THE FRESH FUN OF FIGARO
Lyric Opera repurposes and surpasses its wonderful and whimsical 2015 production of Mozart’s The Marriage of Figaro with an entirely new cast and conductor—many making their Lyric debut. Among the latter is German-born conductor Erina Yashima, whose sensitivity and quiet competence bring out the beauty and complexity in Mozart’s scintillating score. Director Barbara Gaines brings fresh and creative vision to this production, which makes rare use of the side aisles. The supertitle translations have also been updated, giving this production a more contemporary flair. Vibrant, joyful, and uproarious, The Marriage of Figaro is the outstanding and must-see production of the season!
Peter Kellner and Ying Fang
A follow-up to The Barber of Seville, The Marriage of Figaro features a comic plot of Shakespearean complexity—think Comedy of Errors or A Midsummer Night’s Dream—unwinding over the course of a single day. Before Figaro (Peter Kellner) can marry his beloved Susanna (Ying Fang), many of his rivals seek to delay or prevent the wedding, such as Count Almaviva (Gordon Bintner), who wants Susanna for himself. Among the numerous subplots is the effort of Bartolo (Nicholas Newton) to marry Figaro to Marcellina (Sarah Mesko), though Figaro discovers that Marcellina is actually his own mother and Bartolo his father. Another subplot involves Cherubino (Kayleigh Decker), a lovestruck young gallant who flirts with the Countess (Federica Lombardi) and later runs off with Barbarina (Gemma Nha). In true comedic fashion, all ends well with no plot thread left undone.
Sarah Mesko and Ying Fang
This production showcases an outstanding cast and excellent vocal performances. Ying Fang as Susanna, who has previously performed two minor Mozart roles at Lyric, superbly shows what she can do with a major role. Her strong, clear, and mellifluous voice perfectly matches her energy, humor, and joie de vivre. Bass-baritone Peter Kellner, making his Lyric debut as Figaro, complements her well. Another excellent pairing is Federica Lombardi and Gordon Bintner, both making their Lyric debut as the Countess and Count Almaviva, respectively. Lombardi’s effortless and emotionally poignant singing approaches the transcendent in her Act Three aria, “Dove sono.” Another highlight is her exquisite duet “Sull’aria” (with Ying Fang). Ryan Opera Center alumna Kayleigh Decker, who last appeared at Lyric as Isolier in Rossini’s Le Comte Ory, puts on trousers once again. Her Cherubino might be more lovesick than lusty, but he’s a charmer nevertheless, as evident in her Act Two aria “Voi che sapete.”
The Company
Visually, Lyric Opera’s production aims for more of a contemporary reinterpretation of the past than historical accuracy, with a bit of fantasy thrown in for fun—something along the lines of Sofia Coppola’s Marie Antoinette. James Noone’s simple sets contrast nicely with Susan Mickey’s often garish costuming. His most successful piece is the massive 25-foot bed dominating Act Two. His Act Four garden, however, is disappointing, as there isn’t a single shrub or bit of greenery in sight. Nor does Robert Wierzel’s Act Four lighting convey any suggestion that the action takes place at night. While the present production hues/hews closely to the original 2015 design, it introduces some newer wigs, courtesy of John Metzner, and costuming reminiscent of the 1970s. Gordon Bintner’s Count manages to channel both Liberace and David Bowie’s character in the movie Labyrinth.
Sarah Mesko and Nicholas Newton
What a fun, delightful production! There’s little to criticize here, apart from the inconsistent costuming and a few vocal performances. Sarah Mesko’s tone is a bit shrill, while Nicholas Newton’s is rather thick, but neither has a large role. The plot can be silly at times, but it’s largely free of the period’s misogyny, which makes it more palatable than Don Giovanni, for example. Although it can be repetitive to see the same production twice, the time that has passed since the 2015 Marriage of Figaro, combined with an entirely new cast, conductor, and supertitles, renders this production almost new. I did not recognize this production as the earlier one, surprisingly, until I saw the giant bed in Act Two. And that seems appropriate, considering that this opera is all about who beds who. No wonder it almost didn’t get past the censors!
The Company
photos by Liz Lauren/Lyric Opera of Chicago
The Marriage of Figaro
Lyric Opera of Chicago
Civic Opera House, 20 N. Wacker Drive
in Italian with projected English titles
3 hours and 30 minutes, including 1 intermission
ends on November 30, 2024
for tickets, call 312.827.5600 or visit Lyric Opera
for more shows, visit Theatre in Chicago