By Sophie
Link: https://stream.roh.org.uk/packages/the-marriage-of-figaro-2015/videos/the-marriage-of-figaro-2015
Available until: 4th April 2021
Le nozze di Figaro can be very difficult to classify as an opera. It’s not a tragedy, though some of the characters feel that way at times. It’s certainly romantic as there is at least one happy couple at the end (I’m not admitting to any more than that, but I’m not ruling it out). Many would call it a comedy, though it is possible to put on a production of Figaro that focuses on the more serious elements and although it’s compelling as both a romantic and a dramatic piece, it’s not necessarily always overwhelmingly funny.
David McVicar’s production was first seen in 2006 and it was filmed with Erwin Schrott in the title role. Why it was filmed again in 2015, also with Erwin Schrott in the title role, is a matter of some confusion, but one of my favourite singers in the world is in this cast (no, Erwin, not you) and one particular casting choice offered a very interesting interpretation of the plot which I’ve not considered before so I’m very glad it happened and I won’t complain on this occasion.
Ivor Bolton conducts the Orchestra of the Royal Opera House in an enjoyable reading of the score, but I do feel they are slightly short-changed by the decision to show various servants of the Almavivas running about all over the stage during the overture. It adds nothing to the plot, it is likely to cause confusion, and it does distract the audience from the wonderful overture, which is full of fun and one of Mozart’s best. Revival director Leah Hausman might not have the authority to change this even if she’d wanted to, but it is a shame for the conductor and orchestra not to have their moment.
Servants running about all over the place are something of a theme in this production. Spying on each other, whispering in corners… it’s probably very realistic, but there are enough characters to worry about already without bringing gossiping servants into the equation. On the positive side, the Royal Opera House Chorus play these roles well and give the opera some extra humour.
Tanya McCallin’s set looks lovely, but its success lies in its functionality. There are many productions of Figaro which have a beautiful set, but their limitations soon become clear when it proves so difficult for the characters to hide, as the script directs them to do. Tanya’s set takes the script into account and everything the actors need is not only always there, it’s easy to use as a hiding place.
Erwin Schrott returns as Figaro and while he might not look ten years older, his performance is calmer and more mature and he doesn’t go to quite such… surprising lengths in an effort to be funny. He is actually a rather angry Figaro in this production rather than the energetic and cheerful character who is often seen, but it’s an interpretation that works and it is very convincingly done. His singing is gorgeous, he adapts well to the various demands of the role, and his apparent mixed feelings on discovering his true identity, if slightly sad, are probably far more natural than the unbridled joy that is usually seen.
Sophie Bevan plays Susanna, another character who can be extremely funny and Sophie can certainly offer humour when required. But perhaps the feeling she exuded most is that her wedding day is the most stressful day of her life and she’s really struggling to get through it. Again, very realistic. The last thing she needs is all these deceptions, but they do become kind of necessary when another potential wife pops up and you also have to cope with the advances of a married man. Sophie’s voice is light and gorgeous, ideal for Susanna, and the fuller tone she uses when disguised as the Countess is a lovely hint of how well she would do in the opera’s second leading female role when the opportunity presents itself.
The Count and Countess are also very interesting. It is perhaps rather rude to point this out, but Stéphane Degout’s Count appears… somewhat older than the Countess, who actually does seem interested in Cherubino. It is incredibly ageist to make judgements about their relationship based on an age gap, but you have to ask… what came first? The Count’s interest in reviving his feudal rights or the Countess’ interest in Cherubino? He wouldn’t be the first husband to worry that his much younger wife is looking elsewhere. The Count suddenly becomes a far more sympathetic figure and his interest in Susanna (and Barbarina) almost desperate; an attempt to prove he’s ‘still got it’. Stéphane’s performance, while outwardly confident, also has a suggestion of understandable fears and insecurity.
This interpretation could reflect badly on the Countess, but Ellie Dehn is incredibly lovely. Sweet, childlike at times with a lovely, slightly self-conscious humour, but also intelligent and strong, able to do whatever is required. Her arias offer beautiful moments of stillness in all the madness. Cherubino’s interest in her is certainly understandable and Kate Lindsay is delightful as the… enthusiastic teenager. She’s also athletic and flexible, which makes the window-jumping a far less dangerous prospect.
The role of Marcellina is played by Louise Winter, one of my very favourite singers, and it’s brilliant to see her at the Royal Opera House, especially performing in one of my favourite operas. Marcellina offers a lot of opportunities for comedy, which Louise grabs with both hands, but her characterisation also has depth. It also makes me wonder if marrying Figaro was Marcellina’s true object or if she was trying to attract someone’s attention. The only negative was that, like most Marcellinas, she didn’t get to sing her aria. Louise would have sung it so well and really brought across the meaning in the wordy text.
A lovely blend of traditional elements and new
possibilities. At just £3, this really is an absolute steal.
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