So­prano jumps into Mar­riage

Western Suburbs Weekly - - Weekly Life -

play, which di­rec­tor Neil Arm­field did orig­i­nally with Ge­of­frey Rush years ago.

“It’s sort of the same play put into opera but the dif­fer­ence is that Su­sanna is much more of a moral fi­bre.

“She isn’t the strum­pet like most maids seem to be por­trayed. She doesn’t give in, stands her ground and is hon­estly and truly in love with her hus­band and re­ally wanted to get mar­ried.”

The opera takes place on one mad day at the villa of Count Al­ma­viva and Pear­son said it was a ro­man­tic com­edy dis­guis­ing the causes that fu­elled the French Revo­lu­tion.

“The orig­i­nal play was com­pletely cen­sored in its time for be­ing too dan­ger­ous and sub­ver­sive,” she said.

“It en­cour­ages the lower classes to see that they have the po­ten­tial of rul­ing or at least hav­ing power over their own lives. The whole thing is quite dark but it’s a com­edy that cov­ers it up with wit.

“I love to see how Mozart and Lorenzo Da Ponte the li­bret­tist cov­ered up the rev­o­lu­tion­ary ideas from the cen­sors. There are so many lit­tle clues through the opera that have dou­ble mean­ings.

“It takes a lot of study but the more you do, the more you see.”

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