Mozart’s The Marriage of Figaro is the ideal opener for Cincinnati Opera’s 2019 season; the show features terrific performances (both onstage and in the orchestra pit), witty staging and lots of slamming doors.
Those elements of French farce are perfectly suited to Lorenzo da Ponte’s droll libretto based on Beaumarchais’s notorious 18th-century comedy. Thanks to an excellent (uncredited) translation there were plenty of laughs in all the right places.
The scenic design works beautifully. Two large bas-relief panels form a backdrop of a gnarly tree hung with family portraits. Suddenly, we discover that the portraits are windows suitable for peeping and that doors materialize out of nowhere.
The excellent cast featured many promising debuts, especially mezzo-soprano Rihab Chaieb, who earned the evening’s biggest ovation for Cherubino, the teenager on hormonal overdrive. Her physical agility was equaled by a lovely, rich sound that easily projected into Music Hall’s upper region. Soprano Janai Brugger’s Susanna was warmly lyrical and saucy. As the much-abused countess, Susanna Phillips sounded tentative at first but came through with a deeply moving “Dove Sono.” Another delight was Wendy Hill’s portrayal of Marcellina, an older woman pursuing Figaro only to discover she’s his mother.
Andrew Wilkowske was a clever, dashing Figaro and it was a pleasure to hear Joseph Lattanzi as his foil, Count Almaviva. Thomas Capobianco’s Don Basilio had all the requisite guile; while Kevin Burdette was a vocally convincing Bartolo, he looked more like Almaviva’s younger brother than the dyspeptic old man out for revenge.
Conductor Marc Piollet energized the orchestra by drawing out the marvelous instrumental lines and dynamic contrasts throughout, as well as providing sensitive support for the vocalists. Keyboard artist Levi Hammer provided superb accompaniment for the recitatives.
Stephen Lawless’ direction was a marvel, clearly galvanizing the entire cast, all of whom were physically and vocally nimble and totally in sync. The characters’ unabashed sensuality is on full display — couples luxuriate in undressing and can’t wait to jump into bed. And the doorways aren’t only for slamming; they serve as observation portals, like when the Countess sees the Count put the moves on Susanna and the Count and his henchman, Don Basilio, emerge from separate doors to watch as Figaro cuts Cherubino’s hair before he’s sent off to the Count’s regiment. When Figaro sees the Count, he offers him the scissors. It’s a truly witty gesture because Figaro is the one and only Barber of Seville.
For more info/tickets click here. The Marriage of Figaro has another showtime at Music Hall on Saturday, June 15 at 7:30 p.m.
