Leisure, Entertainment & MotoringTheatreEnglish National Opera presents The Marriage of Figaro English National Opera presents The Marriage of Figaro
By Kate Morley - 13/12/2006
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The ENO's new production of Mozart’s The Marriage of Figaro is the last major event in a host of celebrations in London to mark his 250th Birthday, and certainly takes a fresh approach to this comic treasure.
This innovative production is set in a country house in the 1930s and from the outset the strict class divisions of this society are reinforced through use of a split set representing the different rooms in the house. This is cleverly done. Repeated motifs also work to suggest class difference. For example the feathers seen flying when the maids are busily employed plucking geese are used in the pattern of the wallpaper in Figaro’s room – linking him inexorably, despite his higher status, to the domestic staff. This emphasis is repeated in the use of the painting of the horse that dominates the Count’s room. Replicated in miniature on Figaro’s wall, it focuses our attention again, very much on differences of class and status.
Whilst the theme of a society strongly divided by class translates very well from Mozart’s work to this upstairs-downstairs world, the attendant theme of patriarchy sits less comfortably here; after all, this post- war time is known of as being of great social change, especially for women, and an opera largely concerned with the ( albeit unsuccessful) attempts to dominate women is slightly nonsensical set in an era when hemlines were rising and bras were, metaphorically at least, beginning to be burnt.
And the setting is very specific indeed. As well as the overall styling of set and costumes, the point where Cherubino (played absolutely delightfully by Victoria Simmonds – her aria here is just lovely). is called to war is accompanied by a clever lighting change that transforms the flower garden at the front of the stage to a sea of scarlet, inescapably recalling the poppies of Flanders fields. Ignoring the arguments in the previous paragraph around appropriateness, the location of the action in this period is at least visually stunning – this is a very stylish production, and is an absolute aesthetic treat.
The voices, as you would expect are excellent. Marie Arnet’s Suzanna is flawlessly sung, although her cool, willowy elegance sometimes makes her seem more aristocratic than the Countess she is supposed to be serving. New Zealand baritone Jonathon Lemalu gives a spirited performance as Figaro, although it seemed his voice occasionally lacked a degree of authority in the very lower register.
The accomplished principals are superbly supported by a host of cameos including the splendid Barbarina (played by Claire Debono) whose plaintive aria in the woods on loosing Suzanna’s pin is very good indeed.
All in all, there is much to enjoy in Olivia Fuchs’ production. The comedy comes across very well, with the audience reacting with obvious delight at many of the jokes and comic scenes. The production is very pretty to look at, with wonderful costumes complementing the setting, and the music is delightful - certainly one to go and see!
Review by Kate Morley