We have reached the midpoint of WNO’s Figaro Fiesta that started with the Barber, now the Marriage and that will end in Divorce. Verdict so far? Don’t worry too much about the designs and interpretation and just bask in the singing and music.
In this new production we have a tweaked version of the Ralph Koltai’s burnished set design and while the spinning around that was pretty annoying in Barber, here it jars less. It allows the comings and goings of this farcical fandango and gives a better feel of a gilded aristocracy, contrasted with the behind-the-scenes servant’s world.
Richard Wiegold, Anna Devin, David Stout and Susan Bickley
Mark Stone and Anna Devin
Director Tobias Richter starts with the cast on stage reading the text then, prompted by Figaro rushing through the auditorium, they go off and reappear in their roles. This time designer Sue Blane, who also designed costumed for the first offering of this Figaro trilogy, puts them in pretty wigs, big gowns etc. rather than the tarty vamp outfits for Barber.
This season’s directors have at last realised they have an accommodating theatre space to use and the action does not have to be kept to the stage. Characters come down into the rows of seats, enter and exit doors in the cavernous auditorium and the result if very jolly indeed. There was a touch so this in Barber but here it is used more effectively.
Mark Stone
Mark Stone and Elizabeth Watts
While there does not seem to have been much analysis of the characters, their relationships and the subtleties of the work, the cast is splendid – from the robust and charming Figaro from David Stout, just the right balance between humour and anger at his master’s machinations to Ann Devin as a veritable feisty knock-out Susanna. Elizabeth Watts, swapping from the role of Susanna in WNO’s last take on the opera, sings a Countess rich in delicacy and expressiveness.
The Almaviva from Mark Stone is in looks and sounds an excellent Count who balances his shaky position of an aristocrat on the edge of the enlightenment with still wanting to hold fast to his privileges when it suits him.
Naomi O’Connell was marvellous in the trouser role of Cherubino sparkling with her glorious arias and we had a a particularly bouncy Barbarina from Rhian Lois. Julian Boyce sang a jaunty comical gardener Antonio and Susan Bickley as Marcellina and Richard Wiegold as Don Bartolo were totally engaging.
The audience rightly appreciated the conducting by Lothar Koenigs with orchestra and chorus’ love for the score shining through.
Wales Millennium Centre, Cardiff, February 20, 24, 26, Venue Cymru, Llandudno, March 9, 12.
Images: Richard Hubert Smith
Barber of Seville review https://asiw.co.uk/reviews/barber-seville-wno