| As subtle as a sack of soggy satsumas |
Welsh National Opera |
| Welsh National Opera- The Marriage of Figaro , Donald Gordon Theatre, Wales Millennium Centre, Cardiff , February 10, 2009 |
YOU have to hand it to opera singers – they cope with just about anything a producer and design team throw at them. And I would have said that is equally true of Mozart’s The Marriage of Figaro – but sadly, no, tragically, in this case it is not true.Apologies to the Iberian citrus fruit industry, but this farcical Figaro is as subtle as a sack of soggy satsumas. Once you peel away the pretty costumes and reasonably attractive sets from Franca Squarciapino and Paco Azorin some of what lies inside is best discarded while a few choice segments remain. I would have said a Seville orange for his show that decided to throw Jeeves and Bertie Wooster into a nasty flick knife wielding and gun toting Andulcian caper while practicing some new dance steps for the May Ball. But there was nothing sharp or invigorating when you bit into this production. Think elegant 1930s, dare I say, English aristocracy with stereotypical characters inhabiting a chic household with the sort of servants that you would sack on the spot, one who dresses as a French maid and prances around a lot and another who gives a good Oliver Hardy impersonation – and also prances around a lot. In fact, with the dignified exception of the Countess, the entire cast seem to be suffering from St Vitas Dance, which probably explains why the local quack has prescribed ballet barres in the boudoir and spotlights to let them pretend they are in their own little show. The wine Figaro threatens with a flick knife and is then forced down poor Cherubino’s throat might be red, the flavour of the dance and gestures Spanish. Yes I am sure I got a whiff of turkey in this co production with Gran Teatre del Liceu. Maybe it was more to their taste when it opened in the run up to last year’s festive season. Fortunately the Cardiff first night audience responded accordingly when Barcelona director Lluis Pasqual took his curtain call and gave polite applause having quite correctly reserved their enthusiasm for the wonderful cast. I am not even going to bother the brain cells by wondering why Figaro sang to and bounced around a silver football that dropped down from the heavens at one stage. The closing act is difficult to stage as our characters are supposed to be fumbling around in the dark. Here the characters were dodging in and out of rather freaky, enormous House of Fun mirrors that had a life of their own. Now for the redeeming aspect of this show that makes it worth the ticket. The cast. David Soar is a bass to be taken very seriously in this role and while seriously questioning what he was asked to do; he is an impressive character actor. Incredibly only now making her debut with WNO Cardiff-born Rosemary Joshua is a splendid match for David and again demonstrates why it is Susanna who frankly saves the day and has the brains in the relationship. I have to say after the horrors of Act One I was dreading what Rebecca Evans would be forced with bear when making her role debut as the Countess. Fortunately calm prevailed and Act Two opened with a gorgeous set, stripped of the silliness and Rebecca was elegant in voice and look. She came into her majestic own later in Dove sono and if I were royalty I would make this Countess a Dame on the spot. Another excellent company debut for South African Jacques Imbrailo, winner of the Audience Prize in BBC Cardiff Singer of the World 2007, singing and acting one of the most engaging Counts I can remember. That Competition’s Song Prize winner, Elizabeth Watts, takes over Susanna on much of the tour. I am not yet quite sure what to make of Fiona Murphy’s Cherubino thanks to the direction and characterisation she was given. As with several of the opera’s finest arias and duets, I tried to close my eyes and enjoy. The other cast of scoundrels and comedians were ably taken by Henry Waddington (Dr Bartolo), Sarah Pring (Marcellina), Jeffrey Lloyd-Roberts (Don Basilio), Arwel Huw Morgan (Antonio), Howard Kirk (Don Curzio) and Sophie Bevan (Barbarina). I have to say Barbarina looked as if she had just walked from playing Dorothy in Wizard of Oz. But hey, in this show, anything goes. Conductor Michael Hofstetter may need to watch the pacing and also work closely with the singers as they are at times hard to hear particular on the vast Donald Gordon stage which at times drowns the show and swamps the singers. While WNO’s productions record remains well suspect, in terms of the singers executive director John Fisher and his team are continuing to provide a supportive environment for the growing list of both young and high calibre singers who are coming to WNO to cut their teeth on new roles. We are the beneficiaries. |
Reviewed by: Mike Smith |
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