The Marriage of Figaro Review: Revival Sparkles with Youthful Cast

The new Royal Opera season begins with a revival of David McVicar’s 2006 production of Mozart’s The Marriage of Figaro, conducted by Julia Jones. This marks the production’s 10th staging, with McVicar having revisited and refined it over the years. He has tailored the performance to the strengths of the new cast, adjusting the focus in subtle ways.

Huw Montague Rendall’s Count is portrayed as a more sexually assertive character, steering away from the violent tendencies seen in past performances. The dynamic between the Countess, played by Maria Bengtsson, and Cherubino, portrayed by Ginger Costa-Jackson, is more nuanced, hinting at the Countess’s unspoken attraction to the young page. Bartolo (Peter Kálmán) and Marcellina (Rebecca Evans) come across as well-rounded and humorous characters without veering into caricature. The bustling activity among the servants and retainers of the Almaviva household is more noticeable, though it occasionally feels a bit overcrowded.

The individual performances are noteworthy. Luca Micheletti and Chinese soprano Ying Fang bring Figaro and Susanna to life. Micheletti’s Figaro is both handsome and warm-voiced, exuding a moral awareness and a controlled anger that gains dignity when confronting Montague Rendall’s Count. In her Covent Garden debut, Fang’s Susanna is reflective rather than fiery, but her voice is lovely, and her rendition of “Deh Vieni Non Tardar” is sensually poised. The similarity in tonal quality between her voice and Bengtsson’s adds to the credibility of the mistaken identities in the final scenes.

Bengtsson delivers a heart-wrenching performance as the Countess, her understated intensity revealing the character’s inner turmoil. Her forgiveness of the Count in the final moments is simply beautiful. Montague Rendall, rapidly becoming one of today’s top baritones, combines finesse with dramatic flair. Costa-Jackson’s Cherubino is charming, Evans’s Marcellina reveals a touching vulnerability behind her bold exterior, and Kálmán’s Bartolo impresses in his vengeance aria.

Julia Jones conducts with energetic drive, although she could sometimes benefit from a more measured approach. For instance, “Dove Sono,” driven forward more than being nostalgically reflective, feels slightly rushed. While the orchestra occasionally overpowers the voices, the musicianship is consistently excellent. Jones’s decision to emphasize Mozart’s remarkable orchestration skills is a wise one.

The production runs at the Royal Opera House in London until 15 September.

Source: The Guardian