Welsh National Opera revisit Mozart at the Hippodrome with Jessica Harris a keen spectator.
Vivid characterisation, superb singing and more than a touch of pantomime work together to make this production of Mozart’s The Marriage of Figaro a feather in the cap of the Welsh National Opera. And, enjoyable as the elements of farce are in a plot that is founded on characters eavesdropping in cupboards and swapping identities by changing clothing, this version of Mozart’s opera is as clear as a bell on the subversive nature of the story.
The opera is based on a play by the French playwright, Beaumarchais, which satirised the French aristocracy of the late 18th Century, in particular its abuse of the droit du seigneur, a feudal right which allowed a lord to sleep with the bride of any of his vassals on her wedding night.
Whilst Lorenzo Da Ponte’s libretto toned down some of Beaumarchais’ original script to ensure that the opera could be performed without incurring censorship, there is still much stripping down of the upper classes in The Marriage of Figaro, and the theme of this feudal right runs throughout.
Arrangements for the wedding day of Figaro, servant to the Count, and Susanna, servant to the Countess, are overshadowed by the lustful scheming of the Conte D’Almaviva who is determined to claim his droit du seigneur over Susanna. Then there is Marcellina, housekeeper to Doctor Bartolo, whose ambition is to wed Figaro, or else force him to repay a loan that he owes her.
As if these complications weren’t enough, there is ever-present Cherubino (you can’t get rid of her – a bit like chewing gum on the bottom of your shoe) who is besotted with any woman who comes her way. The production makes full use of the ensuing turmoil, and allows for some well-dramatized performances as the villains strut their stuff, and as Susanna asserts her rights as a woman.
Soprano Christina Gansch has a highly versatile voice with a beautiful tone. As Susanna, she expresses an emotional range with ease, as she moves from passion to sorrow, and from displeasure to determination. Her aria, Deh vieni, non tardar, is delivered with tenderness and sensitivity.
Baritone Giorgio Caoduro delivers an entitled and enraged Conte D’Almaviva. Calculating and snarling, his playing of villain is complemented by the performances of the three pantomime buffons, Doctor Bartolo (Wyn Pencarreg), Marcellina (Monika Sawa) and Don Basilio (Jeffrey Lloyd-Roberts).
Soprano, Erika Grimaldi as Contessa D’Almaviva has a voice which is both rich and mellow. Her delivery of Dove sono i bei momenti is dignified and moving. Figaro, performed by bass-baritone Michael Mofidian, comes into his own in the fourth act with his delivery of Aprite un po`quegli occhi, conveying the sense of a man truly wounded.
When the droit du seigneur is ultimately denied, elation is expressed by WNO’s chorus. The warmth of their voices and the sedateness of their dance adds grace and status to their role as peasants. On press night, it felt appropriate that a nod was given in the curtain call to the fact that WNO’s chorus is at risk because of cuts in funding.
The production’s staging is pared-back almost to the point where it adds little beyond useful screens for characters to hide behind. But the costuming is as rich as the singing. Largely in period, there are playful references to the contemporary in jazzy sunglasses and blue nail varnish. The casting of Cherubino as a woman (Harriet Eyley) adds a further present-day feel.
The production was originally directed by Tobias Richter and the director of the revival was Max Hoehn. Music was performed by WNO’s orchestra and the conductor was Keren Hasan.
For further information visit wno.org.uk.
Pics – Dafydd Owen.
