ENO: Marriage of Figaro ****

 The Marriage of Figaro is thee comic opera renowned for being one of Mozart’s wondrous masterpieces: its overture is recognisable even to non-opera fans.  It is performed in most opera house repertoires and, to some, considered a safe-bet for opera first-timers. Yet the challenge opera directors, and respective opera houses, have to face is attempting to re-produce The Marriage of Figaro in an interesting way for opera newbies, which, interchangeably, doesn’t bore veteran operagoers at the same time.

The ENO’s first revival of Fiona Shaw’s 2011 production is staged again this season which brings together her own solution to such a conundrum; her innovative and novel interpretation of Figaro is something entirely hers, that I haven’t seen relayed in any other production.

Instead of the usual 17^th century staging or costume designs, that we are used to, Shaw presents a subtle take on Beaumarchais’s story. A flawless white-painted home, minus a roof, revolves slowly on stage. The house is like a never-ending maze as we watch our characters walk around this circular stage, entering brand new rooms that we hadn’t seen before with various servants attending to their domestic chores; a clever device by Shaw, no less, that brings out the gossip and whispering world of the Count’s home, and the social divide between the noble and working classes.

David Stout is quite an interesting Figaro who is easily tickled by Susanna (Mary Bevan). He yelps loudly to her affectionate ways. He sings well as the ideal and bubbling Figaro we have stuck in our minds. The moment he steps on stage, he's tries to trap a bee in a harpsichord and the overture hasn’t even begun, yet!

Jaime Martin conducts the ENO orchestra with the overture taking over the buzz of the flying nuisance: another quirk of Shaw, yet again! The music was played loudly and in a  ballsy manner; I could hear the boldness even from my balcony seat, which (I’m sure) Martin was aiming for: bringing attention to all of Mozart’s luscious notes.

Bevan’s depiction of Susanna was a delight. Her character was a box of many tricks: witty, smart, sensitive, passionate, loving and sexy at the same time. She set the standards for any mezzo who intends to sing the model Susana. Her voice was loyal and seductive throughout the show as well.  Her early introductory scenes with Figaro were especially playful particularly when they play a silly hat game together with Mozart's jovial music.

The countess, on the other hand, had a different demeanour and vocal sound altogether. Sarah-Jane Brandon held her own and sung with utter smoothness, grandeur and tenderness. (I thought to myself, the only thing missing on the stage was cherubs feeding her grapes.) This all made sense as the wife of the estate. 

This starkly contrasted with Samantha Price as our going-through-puberty Cherubino. Her  naïve boy appearance, with raging hormones ,was on point, yet vocally, for Price (it was her debut role) and understandably, not always consistent. Nonetheless she tried her hardest to reach the peak of Cherubino’s teenager angst through high notes, where needed. Not hitting the mark, but a good effort irrespectively.

Jonathan Best as Dr Bartolo and Lucy Schaufer as Marcellina were also important cast members that added to the amusing drama and slapstick going-ons. When Figaro finds out they are his parents, the reaction from the audience is positive and well deserved. 

Benedict Nelson as the Count however seemed to have lacked the ability to see the humour or be part of the humour on stage. Although vocally strong and successful in showing off a serious, self-important  and arrogant count, I felt, that he played too hard on the opera-seria role in an opera that is meant to be an opera-buffa.  

Peter McKintosh’s stage design is also interesting. The scenes are brought up-to-date in Spanish costume but with many bull skulls and matadors to add to the opera's sexual tone; all done with cheeky methods and metaphors thanks to Jeremy Sams' naughty and slick translation. 

Undoubtedly there's a lot of laughs to be had with Shaw’s revival, yet there were just a few things I wasn’t sure about. Barbarina sung by Ellie Laugharne was elegantly done, yet she was almost used as a prop and distraction from the scene changes taking place just before Act III. She was pretending to vomit from the excessive marriage celebrating, which made some audiences either like it or feel a tad confused: I was part of the latter group. And although done for a cheap gag, I wasn’t entirely convinced by a blind Don Basilio done by Colin Judson. The irony of him singing ‘I see…’ when his character is - clearly - incapable of doing so, was a bit off. Again, these are little quibbles I have that didn't -completely- put down the entertaining evening I had. 

