alongside Leah Hausman’s expert choreography. McVicar’s research and attention to detail in all things provides the structure and precision for the lively humour to unfold.

Jones orchestrates the necessary verve, energy, and passion to match the on-stage pace of recitative operatic speech that moves the plot along to blending with the deeper arias that allow the characters to really reflect on the situations they find themselves in, particularly notable at the conclusion of Act II.

The cast performed strongly with Montague Rendall’s Count more having lost his senses than being sexually predative, whilst Micheletti performed bravely through illness which took a shine off his performance in the opening half, although he came more into his own in the second. Costa-Jackson’s young buck was more thoughtful than lustful and perhaps an easier catch for Diaz’s wily Barbarina. I particularly enjoyed Bengtsson’s Countess who allowed some emotional fragility to seep through her character’s natural grace and dignity in a moving performance.

I always say that the success or failure of Mozart’s divine comedy is determined by its Susanna so with the pre-show announcement that Ying Fang had withdrawn due to illness, much was to rest on the shoulders of her replacement but we needn’t have feared as Stagg effortlessly stepped in to meet the many demands of the role, balancing the intensity of emotion with lighter comic moments whilst singing beautifully throughout, with her various duets and ensemble pieces a delight.

This production was screened worldwide as part of Royal Ballet and Opera in Cinema. Further details of this and upcoming productions is available at https://www.rbo.org.uk/

Reviewer: Mark Davoren

Reviewed: 10^th September 2024

North West End UK Rating: