Welsh National Opera |
| Welsh National Opera- Figaro Gets a Divorce , Wales Millennium Centre , February 22, 2016 |
From the moment the curtain came down on the second extant ‘Figaro ‘ opus, equally as bright and delightful as the first, I started looking forward eagerly to the brand new concoction exploring the machination of Figaro’s divorce. Particularly as several of the very fine singer/actors from ‘Marriage’ were to continue their roles in this new production.Anyone, like me, looking forward to more delicious comedy and mayhem may initially have felt a bit cheated. When after a few bars of much awarded Muscovite Elena Langer’s spirited music, the curtain rose to reveal the glowering rocks of Ralph Koltai’s set again framing the stage for this final work in the ‘Figaro’ trilogy. Count Almaviva and his cohorts were seen struggling across the barren land fleeing from a revolution in the troubled world of the 1930s. Langer’s music is all embracing and profound, perfectly matching the situations and underlining the mood of the narrative. She combines the romance of traditional classical music with atonal phrases, that the singers capture so well and together with conductor, Justin Brown the tension on the stage is faultlessly maintained. There are no arias or duets as such, the opera is a continuing dialogue through song. This gives a keen dramatic pace to the production as the Count and his followers continue their flight. He seems to have lost all his authority and has become an irresponsible gambler, Mark Stone brings a nostalgic quality to his singing but remains vocally strong and true. He is taunted by an enigmatic new comer, The Major, Alan Oke, introduces a sinister quality into his singing even more so when he quietly trills his la la las to get us shivering. Initially he is helpful. Our group is put into a luxurious hotel. The Major appears to hold intimidating information on everyone. He orders the Count to tell his son Serafin to go to the army. Again Naomi O’Connell totally captivates with her zest and eventual joy. There is tension between Figaro and Susanna, she desperately wants a child, he’s not interested. The Major’s presence worries him so he disappears to get out of his dangerous way. Again at the core of all the proceedings David Stout is in strong voice adding a touch of pensive thought from time to time, well aided by Langer’s music. Serafin and Angelika are in love but fear the Count will forbid their marriage. Rhian Lois, a delightful Welsh soprano perfectly captivates as this ever-hopeful young woman. There are some question about this young couple being brother and sister; this would certainly put pay to their marriage plans, despite the beauty in their vocal expression. The Count has become a compulsive gambler, now it debt, he has to take everyone out of the hotel and living becomes very difficult. Figaro tries to get back to normal by going back to his old trade and he opens up a barber’s shop. Business is very slow. Susanna rejoins him; her wanting a child argument comes up again. There is no resolution so she walks out on him. Marie Arnet, a new Susanna, is again at one with this, at times difficult music. She gives us a very clear and strong performance. The Major tells her she can no longer be employed by the count. She is thrown on her own recourses and visits a sleazy cabaret bar run by the ‘Cherub’ an equally sleazy, sexually ambidextrous character. Last seen as the splendidly charming Cherubino in ‘Marriage’. Now a sad character this time played with finesse of voice and manner by counter tenor Andrew Watts. He transforms Susanna into a cabaret singer and her ‘big number’ brings down the curtain on the first act. The Countess is having a few things out with the Major. Elizabeth Watts may not here have the opportunity to reveal the great beauty of her singing but she penetrates and enthralls as she shows complete command of the complexity of Langer’s music. The youngsters are able to marry. Susanna, now pregnant with the Cherub’s child, and Figaro have a go at reconciliation. But they are still all in great danger, trapped in this castle. The Count recalls a secret passageway out of the castle and urges Susanna, Figaro, Serafin and Angelika to make a Von Trapp run for it while they will stay and face the music. There were first class performances from every member of the cast. The scenery was expansive and fine. This new music of Elena Langer’s consummately good. This new piece of theatre art would have benefitted from more accomplished storytelling and a more meaningful libretto. Production: Figaro Gets a Divorce Company: Welsh National Opera Venue: Wales Millennium Centre Date: 21 February - 7 April |
Reviewed by: Michael Kelligan |
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