The Marriage of Figaro

W. A. Mozart's opera buffa The Marriage of Figaro (Die Hochzeit des Figaro) has not been out of the catalogue since it was premiered in 1786! Few could argue against this and it is deservedly a great piece. Whether or not this is his greatest opera is purely a matter of opinion, however, this revival by the Scottish Opera’s 2010 production effortlessly delivers all the expected standards – and in a most entertaining way at that!

For the few that don't know this, The Marriage of Figaro is based on a play of the same name by the French playwright Beaumarchais - a broad farce with political undertones. Mozart's opera with a libretto by Da Ponte (not their only collaboration) appeared but two years later in Vienna. In many respects the plot of Beaumarchais's ‘bedroom farce’ is hardly original (perhaps it was at the time) and some may argue that at a little over three hours, this rather flimsy plot is a little played out… Indeed, one struggles to understand why the ‘Carry On’-team never gave us’ Carry on Figaro’ with the likes Sidney James as the hypocritical lecher Count Almaviva and Barbara Windsor as Susannah…
In a nutshell then: servants Figaro (Ben McAteer) and Susannah (Anna Devin), shortly looking forward to nuptial bliss, have been given a nice little place to live on Count Almviva's (Samuel Dale Johnson) large estate. Obviously the Count is more of a philanderer than a philanthropist and feels himself entitled to a touch of the old 'droit du seignieur' with regard to Susannah. Despite having an attractive wife (and when did this this stop 'em) in the Countess Almaviva (Eleanor Dennis), she herself feels lonely and neglected and is being wooed by pageboy Cherobino (Hanna Hipp). It might be added that this part is usually played by a woman and originally the part was earmarked 'travesti' which would suggest it was written for a castrati. Here, however, the Countess towers above her 'male' admirer.

Initially Figaro and Susannah decide to teach the randy Count a lesson by disguising Cherubino as a girl (although she is one) and being the way he is, he will soon be pursuing her in the near dark of the garden. That may have been a bit difficult with a towering castrati but it all comes down to theatrical licence (and it never materialises anyway). Later on, the frustrated Countess – fed up with her unfaithful husband - comes in on the plan. However as the plan is reaching fruition in the Countess’ bedroom the unexpected arrival of the Count puts a temporary spanner in the works… cue for some hilarious bedroom shenanigans during which Susannah hides behind the curtain while Cherubino first hides in the adjacent room - only to jump eventually over the balcony and break a few flower pots in the process. The sequence during which the gardener Antonio (Donald Maxwell) reveals to the bewildered and suspicious Count what he saw in the garden is a hoot!

For the big showdown - taking place during a moon-lit night in a nearby corn field -the Countess disguises herself as Susannah and vice-versa. Later that night, the Count fails to recognise his own wife by her hand and her height, which really is bordering on the absurd but such is the tradition of the farce!

But this is all really secondary to what Mozart did with the opera and what director Sir Thomas Allen (himself a near legendary baritone and former Almaviva and Figaro) does with this production. The opera is packed through and through with brilliant bravura pieces. Once again the Scottish Opera triumphs in this revival though some may find the sets a little stark… then again, we don’t want too much clutter when in any case this is foremost about the singing. Besides, the costumes are a treat to look at.

Being Mozart, we have in the leads two sopranos, one mezzo and two baritones, a sextet at the end of Act 2, and a glorious nonet at the end of the final act. No quibbles about an exemplary cast who play their parts only too well! Ben McAteer equates himself effortlessly (it would seem) in a part that Bryn Terfel has become synonymous with. My personal favourites were Anna Devin as the plucky Susannah and Samuel Dale Johnson as the Count who deservedly received his ‘lesson’. Donald Maxwell, a veteran in this area, makes his mark very well in the relatively small part of Antonio the old gardener.
The overture is perhaps Mozart's best known and features, curiously, none of the music in the opera. It sets the precedent most succinctly. Timothy Burke conducted on this particular evening and the laurels are shared with Tobias Ringborg who alternates. I am convinced you will have an equalling enthralling evening either way. Try not to miss it this time. Viva Mozart and the Scottish National Opera!

(The Marriage of Figaro runs at the Festival Theatre on Nov 11th / 13th / 17th / 19th)