By Ronald Simpson
Jo Davies’ new production of The Marriage of Figaro takes a little while to hit its stride, but by the time of the endlessly resourceful and inventive Act 2 finale any reservations have long disappeared.
Leslie Travers’ back to front Act 1 sets – exposing life behind the flats – have no discernible purpose, at least to me, but visually, too, the production soon improves.
The Marriage of Figaro is one of the few great operas to be based on a great play and, though the radical edge of Beaumarchais’ original was toned down by Mozart and his librettist Lorenzo da Ponte, it remains an opera where convincing characterisation and human relationships are crucial. There are plenty of elements of a sex-farce – the Count attempting to make Susanna his latest conquest just as she is marrying his servant, Figaro; the sex-mad teenager Cherubino devoted to the Countess, but alive to any other opportunity; the ageing harridan trying to enforce a marriage contract.
However, the farce is balanced by human sadness (the neglected Countess lamenting lost happiness) and social awareness. Even without Beaumarchais’ politics, it’s still an opera about the class system.
Opera North’s production is strong on characterisation and unusually natural in the delivery of the recitatives. Richard Burkhard is a relaxed and mischievous Figaro – the humour underlined by his impeccable diction.
Jeremy Sams’ witty English translation is, in fact, well served by an international cast.
Only in the last act, in his fiery denunciation of women, does this Figaro lose his ease of manner and delivery.
Silvia Moi proves a natural comedian as Susanna and vocally is perfectly matched with the slightly more opulent soprano of Ana Maria Labin as the Countess. The poised melancholy of her delivery of Dove Sono affirms that life is about more than dressing up, hiding behind chairs and sending secret messages.
The early 20th century costumes (by Gabrielle Dalton) are particularly effective in aiding Quirijn de Lang’s characterisation of the Count as a huntin’, shootin’ and philanderin’ squire.
Lovers of legato singing may have their reservations, but this is a performance of real impact.
Helen Sherman’s zestful Cherubino combines knockabout humour with beautiful singing, notably in the physical contortions and undisturbed vocal line of Voi che sapete.
Henry Waddington (Bartolo), Gaynor Keeble (Marcellina) and Joseph Shovelton (Basilio) have all the patter and pomposity of self-important schemers who end up quite nice really and Jeremy Peaker’s Yorkshire gardener – all pipe and expletives – is great fun.
Alexander Shelley, conducting at Opera North for the first time, but familiar from Kirklees concerts, relishes the detail of Mozart’s familiar, but always surprising, score, bringing out all the nuances of the wonderful woodwind writing.
The Marriage of Figaro is on at Leeds Grand Theatre until February 27 and will be at The Lowry at Salford Quays from March10-14.
