Opera review: Le Nozze Di Figaro, Royal Opera House

The Royal Opera House's production of The Marriage of Figaro is a perfect union of comedy and the sheer power of Mozart's incomparable score

The cast of Le Nozze Di Figaro at the Royal Opera House MARK DOUET The cast of Le Nozze Di Figaro at the Royal Opera House [MARK DOUET]

GENERALLY speaking, there are two ways to do Mozart's Marriage of Figaro: you can either play it for laughs, as for example Glyndebourne did in this year's gloriously funny production, or you can play it straight and enjoy some great singing of Mozart's incomparable music. The current production by the Royal Opera is a near-perfect combination of both these styles.

First seen in 2006, this production directed by David McVicar is striking for its sumptuous sets, designed by Tanya McCallin, which make full use of the huge Covent Garden stage while also, almost miraculously, allow quick scene changes that do not interfere with the action.

The last time I saw this production, however, the grandiose design seemed to encourage the singers to take it all a bit too seriously. This time, they have lightened up and the result is splendid, offering both glorious singing and a real sense of fun. 

The opera starts with Figaro preparing for his marriage to Susannah, both of whom are servants to Count Almaviva. The Count is a lecherous swine who lusts after Susannah, despite having recently abolished the traditional right of a lord of the manor to have his evil way with his maidservants.  

The main story revolves around the efforts of Figaro and Susannah to frustrate their master's wicked desires, with various subplots concerning the young manservant (always sung by a girl) Cherubino, who is going through that early phase in life when he falls hopelessly in love with every woman he meets.

marriage of figaro, royal opera house, nozze di figaroSusannah (Lucy Crowe), Figaro (Luca Pisaroni) and Countess Almaviva (Maria Bengtsson) [MARK DOUET}

One of the interesting things about this opera is that you never know who is going to seem to be the main character. Sometimes Figaro seems to be running the show; sometimes the count's Casanova-like plotting seems to dictate events; sometimes, it is even Cherubino whose comic antics steal the show.

On this occasion, however, Lucy Crowe as Susannah came out on top. She has a deliciously warm, strong and clean soprano voice that is perfect for Mozart. Tragic roles need emotion-packed voices; Mozart just requires purity of sound, and despite her name Crowe sounded wonderful. 

Maria Bengtsson as the sad and badly-treated Countess Almaviva was also excellent. Her delivery of the aria "Dove sono" in which she laments her husband's broken promises and laments the loss of the hopeful, happy days of earlier times, created one of those spell-binding moments at the Royal Opera when the whole audience stops coughing. (Well, at least for the first half of the aria anyway, but it is a long aria.)

The Italian bass-baritone Luca Pisaroni gave a good account of himself on his Royal Opera debut. His Figaro tried to be less domineering than many I have seen, which added to the comedic side of the production. 

With Mozart specialist John Eliot Gardiner conducting with fine vigour, the Covent Garden orchestra, as always, gave an excellent account of themselves, overcoming a hint of raggedness at the start to deliver perfect accompaniment to the singers as the evening went on. 

A fine production of a great opera with an excellent cast; what more could one ask for?

VERDICT: 4/5

Le Nozze Di Figaro runs until October 7. For tickets, visit roh.org.uk or call 020 7304 4000

 

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