Marriage of Figaro is showing until the 23rd November. Click here for more details.

I purchased my own tickets. Photos are courtesy of the ENO and Mark Ronan's blog.

#ENOfigaro Lots of funny bits with stage hiccups,but who cares!Well done #MaryBevan #SarahJaneBrandon #Petermckintosh pic.twitter.com/50h3f8gVha
— Mary Grace Nguyen (@MaryGNguyen) October 28, 2014

OperaUpClose : The Marriage of Figaro ****

Nicolas Dwyer, Rosie Bell and Mary-Jane de Havas

New beginnings are good yet; they come with the sacrifice of saying goodbye to old stomping grounds, which is precisely the case for OperaUpClose who bid adieu after four loyal years in the Kings Head Theatre from January 2015. Its artistic director, Robin Norton-Hale writes kindly, ‘while our reasons for leaving are a desire to keep on trying new things and pushing the boundaries of what can be achieved by small-scale opera, we have no intention of abandoning our roots’ and this is the kind-of legacy that OperaUpClose has imprinted on many of its followers’ minds including mine.

Their productions La Traviata, which transferred to the Soho Theatre, La Boheme and The Elixir of Love are currently thriving on tour to mid-scale theatres in Winchester, Workington and, most recently, the Ravenna Festival in Italy. This leaves, but only, its final production in the steamy back room of the Kings Head Theatre pub, namely Sarah Tipple and the Belgrade Theatre’s production of Mozart’s Marriage of Figaro, which is perhaps a deliberate choice of OperaUpClose; to end its tenure on a cheerful note.

Regarded as ‘sheer perfection’ by Brahms, Mozart’s upbeat and highly lucrative score, in musical versatility and vocal tenacity, is the optimal opera bound to amuse its audiences. The show begins on a high as many will know Mozart’s infamous work, and in this intimate production there is wit and silliness instilled in its young production team, which emanate talent and confidence.

The stage is re-created through its singers who rush to and fro from the stage and corridor whilst the much-loved overture plays ardently in the background. They throw in a rug, a clothes rack of semi- early 17^th century costumes and a picture-less frame. The score is reduced to two hours and hones in on the necessary focal plots of the opera, keeping the audiences' attention at bay, until the very end. 

The eight members of its cast, who also have to play other characters, include its multitasking musical director, Alex Beetschen who sings and simultaneously hammers in chords on the piano. A libretto, made available in the programme notes, make it easier for viewers to understand who the singers are playing, even if the opera is sung in English.

Here, the opulence of a fancy palace is put aside in an exchange for a small production that addresses its characters’ emotions and their comedic behaviour to their lovers. The minimalistic stage however is a busy one filled with energy and enthusiastic acting from its singers. 

Nicolas Dwyer, Rosie Bell and Fae Evelyn

Alistair Sutherland is a bright and bubbly baritone as Figaro. Nicolas Dwyer is the, slightly, aggressive and scary Count while Rosie Bell and Fae Evelyn, as Susanna and Countess, keep the stage warm through their touching, infectious and fruity voices. Felicity Buckland as Cherubino is silky and pitchy, at the same time, just like her neurotic and adolescent character with Mary-Jane de Havas doing fairly well too. But I fear with Henry Grant Kerswell, as much as he plays an important part in keeping with the opera buffa theme, his vocal timbre was severely compromised by speaking words rather than singing them. 

With only a piano, clarinet, by the experienced Sabina Heywood, and viola, through Joe Bronstein, there was enough instruments to enjoy the magic of Mozart’s lively opera. The singers, even, take time out to learn a cleverly choreographed court dance for the ample space. 

If there is anything to tweak in this production, which I found entertaining to watch, was its inability to move in and out of the stage with a bit more finesse from its singers. Looking at the show as a whole, it lacked tightness and a finely cut presentation; however I am fully aware that its directors may have wanted Figaro to be conveyed in a harder and rougher way to fit in with the up-close nature of its producers. 

The Marriage of Figaro is showing until 8th November. Click here to access the Kings Head Theatre Pub's site.