The Marriage of Figaro

Sarah Tynan (Susanna) / Iain Paterson (Figaro)
COPYRIGHT ENGLISH NATIONAL OPERA AND ALASTAIR MUIR

Opera Buffa in Four Acts

By

Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte

after Pierre-Augustin Caron de Beaumarchais' play

La folle journee, ou Le marriage de Figuro

English translation by Jeremy Sams

London Coliseum

20 January – 20 February 2007

Review by Mary Couzens

Scott Hendricks (Count) / Sarah Tynan (Susanna)
COPYRIGHT ENGLISH NATIONAL OPERA AND ALASTAIR MUIR

Rarely, if ever does one have the opportunity to review a large-scale opera with three understudies in it, one of which is performing a leading role. That was the case the evening we attended ENO's new production of Mozart's popular comic opera, The Marriage of Figaro. I'd been informed before I reached the Coliseum that Susan Gritton, who normally plays Countess Almaviva and Yvonne Howard aka Marcellino were both ill and were to be replaced by their understudies. Michelle Walton was to sing the role of the Countess and Valerie Reid would be Marcellina. However, the slip of paper in my programme also stated that Elizabeth Watts was too ill to go on,

as Barbarina and Clair Mitcher would be taking her place.

A line of pink carnations rimmed the stage. Three gardeners appeared to be watering them, moving along in front of them. Kitchen maids plucked geese, amidst clouds of white feathers. Conductor Andre de Ridder's brown hair swung as he hopped lightly in time to the music, his baton seemingly, caressing notes in mid-air. In a cinematic fade, the curtain opened to reveal a bedroom with feather-patterned wallpaper. Figaro and his fiancée Susanna appraised their wedding day options in their future marriage-chamber, conveniently situated near that of their wanton master, Count Almaviva. Susanna has inadvertently caught his eye and the Count is most eager to reclaim his ‘ancient rights,' which would, allegedly, permit him to deflower her on her wedding night. Figaro meanwhile, has a contract of his own to escape from - one, which promises him in marriage to Marcellina, Doctor Bartolo's former housekeeper as payment for a long-owed debt. Countess Almaviva mourns the loss of her husband's affections and longs for a way to re-kindle his flame. The Count's youthful page, Cherubino sighs over the Countess' beauty, but is perfectly willing to learn about love through the generosity of whatever woman is close at hand. Barbarina, daughter of Antonio is more than willing to participate in his amorous experiments. The music teacher, Don Basilio and magistrate Don Curzio, keep their eyes and ears open, as ever. Intrigues and plot twists abound in Figaro but Mozart's overriding theme of reconciliation promises happy endings.

At the outset, the orchestra, under the direction of Andre de Ridder seemed to be playing under some sort of restraint, keeping its power and brightness down to a trot. But fortunately, as the opera progressed, the music seemed to burst forth into a full-fledged gallop and all was as it should be. Yannis Thavoris' thirties inspired, Upstairs, Downstairs sets lend a stylish tone. However, in one scene in which the Count held forth in what appeared to be his study, an oversized portrait of a stallion threatened to override the proceedings. Otherwise, the somewhat overstated Art Deco settings lent surreal, sometimes dream-like aspects to scenes of intrigue and hilarity.

Sarah Tynan gave a charming performance as Susanna, Figaro's winsome fiancée. Her lovely voice thrilled on her aria in the second act, as well as in duets with Iain Paterson as Figaro, a man who is solid, reliable and ever open to opportunity. His rousing rendition of ‘Here's An End to Your Life as a Rover' was most enjoyable. Graeme Danby provided amusing musical moments as Doctor Bartolo. Understudy Michelle Walton was outstanding as the Countess, and it was intriguing to watch her liberating transformation from mournful, neglected wife to a statuesque tower of strength in a shimmering, moonlit gown. Her moving ‘I Remember His Love Most Tender' literally brought the house down, despite the fact that there were many empty seats in the stalls that evening. The curtain calls she received at the conclusion were a testament to her acting skills as well as her marvellous singing voice. Scott Hendricks was highly entertaining as lustful Count Almaviva, using his very expressive face and reactive physical stances to emphasise his eccentricities. Stephanie Marshall delighted as the Count's page, Cherubino, particularly during her engagingly wistful aria pondering the meaning of love. Understudies Valerie Reid and Clare Mitcher also lent capable support as Figaro's and Cherubino's pursuers Marcellina and Barbarina respectively.

The subversive political play that Mozart's comic opera of manners is based on La folle journee, ou Le marriage de Figuro by Pierre-Augustin Caron de Beaumarchais is often said to have been one of the inspirations for the French Revolution. However, in the composer's subsequent opera, he and librettist, Lorenzo da Ponte agreed that there should be two strong female roles, hence the Countess' originally limited role was enlarged and expanded upon. The resulting opera may not be seen as challenging the political status quo in its own day, however, its frank treatment of relationships between men and women, master and servant and husband and wife were for its time, highly original and quite bold. The popularity of the opera in its original run was such that the emperor issued an order, restricting the numbers of replays the audience could request.

This 250 th Anniversary production of The Marriage of Figaro has lost none of the opera's original appeal, for at its conclusion, curtain calls were the order of the day. Between Mozart's gorgeous, uplifting score, Jeremy Sams' inspired translation of da Ponte's comically ironic libretto, spirited performances, and rapturous singing, I was sure that, were it possible, many seated in the ‘Bravo!' strewn audience would have requested instant replays as well.

Jan 20, 7:00pm	Jan 25, 7:00pm
Jan 27, 7:00pm	Feb 01, 7:00pm
Feb 03, 6:00pm	Feb 06, 7:00pm
Feb 09, 7:00pm	Feb 14, 7:00pm
Feb 16, 7:00pm	Feb 20, 7:00pm

Running time: 3 hours & 20 minutes. Sung in English.
Pre-performance talks by David Cairns and Sarah Lenton: November 4 and January 27, London Coliseum, £3

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