WELSH NATIONAL OPERA’S THE MARRIAGE OF FIGARO
Wales Millennium Centre, Cardiff Bay
Sun 16 Feb
*****
With their first season of 2020, Welsh National Opera offer up an accessible and enthralling revival of their 2016 production of Mozart’s The Marriage of Figaro (originally directed by Tobias Richter), perfect for first-time operagoers. Brilliantly understated and constantly energetic, this production brings opera away from its association with elitism and instead shines a colourful light on the timelessness of the art form. Inexperienced viewers of opera will naturally have their fears of pretence eased, once they’re immersed in the inescapable beauty of the music.
The chaotic first half of the opera delivers easily relatable, if relatively slow-paced, Carry On-style comedy. This then comes crashing up against a much slower, more sentimental second half, focused on themes of union and the strength of loving relationships. Though the pairs all squabble and torment each other, they inevitably come together in an absurd yet empathetic fashion. The strength of the second half is captured wonderfully through nuanced lighting and emotive performances.
This fairly traditional production avoids gimmicks, side-stepping the risk of alienating new audiences. It is opera as it was intended to be viewed, and done well. The awe-inspiring visual experience alone is undeniable. Shadows and reflections against Ralph Koltai’s minimalistic set emphasise the performers’ stage presence, alongside Sue Blane’s rich, colourful costumes, particularly those of the regal Count and Countess. Even if distracted from the unravelling drama for a moment, one can find entertainment in admiring one of a thousand glittering sequins winking in the spotlights.
Singling out any performer from the group would be an impossible task, as even the chorus is lined with seasoned soloists. David Ireland is an ideal Figaro, making him both ridiculous and respectable enough to puckishly weave his way through the plot. Jonathan McGovern’s Count provides the perfect comedic fall through the first act. The pleasure of watching him become more riled is countered only by the intimidation of his wicked machinations in the second act. Particularly well cast female leads, Soraya Mafi and Anita Watson, complement each other’s voices beautifully in the famous duet Sull’Aria.
The Marriage of Figaro demonstrates an obvious, widespread appeal that does not show sign of losing relevance in the modern world. The production is a testament to the ongoing cultural value of the opera.
words FELIX JONES & IZZY THOMAS photos RICHARD HUBERT SMITH
The Marriage of Figaro is at Wales Millennium Centre, Cardiff Bay until Fri 28 Feb. Tickets and info here.