NZ Opera Presents: The Marriage Of Figaro
8th, 10th & 13th June 2021
Kiri Te Kanawa Theatre, Auckland, New Zealand.
Review by Sarah Kidd. Photography by David Rowland.
It is without a doubt, an opera of great popularity, Le nozze di Figaro one that brings forth both mirth and mischief to the stage as it lives up to its description of a ‘day of madness’.
Once again NZ Opera has masterfully curated a performance that sees both the Freemasons New Zealand Opera Chorus along with the Auckland Philharmonia Orchestra bring Mozarts triumphantly joyful opera (with libretto by Lorenzo Da Ponte) to life under the directorship of the incomparable Lindy Hume.
As her seventh production for New Zealand Opera, Hume and the creative team were challenged with the idea of taking a well-loved opera and presenting it anew for a more contemporary audience. By focusing on the alternative title of La Folle Journée – the Mad Day, they have brought a delightfully playful rendition of The Marriage of Figaro to the stage, one that has wonderfully fluid momentum from start to finish while allowing the social ideals of liberty, friendship and equality to blossom before the audience’s eyes even when they are often muddled between the imperfections of love and infidelity.
This version of the opera – despite being centred around Figaro and his marriage to the beautiful and desired Susanna – is led magnificently by its strong female characters, and this is mirrored on stage in the performances of the cast as well as being supported by the female dominated creative team. How invigorating to see conductor Zoe Zeniodi begin the evening with her spirited and enlightened interpretation of the score, the percussion section perhaps needing just a touch more oomph in those opening bars to really emphasise the frivolities that were to follow.
Performed in Italian with English subtitles, the audience is greeted with a singular pale white gossamer wall, the internal gold frame delicately illuminated from within by small led lights that move in opposite directions dependant on the scene. As the Freemasons chorus take to the stage, they surround the panel while deftly fanning out the ones installed behind it, the sumptuous house of Count Almaviva’s quickly taking shape within moments. Time and time again, designer Tracy Grant Lord demonstrates her impressive skills in utilising space and bringing scenes to life with the greatest of ease. Combined with her costuming talents which sees subtle modern twists such as Count Almaviva’s skinny black jeans endow him with a definitive playboy image, and Marcellina’s corporate attire see a nod to her maturity while still acknowledging her importance in societal roles; Lord provides a breath of fresh air to everything she touches. Long may she continue to do so. Combined with the lighting talents of Matthew Marshall, attendees will truly feel as if they have travelled from dawns early light through to the shadowed veil of the midnight hour across the four acts, The Marriage of Figaro famously taking place over the course of a single day.
Moving swiftly through Act I we are introduced to our lovers Figaro and Susanna, the playful chemistry between Richard Ollarsaba and soprano Joanna Foote a joy to watch. Interestingly the Freemasons chorus are on stage for the majority of the four acts, even though they only perform together a handful of times. While often relegated to the background, or framing the scene from either side, Taiaroa Royal’s choreography works extremely well in creating an atmosphere of both indoors and out, while simultaneously turning pivotal scenes into living artworks.
Soon the frivolity begins, as Count Almaviva played with delicious bravado by American baritone John Moore, attempts to seduce our faithful Susanna by any means necessary. Cutting a striking figure, Moore captivates and brings to each scene an electricity that is exciting to watch. His plans thwarted it would seem by the cunning women who surround him, he ushers his frustrations to the forefront with just the right mixture of entitled rage and humour.
It is also in Act I that we are introduced to Cherubino, played by Bianca Andrew, who is this years Ryman Healthcare Dame Malvina Major Foundation Mina Foley Award recipient. To say that Andrews steals the scene would be the understatement of the year. Encompassing all of the light and exuberance of Cherubino’s youthful character, Andrew’s positively shines, the mezzo’s vocals crystal clear and uplifting throughout. Traditionally always played by a female cast member, Andrew’s embodies the freedom that so many of today’s generation seeks, Cherubinos willingness and elation when dressed in more feminine attire bringing a smile to one’s face easily. There is no doubt that an impressive career path lies before Andrew’s if she continues to deliver performances of such high calibre.
Rounding out our main cast is of course the Countess herself, plagued by an unfaithful husband, yet none so faultless when put to the test, the role is played with both thoughtfulness and strength by stunning soprano Emma Pearson who recently captured attendee’s hearts as Semele in the opera of the same name. Those who witnessed her in this previous role would certainly see some distinct similarities, however it only adds to the performance rather than detracts.
The momentum of events carries through Acts II to IV, laughter easily coaxed from the mouths of attendees by a cast that works together seamlessly. Plans are hatched, and spanners are inevitably thrown as overheard conversations are misinterpreted and revenge storms to the forefront before soothing words and a lovers touch once again stills the waters.
Throughout the evening each and every aria is one that thrills the audience, their enthusiastic applause testament to the quality of the singing, however it has to be said that it is the duettino ‘Sull’aria..che soave zeffiretto’ (made popular during an infamous scene in the film The Shawshank Redemption) between Pearson and Foote that made the evening truly sparkle, the sopranos approach one that is gentle yet firm as they conspire to expose the Count’s infidelity once and for all.
Ultimately Figaro does indeed claim his bride, a singular wedding quickly manifesting into two as Marcellina and Don Bartolo – played by Andrew Collis – reunite with their presumed lost son Figaro, the minor roles of Barbarina (Imogen Thirlwall) and Antonio (2018 Lexus Song Quest Winner Joel Amosa) bringing those last flourishes to the madness of the day. An eternal happy ending for all? Perhaps not, but a conclusion that delivers temporary peace to those who have betrothed themselves to one another. Until the next time that is…
Director Lindy Hume sought to find common ground with this NZ Opera production of The Marriage of Figaro and she has most definitely succeeded as it makes you fall in love all over again with this timeless classic.
Were you there at the Kiri Te Kanawa Theatre for this beautiful opera? Or have you seen The Marriage Of Figaro performed live somewhere else? Tell us about it in the comments below!
The Marriage Of Figaro is also being performed in Wellington (The Opera House – 23rd, 25th & 27th June) and Christchurch (Isaac Theatre Royal – 8th, 10th & 13th July). Tickets are on sale now from NZOpera.com
Note: New Zealand Opera provided passes to Ambient Light to review this concert. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.
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