It’s already been a rough 2025 for Cardiff. With multiple issues concerning music, the arts and further afield, is there anything which could take us away? Welsh National Opera have faced their own uphill struggles, and now attending a performance of theirs is both a tradition and a cry for further support. We saw this odd Marriage Of Figaro back in 2016, in the ambitious trilogy of Beaumarchais stories. With the concluding Figaro Gets A Divorce!, the story was complete and we could finally see these antics and themes anew.

The costumes of Sue Blane appear to have within them a period scope for accuracy, with some flair as well. Sets by Ralph Koltai are abstract in their footing – the suggestion of a garden or a bedroom, with ladders, bronze speckled mirrors and marbled green cracks. Having grown to like this version more, it all seems to work: the corner where the walls met dead centre use sneaky doorways and even a window exit, to witty effect, and all singers are seen walking to this main space beforehand, as if gearing up for this ridiculous tale to unfold.

The story is a lot more intense than Rossini’s take on the first play. Count Alamviva had won the hand of the Countess, yet still expects to woo Susanna (betrothed to Figaro), as is tradition. Figaro, Susanna, the Countess and others plot to compromise the terror of The Count. Figaro getting married is a secondary story, though the pull is whether this can be arranged without a hitch. Smaller characters such as Doctor Bartolo, Don Basilio and Marcellina have stupid outings thanks to their romping clothes and accentuated manners.

I knew little of this cast, though within it found strong singers. Michael Mofidian, as Figaro, is a sleek, glistening baritone in the role – a much less funny one, in this instance, but still the barber thinks quick on his feet and is usually two steps ahead. Christina Gansch, essentially the backbone of the opera as Susanna, proved a joy, often balanced with a voice that radiates in the role – and I couldn’t help but mock-boo Giorgio Caoduro, as the Count.

The dark undertone permeates when this character is on stage: not quite a villain, yet misguided and deeply misogynistic. Intimidating and callous, Caoduro paints a Count of quiet terror, with a change of heart may not feel justified from his actions. Chen Reiss’ Countess is the polar opposite, thanks to regal vocals, standout arias and an eloquent presence.

Cherubino, the classic trouser role, is grabbed by Harriet Eyley. Light in timbre, this cross-dressing take incorporates an aria of some repute and lashings of physical comedy. Locals Eiry Price and Wyn Pencarreg are brief, dippy flashes in the pan as, respectively, Barbarina and Doctor Bartolo. Jeffrey Lloyd-Roberts is both Don Basilio and Don Curzio, with a comedic impact that is bountiful and vocally broad. Monika Sawa is Marcellina, who with Don Basilio gives up the twist that effects Figaro. She seemed to have fun in this cheery role, at times catty or boasting. I recall an aria that was added last time – to be more precise in my memory, the character cheered the maestro on with a glass of fizz…

Tobias Richter’s staging might have grown in appeal – it would seem that third time’s a charm – and with revival directing from Max Hoehn, things went along swimmingly in this three-hour fest, which has been a slog in the past. With the eternal talent of the WNO Orchestra and fearless conductor Karem Hasan, we were in very good hands for the evening: the Chorus would only appear for acidic interjections.

The Marriage Of Figaro, Wales Millennium Centre, Cardiff Bay, Thurs 6 Feb

Also on Sat 8 Feb at 3pm. Tickets: £10-£63. Info: here

words JAMES ELLIS