The Marriage of Figaro

I have never been a big fan of updating classic operas to the present day, that is, until now. Thanks to director Nicholas Cannon, State Opera have presented a relevant, accessible and highly enjoyable modern take of The Marriage of Figaro!

Even after updating, the story is much the same. The Count has his eye on Susanna, Figaro’s bride-to-be. She might just be a servant, but Susanna’s clever and determined he won’t have his way, especially on their wedding day!

Figaro is outraged, but he’s got bigger problems: he owes money to a spinster who will only let the debt go if he marries her.

The Countess is sick to death of her husband’s wandering eye and enlists Susanna to help win him back.

They all need the help of Cherubino, the lovesick youth who loves not just the Countess, but anyone who looks his way.

But Susanna is smarter than all of them. After a crazy day of disguise and duplicity, will she get her happily ever after?

Cannon has thought through every angle of this updating and has given us a spoof on rom coms with more than a touch a farce. His blocking is thorough and makes use of every centimetre of Her Majesty’s Theatre stage. His actors are believable and well defined. It is refreshing to see an opera where the ‘stand and sing’ technique has been avoided and Cannon is to be congratulated for bringing new life to a timeless classic.

Of course, no production is solely the work of the director. Under the baton of Tobias Ringborg, the Adelaide Symphony Orchestra gives us every nuance of Mozart’s iconic work.

Alisa Paterson’s set and costume designs are functional and elegant. The four sets are ingeniously designed to change within seconds while still looking substantial. I loved the remembrance wall in act 4. The costumes range from corporate to glam and everything in between, notably Basilio’s pink suit with matching bum bag!

Nigel Levings’ lighting design perfectly suits the ‘modern take’ of this opera with dark shadows in which to lurk and spy on other characters while still bright enough to highlight the action.

Jeremy Kleeman is the perfect Figaro. Fresh from his two roles in the G&S Fest as the Sergeant of Police and Captain Corcoran he brings youth and physical energy to the role. His baritone is velvety smooth, and he literally leaps around the stage alternatively causing and escaping trouble. His aria “Se vuol ballare signor contino" is a joy as is "Tutto è disposto ... Aprite un po' quegli occhi".

Jessica Dean’s Susanna is a pocket rocket (especially when standing next to the Countess) who delivers in spades. Looking not unlike Lois Lane from the Superman series she is the perfect foil for Kleeman. Her soprano voice is crystal clear. I especially enjoyed “Deh, vieni, non tardar, o gioia bella” from Act 4, the control of her upper register is faultless.

Nicholas Lester is a welcome return from work in England, Wales and Scotland. His Count Almavira is suitably stuffy, self-centred and self-righteous. He commands the stage with his height and his voice. His aria “Hai già vinta la causa” uses his rich baritone voice to its full capacity. On a side note, hats off for tying a tie onstage while singing a big aria!

Petah Cavallaro dominates the stage with her exceptional soprano voice. Her “Dove sono i bei moment” is outstanding in every way. She maintains the cool exterior of the Countess with ease.

Emily Edmonds’ Cherubino is a pants role with a punch! She is completely at home as a boy or a girl. Her shredder bin hiding place is hysterical as she is wheeled around the stage with just her hear sticking out looking like a gum nut baby.

Cherie Boogart’s Marcellina, the ‘real wife’ of Seville, steals everything that isn’t’ nailed down. She minces around the stage trying to maintain her status in vain. Boogart is a master of playing larger than life characters without pulling focus at crucial times. Her wedding dress cannot be accurately described here. It is a miracle of dressmaking!

The cast is completed by Pelham Andrew’s rather simple Dr Bartolo, Mark Oates’ campy Basilio, Jiacheng Ding’s outraged Curzio, Jeremy Tatchell’s wonderfully inebriated Antonio, Lucy Stoddart’s sassy Barbarina, Erik Chmielewski’s officious Security Guard and Jessica Mill’s cheeky first bridesmaid.

The chorus (lead by Anthony Hunt), although not heavily featured provide a plethora of characters, and add depth to the story.

This was one of the more polished opening nights I have seen. There was one minor technical error with one of the gold curtains, but this did not detract in any way.

State Opera’s The Marriage of Figaro is sex, lies, deception, rapture, exquisite music and intrigue, and Mozart himself would not have it any other way. See it before it closes!

Barry Hill OAM

Photographer: Andrew Beveridge