Mozart’s celebrated opera, The Marriage of Figaro, is a comedic farce that weaves a complex narrative through a heavily structured society, a challenge in portrayal. Nevertheless, David McVicar’s staging of Mozart’s masterpiece, now making its tenth appearance at the Royal Opera after debuting 18 years ago, remains both accessible and engaging. McVicar has revisited numerous aspects of the production, adeptly customizing it for his current cast and subtly shifting the emphasis in the storytelling.
Tanya McCallin’s inventive set designs shine as they fluidly transition between acts, creating an elegant visual backdrop that enhances the ensemble’s nuanced depiction of a microcosmic European society from a specific historical moment, all beautifully illuminated by Paule Constable’s atmospheric lighting. McVicar invigorates Mozart’s music with vibrant movement, relocating the action to Count Almaviva’s 1830s Spanish estate, where traditional societal structures face disruptions.
This production is a true ensemble effort, with no noticeable weaknesses; however, several individual performances stand out. Soprano Ying Fang makes a remarkable debut as Susanna, delivering a voice that is both sweet and brilliant, exuding a sense of sensual elegance. Luca Micheletti takes on the pivotal role of Figaro, portraying a dynamic and morally conscious character whose long-awaited marriage to Susanna drives the plot. His expressive, robust baritone underpins an interpretation of Figaro as an instinctual servant navigating the complexities of his position, despite occasional missteps.
Micheletti’s Figaro interacts with Huw Montague Rendall’s Count Almaviva with a notable sense of dignity, as the Count reveals moments of fear towards this man he considers beneath him. Montague Rendall, exuding charm and a predatory allure, presents a version of the Count with an overt, yet less aggressive sexual appetite compared to some past interpretations. His persistent attempts to seduce Susanna are thwarted by a cross-class unity between her and the household staff. The promising baritone presents a compelling interpretation through both his vocal delivery and a physical acting style that impresses at every turn.
Maria Bengtsson brings to life the Countess, whose forgiveness of her husband’s betrayal lends a poignant depth to Mozart’s score as it reaches its stunning conclusion. Bengtsson’s smooth soprano reflects the Countess’ vulnerability, culminating in a powerful portrayal of resilience. She movingly portrays the Countess’ inner conflict with subtle intensity and gracefully reconciles with her husband in the finale. Fang’s rich vocal quality beautifully complements Bengtsson’s, making the deceptions and misunderstandings in the final scenes feel entirely believable.
This production subtly suggests the Countess’ burgeoning affection for Cherubino, portrayed by mezzo-soprano Ginger Costa-Jackson, whose energetic performance captures the essence of the youthful, love-struck character. Costa-Jackson impeccably embodies Cherubino’s spirit, with her arias standing out as both musical and dramatic highlights of the evening. Peter Kálmán presents the hilariously foolish Bartolo with delightful clarity, while Rebecca Evans brings a refreshing elegance to the often-derided Marcellina, delivering a portrayal that is both nurturing and uplifting.
Notable supporting roles are filled by Royal Opera veterans Adrian Thompson (a brilliantly rendered Don Basilio), Jeremy White (as the comically clumsy gardener Antonio, showcasing impeccable timing), and Alasdair Elliott (playing lawyer Don Curzio). The chorus, consisting of the Almaviva household’s servants and retainers, plays an active role by observing and reacting to the primary narrative, with additional performers enriching this visual tapestry.
Conductor Julia Jones returns with enthusiasm and finesse, skillfully balancing the orchestra while highlighting Mozart’s extraordinary orchestration. She accentuates the emotional highs and lows of the score, illuminating its dramatic power.
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