The Salzburg Festival has seen over 20 productions of Le nozze di Figaro since 1922 and directors such as Walter Felsenstein, Günter Rennert, Michael Hampe and Jean-Pierre Ponnelle have all made memorable interpretations of Mozart’s masterwork. Sven-Eric Bechtolf’s latest exegesis can easily withstand comparisons to these legendary productions, in no small measure due to English set designer Alex Eales’ visually entertaining staging.
Count Almaviva’s Palazzo Aguas-Frescas is transformed into a cross between a slightly down-market Downton Abbey and Queen Mary’s doll’s house. Split-level action in Acts I and III provide the opportunity to see into a number of rooms, and more importantly, what other characters are doing – which is usually up to no good. Peeping through keyholes, incessant eavesdropping, furtive snooping and rifling through others’ property is all part of daily life chez Almaviva. There is a huge amount of extraneous business throughout which is lots of fun but can also be distracting. Until Act IV, only the Countess’ “Dove sono” aria escapes non-textual superfluous action. The Count’s “Hai già vinta la causa!” recitative was sung in his wine cellar but at the same time showed a number of staff in the servants’ hall above having lunch. It was unclear what “Vedrò, mentr'io sospiro, felice un servo mio!’ had to do with the midday repast, unless the Almavivas had hired Gordon Ramsay to prepare the servants’ victuals.
The setting and costuming was clearly post-Edwardian and could have been anywhere from Sussex to Rutland. Where it definitely could not be is in Spain. This presented certain textual incongruities such as an amusing idea in Bartolo’s “La vendetta” aria. During the good doctor’s paroxysm, the Count is in his dressing room below, reading a newspaper with Bartolo’s visage splashed over the front page, thus validating “Tutta Siviglia conosce Bartolo”. This would be fine if the journal was El Pais or even The Times but confusingly it was Il Corriere della sera. On the other hand, there was excellent clarity of action in the often-confusing Feydeau-ish finale which is set in a slightly grubby conservatory.
This was an extremely impressive ensemble performance of which Walter Felsenstein would have been proud. Some of the smaller roles were brilliantly played. Ann Murray was an absolutely outstanding Marcellina, particularly in the last act where the character is quite tipsy, having taken full advantage of the Count’s “ricca pompa”. A few perfectly timed hiccups during the “Presto, avvertiam Susanna” recitative were hilarious. On this occasion, the omission of Marcellina’s “Il capro e la capretta” aria was regrettable.
Christina Gansch’s Barbarina was a much more self-willed, tomboyish characterisation than usual. When she saves Cherubino’s skin in Act III with “Eccellenza, voi mi dite sì spesso” she certainly knew how to manipulate her “little kitten”. The short “L'ho perduta” cavatina opening Act IV was beautifully sung. This is a young soprano with a big future. Don Basilio was competently performed by Austrian tenor Paul Schweinester, although the characterization as a furtive, slightly hysterical Thomas Barrow was original to say the least. Margarita Gritskova was a charming and convincingly boyish Cherubino. This is a singer with considerable vocal skills but possibly at this stage still a “voice in progress”.