The Marriage of Figaro

It is hard to believe but Mozart is said to have composed the music for The Marriage of Figaro in six weeks, setting notes to the opera as fast as the librettist could write them.

There’s no doubt the story rocked Wolfgang’s boat – a complex tale of lust, court intrigue and sexual exploitation.

In the opera, the central characters, Figaro – a valet – and Susanna – a maid, are planning their wedding, but have to navigate the roving hands of their boss, Count Almaviva who has his eyes on the young lady.

Mozart was said to relished crass jokes so no wonder the original play, dominated by scandal and adulterous seductions, appealed to him.

In the first half the ins and outs of the plot are complicated and require careful study of the program notes and sub-titles to understand what is going on.

There was exceptional musicianship in this production with a cohort of brilliant singers. Conductor Matteo Dal Maso set the tempo, leading a crisp rendition of the thrilling overture.

The cast was a mixture of top Australian and international artists. Making his Opera Australia debut as the Count was Canadian bass-baritone Gordon Binter. He was the complete acting and singing package, with a booming voice he nailed the swagger of an out-of-control exploiter of woman.

In the title role of Figaro, also making his Opera Australia debut, was Texas born Michael Sumuel. He had a fine voice and a charismatic stage presence.

Australian soprano Kiandra Howarth has spent most of her career in Europe and it was a treat to listen to her exceptional control, modulating between pianissimo (very soft) and forte (loud) in the role of the Countess.

 Siobhan Stagg, an Australian born superstar soprano who also has spent her career in Europe, made her long overdue debut with the company as Susanna.

The two Australians wove lyrically together in the third act when they sang The Letter Duet.

A third Australian mezzo-soprano who has had a huge career in Europe, Emily Edmonds, shone during the well-known aria “Voi Che Sapete”.

The revival production is set in the 1600’s and has lavish period costumes from Jenny Tiramani.

A highlight of the big set was the Countess’ chambers in Act 2 which had a towering double storey bedpost – making it appear that the action was taking place in a dolls house. The mood was further enhanced by vaulted lighting designed by David Finn which streamed in through large windows.

At three and a half hours in length, the opera is a stretch but those after a night of high cholesterol culture will lap it up.

David Spicer

Photographer: Keth Saunders