Le nozze di Figaro is arguably one of the best constructed operas ever written, the perfect marriage of music and drama. This production by Sir David McVicar (revival director Andy Morton), stands up well, and this new outing at the Sydney Opera House was notable for some outstanding performances. It is a production which brings out the comic aspects of the work while not shying away from the deeper moral dangers and class tensions so integral to the story.
Before the start, the stage is obscured by a particularly moth-eaten curtain, which became a transparent scrim during the overture. Jenny Tiramani’s sets and costumes are effective, opening in a convincingly drab servants’ quarters, moving to the pink-toned bedroom of the Countess, then the Count’s library, with the last act being set in a porch giving onto the garden. In the third act, windows open onto glimpses of small orange trees such as one still sees in Seville. In all instances, the locations of different doors and windows allow the action to flow as intended. This chateau is well supplied with servants, opening doors, eavesdropping, moving in swiftly to clean up Antonio’s mess. Going by the costumes, for some reason McVicar sets it in the 17th century, with ruffs and petticoat breeches. The Count’s striped yellow outfit in Act 2 is rather unfortunate, quite undermining his aristocratic dignity (presumably intentionally), but the rest of the cast is costumed appropriately, with graceful gowns for the women, black and white puritan(!) outfits for Marcellina and Dr Bartolo, and blue livery for the servants.
The Opera Australia Orchestra was conducted by Matteo Dal Maso in his Australian debut. After a crisp and lively reading of the overture, the orchestra provided a steady accompaniment to the singers. The continuo was gracefully supplied by Siro Battaglin on fortepiano, with a little ripple of Rule Britannia as Figaro announced his appointment to London. The Opera Australia Chorus was its usual well drilled self.
As Figaro, American bass-baritone Michael Sumuel was a convincing rather knockabout character, with entertaining double takes, making a link with his namesake in the Barbiere “prequel”, recently also seen in Sydney. His “I know, let’s dress up Cherubino” was of a piece with “I know, pretend to be a soldier… and pretend to be drunk.” Vocally however he produced a smooth focused sound, delivering all the nuances of his character’s moods.
Siobhan Stagg was pretty much the star of the show. She portrayed Susanna as a particularly charming character, clever but warm-hearted, kind to Cherubino and the Countess but not putting up with anyone’s nonsense, singing with a pure penetrating soprano. Possibly the musical highlight of the show was her rendition of “Deh, vieni, non tardar”, sung in front of the scrim with the disguised Countess dimly discernible behind her. It was sung with considerable warmth and accuracy, heartfelt meaning and with a beautiful refulgent glow not often heard. Her duet with the Countess was very sweetly sung by both.
The Countess was sung sympathetically by Australian soprano Kiandra Howarth. “Porgi amor” featured a rather distractingly heavy vibrato, but as things progressed her tone gained greater clarity in the ensembles. By the time we got to “Dove sono”, her voice was more focused and this was another highlight, with immaculate phrasing and emotion. Her errant husband was Canadian bass-baritone Gordon Bintner, who projected the appropriate sort of aristocratic disdain of his inferiors, even when clad in the aforementioned yellow-striped affair, jealous fury when thwarted and shamefaced embarrassment in the finale. He sang with resonant bronze tone, culminating in a darkly thrilling “Vedrò, mentr'io sospiro”.
Mezzo-soprano Emily Edmonds, well known to Sydney audiences through appearances in Pinchgut Opera productions, was an entertaining Cherubino, suitably boy-like in appearance and mien, and producing bright, focused tone in enjoyable renditions of both her arias. They were well paired with Celeste Lazarenko’s Barbarina, quite luxurious casting for this small role, and she did not disappoint, even managing to bring some charm to that most unrewarding of arias “L'ho perduta”.
Dominica Matthews was a slightly dotty Marcellina and Opera Australia stalwart Richard Anderson a puffed up Bartolo, delivering “La vendetta” with appropriate relish. The Act 3 sextet was well performed, and both those old reprobates melted charmingly at the (genetically unlikely) revelation of their parenthood. The small roles of Don Basilio and Don Curzio were sung amusingly by Virgilio Marino and the always entertaining tenor Kanen Breen.
