AMATEUR OPERA REVIEW: Le Nozze Di Figaro - The RNCM, Manchester.

'Le Nozze Di Figaro', or to give it it's English title, 'The Marriage Of Figaro', is one of the most performed and best-loved operas worldwide. Written in 1786 by Wolfgang Amadeus Mozart with a libretto by Lorenzo Da Ponte, this 4-act frivolity is set over the course of only one day.

It tells the story (or at least continues the story) of Figaro. We last saw Figaro in Seville (as a barber, in an opera by Paisiello - Rossini had yet to write the more famous version!), but now he has moved to the estate of Count Almaviva to be in his employ. He is desperately in love with one of the counts serving maidens, Susanna, and they plan to marry. Rosina, another character from the Paisiello opera, is now the Countess, and there is much humour to be found in this (providing one is aware of the background to these two characters and their relationship in the first opera). However, the Count is now wanting to exercise the ancient right of being able to sleep with the maiden before her wedding night [Doigt-Du-Seigneur], and tries every trick in the book to delay the wedding in order to do this. His scheming is to become undone however when the rest of his household conspire plots to thwart him at every turn. 

Written in the style of the time, this opera is very much an "Opera Buffe"; a genre of opera which could easily be equated with the theatrical styles of pantomime or farce; and the opera should be light and frothy, and above all, funny. 

This was the fourth time of my seeing this opera now, but in this production Jonathan Cocker's direction however seemed to want to turn the story into Grand Opera, and ignore most if not all of the comedy. No froth. I am uncertain as to why he chose to do this, for the opera certainly doesn't lend itself to such a dramatic and serious approach. Moments which should have been silly, unrealistic and totally farcical were portrayed as dark and sinister, and we even saw Figaro in his opening aria in act 1 draw a cut-throat razor (a throw-back to his former profession), and Sweeney Todd-like gesture cutting a throat with sincere malevolence. The pace of the opera wan't helped by choreographed scene changes for the four acts. Using the same four "walls", they were placed in different configurations by the opera chorus in full view of the audience as part of the production. This added nothing to the opera except time, and to return to our seats after the interval to listen to the entr'acte and THEN to watch the scene change take place on stage in silence before the opera recommenced was tiresome and bizarre. The style of Cocker's directing was also continued to some extent in the orchestra pit. The configuration of the orchestra was correct, but the playing, under Peter Whelan's direction, was not as ebullient and 'airy' as it could have been. Again, no froth. The recitatives were scored for fortepiano with the help of a solo cello, and this worked nicely. 

Vocally, this afternoon's cast were superb. In fact, to all intents and purposes, I was watching and listening to, a professional cast. James Karal's Figaro was sincere and centred, and his bass voice was delightful. Pasquale Orchard was this afternoon's Susanna [there are two casts during the run], and she was forever trying her best to elict some comedy out of her role; desperatly trying to be the character that she ought to have been, full of mischief, fun, and pantomime; but always having to reign it in due to Cocker's strict no-comedy direction. Melissa Gregory (in the "breeches role") as Cherubino was also trying her best to make her role comedic, but again, not being given much opportunity sadly. Emyr Jones as Count Almaviva, and his wife Georgia Malcolm both impressed as indeed did Conrad Chatterton (Bartolo), and Lila Chrisp (Marcellina). In fact, it was a full company of performers who were just a hair's breadth away from earning money from their art. I truly enjoyed the students and their performances. It was such a pity that I was unable to enjoy the opera as a whole, since it really did not feel like I was watching Mozart's work, but felt much more like Wagner!

English subtitles were supplied at both sides of the stage, however, they were very minimalist, and unreliable too sadly. Set and costume design was by Bob Bailey, whilst Paul Botham's lighting design was simple but effective. I enjoyed the light streaming through the window in the third act, and the shadows in the final act. 

Reviewer - Matthew Dougall
on - 27.3.22