Opera North’s 2026 production of The Marriage of Figaro proves that a thoughtful modernisation can illuminate a classic without dimming its original sparkle. Rather than forcing Wolfgang Amadeus Mozart and Lorenzo Da Ponte’s comedy into a contemporary mould, this staging updates the setting with a light touch, trusting the intelligence of the audience and the resilience of the material. The result feels both fresh and recognisable.
Often cited among the greatest operas ever written, the story unfolds over the chaotic wedding day of Figaro, valet to Count Almaviva, and his beloved Susannah, maid to the Countess. Their hopes of marital bliss are threatened by the Count’s relentless pursuit of Susannah and by the arrival of a housekeeper armed with a contract demanding marriage from Figaro over an unpaid debt.
The modernisation is handled deftly by director Louisa Muller. The action unfolds in a crumbling mansion now populated by selfie-taking tourists, a clever visual shorthand for a world of privilege, staff hierarchies and domestic intrigue. Yet the production keeps the pacing and dramatic rhythms firmly rooted in the opera’s original structure.
Crucially, the direction understands that the comedy of Figaro works best when characters take their dilemmas seriously. The humour arises not from gimmicks but from the escalating web of misunderstandings, disguises and wounded pride.
Liam James Karai and Claire Lees anchor the story as Figaro and Susannah. Karai’s rich bass-baritone brings confidence and cunning to Figaro as he plots to outwit the Count, while Lees matches him with vocal clarity and warmth. The pair share an easy stage chemistry that keeps the emotional core of the story grounded.
James Newby charts an entertaining journey as the Count, moving from swaggering entitlement to sheer bewilderment as the plot tightens around him and every explanation seems to contradict the last.
Hongni Wu’s Cherubino steals scenes without tipping into caricature. Wu captures the character’s adolescent awkwardness with lovely comic timing – all elbows, blushing bravado and sudden bursts of hormonal panic.
If Cherubino provides the chaos, Gabriella Reyes offers the evening’s emotional centre as the Countess. Reyes sings with warmth and clarity, but it is her charm that defines the portrayal. Rather than presenting the Countess as purely melancholy, she reveals a gentle wit and resilience beneath the sadness.
Both her and Lees’ performances give the women a modern sense of power that makes Figaro’s lament about women (Tutto è disposto – Aprite un po’ quegl’occhi) feel less like misogynistic frustration and more like a knowingly comic rant – the exasperated grumbling of a man dimly aware the women around him are several steps ahead.
The ensemble scenes – packed with disguises and near discoveries – become miniature masterclasses in physical comedy without ever losing sight of the characters’ sincerity. Under the assured baton of Valentina Peleggi, the opera’s famous arias, duets and finales are delivered with precision and energy. Highlights include the delicate “Sull’aria … che soave zeffiretto” duet between the Countess and Susannah and the beautiful finale, where eleven singers weave forgiveness and love into musical brilliance.
The company thrives on crisp musical direction, with recitatives crackling with energy as the drama builds with satisfying momentum.
Opera North’s production ultimately succeeds because it respects both the intelligence of the opera and the vitality of its performers. By modernising with care rather than force, it reveals just how contemporary The Marriage of Figaro can still feel.
Opera North’s tour continues in Newcastle and Hull. For tickets visit www.operanorth.co.uk/whats-on/the-marriage-of-figaro/. For upcoming shows at the Lowry, visit https://thelowry.com/whats-on
Reviewer: Lou Steggals
Reviewed: 12th March 2026
North West End UK Rating: