The Marriage of Figaro

Thank you for your kind invitation to report on your recent touring production of this opera, performed in the main hall of the historic Great Chalfield Manor.  This setting proved delightful, with the staging well adapted to the venue.  A large tapestry covered the back wall of the stage area, which was lit by a few good and well-placed lamps and a follow spot. Three entrances were used: one each side and the central aisle of the audience.  The acoustics were very good, with a lovely mellowness from the stone walls that was very well suited to the production.  

In suggesting a film studio of the 1950s, the opening set was quite simple, comprising a table, a chair and an ironing board for the opening. This allowed a good amount of space for the cast to move in.  Later, the chaise longue and theatrical make-up mirror – surrounded by lights – and then the cinema awards on the Count’s desk added to the impression of the film industry setting.  Later again, four flower pyramids of white roses suggested the garden beautifully.

The piano accompaniment was excellent, giving each singer the attention they needed for each part.  It was so good that the pianist could see the singers, making it so much easier to keep in time together and to sense what it was that each singer needed. The virtuoso passages were wonderful!  The singers were all remarkable for their very clear diction and their acting ability.  The energy of the younger cast members was very evident and well used, even when standing still as well as when hiding and pacing. Vocally, this was very well cast as the voices blended well in the trios and quartets, which were very well balanced for tone and strength. 

The lighting was very effective, with a good variety of moods, levels and focus.  The spots at times may have been a little close to the audience, hence a little difficult for the singers to find, but overall, the lighting was good and on cue. 

The scenes changes were both very well organised and executed.  I think that that one time that the cast was onstage during a scene change looked a little awkward, or perhaps one item was just a little late?  The items of furniture were well chosen for their period appearance – and ease of movement – and looked appropriate for a film studio.  Props were also important in this production due to the simple staging.  These added character to the parts, such as the pipe for Antonio and the script being composed by Figaro.  The costumes were very well chosen for period and variety and make up was just right. 

However, it was the cast that really brought the production to life.  In this the cast were greatly helped by the engaging narration that explained the events about to unfold.  The relationships between the characters were very well observed on the whole, and the story telling was clear.  The clarity of diction from everyone was fabulous and the excellent musicianship of the whole cast was very evident to all.  

Characters:

Narrator and Antonio: Both these parts were very engaging, larger than life characters.  He struck up a very good relationship with the audience, with his repartee and telling comments in explaining the story.  His sense of fun was contagious! In contrast, Antonio had a soft west-country accent that suited his role as the gardener beautifully.  This was a consummate performance!

‘The Count’: As CEO of the studios, I felt that this character could have been a little stronger. Otherwise the responses of the other characters to him are tricky to believe. However, the part was well acted and sung, and the clear facial expressions worked very well.  

‘The Countess’:  This character was very well played, with good body language and facial expressions, and a lovely voice.    As a screen goddess perhaps a little more preciousness and theatricality might have worked well, but this was no doubt the choice of the Director.  Well done!

Figaro: This part was very well acted, with all the nuances of a romance going wrong clear to see.  I felt that the energy levels were a little low at times, although the singing was very good. Perhaps a little more outrageous behaviour was needed to communicate the character?  

Susanna: This part was very well done indeed.  Totally believable, engaging, expressive, good movement and facial expressions, excellent acting and singing and high energy.   Vocally the performance seemed easy and well controlled. There was also good interaction with the other cast members. Well done!

Cherubino:  This part was played with very good energy and excellent expression, movement and stillness.  Fear and laughter came equally easily and were totally real.  I found the slightly more natural vocal quality suited this part very well, and her stage presence was outstanding.  Very well done!

Bartolo: This was very well played, with a lovely projection of character and excellent stage presence.  Vocally the bass voice very rich and vibrant with excellent strength.  However, the past relationship with Marcellina might have been made a little clearer early on or developed at the end?

Marcellina: The role is perhaps harder than most in the piece as she has to be chasing Figaro while also sweet on Bartolo, her former lover. This relationship could have been fun to develop a little more!  However the part was well played with nice expressiveness and good projection. 

Don Basilio & Don Curzon:  These two roles suited this young singer very well, with a nice change in character between the two.  There was good energy in Don Basilio and a nice stateliness in Don Curzon. Body language was different in the two roles, which was very well done. Well done!

Barbarina:  I liked this cameo very much.  There was lots of character here with a lovely level of stage presence, and very good body language.  The visual impact was fantastic and vocally the soft high notes were wonderful!  Well done!

Altogether, this opera was very well performed in a fascinating venue that suited it beautifully.  The adaptations of the piece worked very well and the use of the narration was brilliant.  While some people would have loved to hear it in Italian – a language that is just made for singing - it was good to hear such a highly competent performance in English.  The acting was very good overall, with some excellent vocal performances from the younger singers especially.  Congratulations to everyone involved, and good luck with the rest of the tour!

© NODA CIO. All rights reserved.