BY SAMUEL COTTELL
‘The Marriage of Figaro’ by Mozart
Opera Australia
Joan Sutherland Theatre, Sydney Opera House, August 7
The opening night of ‘Marriage of Figaro’ was the second instalment in Sir David McVicar and Opera Australia’s series presenting Mozart operas that were written with the librettist Lorenzo da Ponte. First performed in 1786, ‘The Marriage of Figaro’ is set around the events of a single, hectic day in the Court of Count Almaviva. When Mozart first composed his ‘opera buffa’ – ‘The Marriage of Figaro’ – he sifted through more than 100 plays before settling on Beaumarchais’ version of the same name. Beaumarchais’ play, filled with tongue-in-cheek stabs at the aristocracy, was perhaps too brazen for Mozart and Da Ponte. Wanting to seek the approval of Emperor Joseph II, much of this overtone was removed, yet the final product still retains these political moments by giving equal footing to the three classes depicted; the aristocracy, the aspiring middle class, and the servants.
Taryn Fiebig as Susanna relished the role with delight. Her sweet and rounded soprano tone floated sweetly on each note, embracing each phrase and nuance with careful consideration and beauty. Paolo Bordogna’s Figaro was perfectly cast. His deeply rich and vibrant baritone voice was carried with ease and finesse, particularly in the rapid fire recitative passages. The tender and playful character of the Countess was perfectly rendered by Nicole Car. Contrasted to this was her husband, the Count portrayed by Andrei Bondarenko. His creamy and authoritative voice matched the masculine and predatory nature of the Count, who is often seen hitting on his female servants or bursting through a set of doors staking his ownership of the room and commanding attention be drawn to his presence.
Jacqueline Dark was a vibrant Marcellina, packing a comic punch, contrasted with serious overtones, and her stage presence was simply marvellous. The comic moments demonstrated many different sides to her character, particularly the comic delivery of snide comments between Marcellina and Susanna in Act I.
A highlight of the production was the letter writing duet of the Countess Almaviva and Susanna in Act III. Peformed with natural ease and grace by Nicole and Taryn; their beautifully rich and elegant vocal tones soared above the orchestral accompaniment, gently considered and caressed in the hands of conductor Guillaume Tourniaire.
Designer Jenny Tiramani’s sets, filled with light pink and powder blue hues, decorated with silk hangings and fine etched furniture, provided the perfect backdrop for the drama to unfold. Each room contained many doors from which characters could enter, exit and hide (particularly the closet). The doorways and hallways also provided many moments of comic delight as at any given moment servants of the Count could be seen eavesdropping on the goings on behind said doors. The changing of scenes was fastidious and never marred the movement of the drama. The costumes also provided a rich tapestry of visual enrichment. The fine yellow and red threads of the Count juxtaposed with the black and white garbs of Marcellina and Dr Bartolo.
Guillaume Tourniaire’s fast paced overture flourished and buzzed, setting the tone for many crazy events, set within one day, in the estate of Count Almaviva. Siro Battaglin’s buoyant touch at the pianoforte provided the perfect backdrop for entries and exits, and supported the recitatives with zest. Tourniaire’s tempos and phrasing amplified the importance of the orchestral music as being equal to the singers on stage. After all, it was Mozart’s brilliant instrumental writing in opera that set him apart from his contemporaries.
In the final moments of the opera, all the confusion is cleared up with the Count asking for forgiveness. Yet, we are left thinking: will he misbehave again and is all of this confusion, secrecy and gossip part of everyday activities in this court?
This production was a fine example of Opera Australia’s fine artistic planning and presentation, a national opera company at its best. Catch this production until August 29.
Image credit Prudence Upton.
