THE MARRIAGE OF FIGARO

Opera in 2 Acts by Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte

Performance by Opera Australia on Saturday, 18th February 2012 in the Opera Theatre of the Sydney Opera House.

Conductor                            Simon Hewitt

Director                                Benedict Andrews

Scenery Designer              Ralph Myers

Costume Designer            Alice Babidge

Lighting Designer            Nick Schlieper

Choreography                    Lucy Guerin

Assistant Conductor        Anthony Legge

Assistant Director            Tama Matheson

Susanna                            Taryn Fiebig

Figaro                                Joshua Bloom

Marcellina                        Jacqueline Dark

Dr Bartolo                        Conal Coad

Cherubino                        Dominica Matthews

Count Almaviva             Michael Lewis

Don Basilio                     Kanen Breen

Countess Almaviva       Elvira Fatykhova

Antonio                           Clifford Plumpton

Don Curzio                     Graeme Macfarlane

Barbarina                        Jessica Dean

Bridesmaid                     Sharon Olde

Bridesmaid                     Vanessa Lewis

I must admit  considerable worries and trepidation when Opera Australia announced a few years ago, a new, updated production by Benedict Andrews to be set in a modern day, gated community. Oh, here we go again I thought, thinking back to the disastrous Tim Albery production and the surprisingly flawed Neil Armfield production in recent years. Fortunately  - or unfortunately the sublime John Copley production that I grew up with still haunts my subconscious. Without a doubt the Copley production was one of the best, if not the best production ever staged by the National company. High praise indeed, and I am sure I am not the only one to think this.

The feeling was similar to going to see the replacement LA BOHEME for the much loved Tom Lingwood designed production dating from 1970, that had been treasured and loved for over 20 years. How could they ! What –  a new BOHEME to be directed by an unheard of team straight out of NIDA ? The anger oozed from my pores entering the Opera Theatre that night – to be transformed to gulping tears at the end of the first act in the new Baz Luhrman BOHEME. So it was to be with this MARRIAGE OF FIGARO – the fear and trepidation of some regietheatre miss-mash made way for admiration, love, laughs and tears in this fantastic new production.

Andrews partners in theatre magic were his designers, Ralph Myers and Alice Babidge. The sets consisted of a series of blank white rooms of normal ceiling height, using less than half the proscenium height, and with minimal furnishings. This focused attention clearly on the action and characters. Side walls slid sideways across the stage from right to left revealing each new room – a delicious device I have not seen before. During the overture, a not inconsiderable number of house maids arrived in street wear and proceeded to chat, undress and get into their uniforms a delightful egg shell blue.

Figaro is dressed in the same security guard uniform as the other guards who man the doors to the rooms, the Count in dark suit with crisp, white shirt, Rosina Bartolo and Basilio in casual dress. Bartolo hilariously enters pushing a wheeled walker fitted with an oxygen tank and wearing an oxygen mask from which he gasps air during his aria ‘La vendetta’ ! Cherubino hides in a cleaning trolley rather than behind a chair, and the Count hides by diving into a Whirlpool washing machine ! The second act revealed a stunning white bedroom for the Countess with a picture window with sheer, white curtains consuming the entire back wall and a view inside the nefarious closet and an anteroom on each side of the stage. The Countess was gowned in an exquisite white dress. The Count returned at the end of the second act in hunting gear and attendants dragged in a full deer body with which Basilio ‘wrestled’ during the finale. All fantastically funny stuff.But the pathos and tender moments were there too.  Act three was set in the ubiquitous white room – clearly a function room with dressed tables, champagne flutes and balloons on the tables ready for the wedding reception. The final act set in the garden consisted of a bare stage raining large, multi coloured confetti during the entire act representing the storm – a homage to the Benedict trademark signature.

