I saw this on 6 February, but, for some reason, never published this.
Approached with some trepidation. My favourite opera - the first one I ever saw live. Performed by a second rate company (with all due respect to ENO, they are not a Grade A house). Coming a year and two days after the brilliant performance I saw at Covent Garden, seven months to the day after the excellent revival there. In English. And subject to mediocre reviews in the media.
Marriage of Figaro is a problematic opera for me. One of the greatest pieces of art, and certainly one of the greatest operas ever produced. And yet, not really a tenor vehicle. Except for Don Curzio who barely figures at all, and Don Basilio, who, when luxury-cast with someone like Philip Langridge as last year at ROH is a wonderful role, but is usually an entirely forgettable comprimario. So, really, an opera without tenors is barely an opera at all!
My favourite opera, and one which I have three times on audio-only and seven times on DVD/video. But I could barely tell you a brief synopsis, let alone sit there and say what's coming in the next ten or fifteen minutes. Not a note of music unfamiliar, to the extent that play me a bar or two and I'll sing the next few bars without hesitation, yet every time I hear it I hear something new in the music, some previously un-noticed embellishment from the orchestra or key change in the score. The opera I would recommend in general to newbies and one that reveals something new with every new interpretation and subsequent re-listen.
Cast: The Count: Scott Hendricks
Figaro: Iain Paterson
Susanna: Sarah Tynan
The Countess: Susan Gritton
Cherubino: Stephanie Marshall
Dr Bartolo: Graeme Danby
Marcellina: Yvonne Howard
Barbarina: Claire Mitcher
Don Basilio: Alan Oke
Don Curzio: Christopher Gillett
Antonio: Nicholas Folwell
Conductor: André de Ridder
Director: Olivia Fuchs
The production has been described as 'Gosford Park', which I suppose it means it was set somewhere between the two World Wars. It was fine, nothing that really stood out as being either inspired or a mistake. For the opening scene in Figaro/Susanna's bedroom, a box tactic is employed, but rather than a stage-within-a-stage, it is isolated by clever lighting. Much of the action takes place in front of a bell pull device like all the best houses have. To be honest, apart from the opening box, and the characteristic ENO device of a sideways-sliding set not being wheeled completely off the stage, I remember very little of the set. Which is not necessarily a criticism: simply that it does not compare to the wonderful set at ROH last year. Although I do especially recall the Countess's wardrobe, perhaps especially because Cherubino knocked over the clothes rail and spent most of her/his time reassembling it. I am not sure whether it was accidental or part of the production.
And, generally, the production was not as memorable as the fabulous McVicar production. But it was still good enough. My bottom line is personenregie. I do not like productions that leave the singers floundering or statically facing forward regardless of whether or not they are singing.
Orchestra and stick waving. I had read others report criticisms of some tempi, but I didn't find that a major problem specifically. However, the ensemble did fall apart in that great sextet - all that sua madre, sua padre - which I think must be fiendishly difficult to hold together. Also, I was disappointed in Non piu andrai by the lack of oomph, it seemed to lack that triumphant martial quality I think the number deserves. In general, I felt the conducting/playing was technically adequate but without memorable highlights.
All the other set pieces were at least adequate and in some cases better. Of the main characters I found the Count and Cherubino to be generic, which is not especially a criticism, but they could not compare with the splendid performers I have heard in these roles live and on record. Sarah Tynan was an attractive Susanna, and I thought Susan Gritton gorgeous as the Countess. If not up to the standard yet of some of the best I have heard, I think she could be soon.
For me the highlight was Iain Paterson. As soon as the season was announced I knew that I had to see him in this role, and it was just lack of organisation that meant I didn't book a ticket for 6 February until 2 February. I love his voice, and I think he is wasted at ENO. He was Le Bret in Cyrano de Bergerac at Covent Garden and is due to be the First Nazarene in Salome. I hope he will soon be given more substantial roles there; in the meantime, he is a delight at ENO, although even his luxury-cast Schaunard is not sufficient to drag me to ENO for La Bohème, an opera I find dreary and requiring a superstar in at least one of Mimi and Rodolfo. And from where I was sitting in the balcony I felt that a reduction in weight by about a stone would be no bad thing. He reminds me a lot of former sort-of boyfriend of mine; I think that's a positive rather than a negative!
I could write reams about the genius that is demonstrated by Mozart's music. I could wax lyrical about Da Ponte's superb libretto. I could talk about the narrative and dramaturgy that I assume is Beaumarchais. I could also examine the subversive revolutionary element. But I won't. Just yet. Just say that I enjoyed a lovely evening's entertainment.
Comments