Sep 3, 20244 min read

Review: The Marriage Of Figaro (Royal Opera House)

Review by Dan Sinclair

⭐️⭐️⭐️

I’ve never quite understood why there seems to be a boundary between Theatre and Opera. Back when I was a teenager I used to frequently watch touring productions by the Welsh National Opera. In every sense they’re best described as ‘epic’ - nothing is ever done by halves. They have the finest music, set design and voices you can hope to see on the stage. And so, All That Dazzles heads to the Opera! Marking its 10th revival at the Royal Opera House, this production of Mozart's The Marriage of Figaro, directed by David McVicar was originally staged back in 2006, so it is well-worn territory by this point. It does feel a slight shame that they are opening their season with such a safe option, but if it ain’t broke don’t fix it I guess. And broke it most definitely is not.

The dashing young valet, Figaro, is madly in love with the Countess’ maid Susanna. And as the title would suggest, it is time for their marriage. The count, also in love with Susanna, seeks to sabotage the marriage and take her for his own. If this wasn’t enough, the governess Marcellina seeks to cash in an old debt and demands that Figaro marry her. A young page by the name of Cherubino, after being caught with the gardener's daughter is banished by the Count. Figaro, using the Count's jealousy, the Countess’ boredom and Cherubino’s rampant sex drive, devises a plan to trap the Count and finally win the hand of his Susanna. All Figaro needs is for everything to go smoothly (spoilers, it does not).

The Marriage of Figaro is a simple but charming tale of love, sex and mistaken identity. Set in 1830s Spain against the backdrop of revolutionary France, there is also a class commentary running underneath the piece. Originally banned due to being too savage for the Viennese upper class, its script was toned down by Lorenzo Da Fonte, leaving a few subtle winks and nudges to its satire. In this production, I don’t particularly see the biting social commentary that it is so often praised for, but it excels in every other department.

The performances across the principal cast are outstanding. In her Royal Opera House debut, Ying Fang has a lovely edge as Susanna, the subject of every male character's affection. World-class voices are almost a given, so it's wonderful to see Fang’s performance truly shine in moments where she gets to scheme, plot and kick the daylights out of Figaro. The other most notable performance came from Ginger Costa-Jackson as Cherubino. Clearly a fan favourite from the applause at the end, she bounces around the stage and brings the comedy to the forefront. Cherubino is endlessly stuffed in cupboards, under blankets and thrown from windows. Yet Costa-Jackson bounces back with a cheekier grin each time. It is undeniable that she brings a smile to your face every time she bounds across the stage.

The design by Tanya McCallin is every bit as epic as you would expect. The opening overture utilises every square inch of the Opera House’s deep stage, creating a never-ending hallway of windows and doors for the chorus to play with. This sense of grandeur is what the production does best, it makes you feel giddy when the orchestra first strikes up for the overture and the sunlight blasts across the stage. The lighting design from Paule Constable is quite cold throughout but still manages to highlight the hilarity and heartbreak of each moment. As an overall experience, The Marriage of Figaro at the Royal Opera House is like stepping into another world. It’s often breathtaking in the scale of it all.

It does feel slightly sacrilegious to give notes on Mozart, but that won’t stop me. It is a challenge to sustain any form of dramatic action over 3 hours, but there are points where it notably dips. This plot is one seen in many variations as a classic mistaken identity rom-com. Where something such as One Man Two Guvnors by Richard Bean (or The Servant of Two Masters by Goldoni) manages to keep the energy up, pinning countless jokes onto its plot as it goes, The Marriage of Figaro often spends 30 minutes on one gag that could take 5 minutes.

What place does Opera have in the modern theatre landscape? And what audiences does it want to attract? Whilst I firmly believe that any musical/theatre fan should have at least one experience at the opera (trust me, you’ll love it), I just don’t think that this one should be your first. The constant need to glance at the overhead translations, the genuine need for binoculars if you want to see any facial expressions and the gold-clad champagne bar in the lobby just don’t make this a show that will appeal to a first-time opera audience. As a classic for the tried and tested opera attendee, however, this may well be the perfect marriage.