Perfect marriage of fun, frolics and Figaro
THIS bubbling, joyous production of a classic operatic comedy returns even better than before, with a uniformly fine singing cast and a tremendous feeling of esprit de corps.
Fiona Shaw’s approach could serve as a lesson to many arrogant producers: while remaining loyal to Mozart’s vision, she illuminates a class-conscious piece by showing the intricacies of Count and Countess Almaviva’s household.
We are reminded all the time that this is a Spanish menage. Clever use of the revolve lets us see into all departments of the house, with mute retainers treated almost as slaves but getting their own back by drinking the master’s wine.
Beaumarchais’s original play was controversial, dwelling on the abolition of the old droit de seigneur, which the Count seems eager to restore as he casts lecherous eyes on Figaro’s bride Susanna.
Perhaps the outstanding singer is Lucy Crowe, one of our most beguiling sopranos whose voice has developed true international status. Her depiction of how the Countess retains her dignity, as her husband strays, is touching and speaks for all wronged womankind.
British bass-baritone Ashley Riches, still a BBC New Generation Artist, is a dominating Count, handsome of figure and voice, a dangerous foil for Figaro.
That masterful servant, who manipulates much of the action, is sung by Dutch baritone Thomas Oliemans. His voice is magnificent, while his acting is in the long tradition of cheeky retainers.
His suitably pert Susanna, Welsh soprano Rhian Lois, sings delightfully, albeit with a touch of that strange ENO-speak which mangles English in the interests of ‘clarity’.
Scottish mezzo Katie Coventry’s fresh, engaging Cherubino completes the main line-up, while Martyn Brabbins conducts quite a full score — two Act 4 arias are excised — with superb timing.