Benedict produced a lively romp thoroughly faithful to the libretto and the intentions of da Ponte and Mozart. All the gags, tender moments, moments of introspection and pathos were all there and fitted so easily into this modern take of this masterpiece. Some comments have been made by audience members concerning the flagrant allusions to sex in the staging. In the 18th Century this opera was modern, cutting edge, biting and highly sexual for it’s day. Benedict has faithfully added this edge again to the work that has been lost during the work’s history. To those audience members who have criticised the sexiness I have only one word (coined by my grandfather in an editorial he wrote for The Truth over 100 years ago) – Wowsers !

Opera Australia has mounted a tremendous cast for this work. Michael Lewis was a controversial choice because of his age. The count is usually played by a younger man, but in this production he is so right with the notion of a slightly older businessman with the younger wife. It works well, and when has anyone heard the role so beautifully sung with a voice usually singing Verdi baritone roles ! Similarly one would go a LONG way to hear the Countess so delectably sung as it was by Elvira Fatykhova. With rich honeyed tone, evenly produced through her entire range, looking ravishing and acting the role with aplomb, she was Mozart’s Countess. My memory is emblazoned with the original Countess (Rosemary Gordon) in the Copley production entering the act three hall in a glorious gold, bejewelled Mantua gown bathed in the golden light of dusk to sing ‘I remember’ (Dove sono). This memory is now supplanted with the Benedict/Myers production and Fatykhova’s glorious singing of this aria. This is yet another great success for her to add to her Manon and  Violetta for Opera Australia and Lucia for Opera Queensland.

Joshua Bloom was a very handsome Figaro who sang the role beautifully. Although the role was extremely well characterised, his Figaro was more of a slightly awkward schemer  than the wily plotter and manipulator typical of THE BARBER OF SEVILLE and usually FIGARO. The Countess and Susannah were more obviously the arch manipulators in this production.

Taryn Fiebig and Domenica Matthews were both stunning vocally and dramatically as Susannah and Cherubino. Even more so than in the Armfeld production.

Conal Coad, Jacqueline Dark and Kanen Breen would successfully grace any stage in the World in their character roles – all beautifully sung, and deliciously naughty. Ms Dark now rates with Rosina Raisbeck and Heather Begg as a great interpreter of Marcellina (no small feat). Kanen Breen would have been superb for the occasionally performed  ’Asses coat’ aria in the fourth act, but it’s inclusion would have wrecked the dramatic continuity in this production. I have not seen a FIGARO where the fourth act was so well paced and didn’t appear to be drawn out. All of the smaller roles were well cast and sung, and also well characterised. The small and expert chorus contributed considerably to the occasion.

The opera was sung in English. A controversial decision. The hoary old argument for opera in English is as old as the argument over the importance of words or music. There will never be any winners for either. I cut my operatic teeth listening to the old Copley production in English (no one complained then) and got to know every twist and nuance in the libretto, as current audiences will. The modernity of this production (and trends to attracting new and younger audiences) makes the performance in English a good choice, and I have no doubt it WILL attract new opera goers who make the effort to go and see it. However, THE MARRIAGE OF FIGARO was never written to be performed in the vernacular. It was written by a German speaking Austrian Composer specifically in Italian, which was the current operatic fad. The music is intrinsically linked to Italian vowels and phrasing and can never be beaten in Italian. The recitatives, and patter arias in particularly roll out and trip off the tongue so delectably, it is a shame not to experience them.  Perhaps the answer is get them hooked on the work in English first, and perform the work in the original Italian at subsequent outings.

In the pit, the opera was in the very safe and expert hands of young Australian conductor, Simon Hewitt, in a brightly paced rendition with true Mozartian style. His mood was obviously infectious spreading to the cast and also the ever reliable Australian Opera and Ballet Orchestra which played the score vividly and with suitable refinement.

I still love the Copley production, but this MARRIAGE OF FIGARO is a perfect example of what great and modern productions of opera are all about, and can proudly stand up in comparison. No dusty traditionalism or regietheatre here, just superb opera, superb music and superb theatre. Don’t miss it, but leave your wowser maiden aunt at home – she won’t get it.