The Marriage of Figaro features a convoluted plot filled with love and desire, disguise and deception, mischief and jealousy–all elements that make for a juicy opera story. Count Almaviva tries to sabotage the wedding of Susanna and Figaro, both servants in his household. The Count intends to seduce Susanna for himself, while pressuring Figaro to marry another woman to whom Figaro owes an old debt. Along with the spurned Countess, Susanna and Figaro scheme to thwart the count’s evil plans and teach him a lesson in love. It all culminates in a happy ending with double weddings, and nobody dies in the process!
Gordon Bintner as the Count and Andrea Carroll as Susanna in the Canadian Opera Company’s production of The Marriage of Figaro, 2023. Conductor Harry Bicket, original director Claus Guth, revival director Marcelo Buscaino, set and costume designer Christian Schmidt, lighting designer Olaf Winter, video designer Andi A. Müller, and choreographer Ramses Sigl. Photo: Michael Cooper
Originally created by Claus Guth for the 2006 Salzberg Festival to commemorate the 250th anniversary of Mozart’s birthday, this production was last performed by the COC in 2016, featuring the same sets and costumes.
What you missed
The two bass-baritone leads are both masters of their characters. Italian Luca Pisaroni is a borderline nerdy, but charming Figaro with a magnetic voice. Canadian Gordon Bintner is every bit the haughty and dangerous Count, with a charismatic stage presence. They are perfectly paired with two sopranos of equal vocal and acting prowess. American Andrea Carroll is a mellower-voiced Susanna with clear phrasing, but it is her vibrant portrayal of mischief and mockery of her upper class superiors that steal the show. The Countess’ two arias, “Dove sono” and “Porgi amor”, are beautifully sung by Australian Lauren Fagan. This is her COC debut, and leaves us hoping she will be back soon.
American soprano Emily Fons, singing Cherubim again after her same role in 2016, is still believable as a hormone-filled, playful adolescent boy. Her “Voi che sapete” aptly portrays both the excitement and uncertainty of a young boy negotiating the world of love.
A quintet of Canadians, many of whom COC Ensemble Studio graduates, make an exceptional supporting cast: bass Robert Pomakov, tenor Michael Colvin and baritone Doug MacNaughton all reprise their 2016 roles as Bartolo, Don Basilio and Antonio, respectively; newcomers soprano Mireille Asselin is a breath of fresh air as Barbarina, along with a solid Marcellina in mezzo Megan Latham.
Uli Kirsch as Cherubim (top) and Gordon Bintner as the Count in the Canadian Opera Company’s production of The Marriage of Figaro, 2023. Conductor Harry Bicket, original director Claus Guth, revival director Marcelo Buscaino, set and costume designer Christian Schmidt, lighting designer Olaf Winter, video designer Andi A. Müller, and choreographer Ramses Sigl. Photo: Michael Cooper
Even almost 20 years after he premiered this silent role in Salzberg, Uli Kirsch is still marvellously agile as the invisible, havoc-wreaking doppelganger of Cherubim.
The COC orchestra is in fine form under the baton of Harry Bicket. The COC chorus, only featuring a handful of women this time, is small but mighty.
Although the set is sparse and monochromatic, hardly attractive-looking, the clever use of doors and the masterful lighting make it work. Most of all, it allows one to focus on the busy action on stage. What sets this opera apart are the multiple conversations taking place in every corner of the stage– squabbling, flirting and scheming are all happening simultaneously, which demands full concentration to make sense of it all.
Luca Pisaroni as Figaro (centre) and Andrea Carroll as Susanna in the Canadian Opera Company’s production of The Marriage of Figaro, 2023. Conductor Harry Bicket, original director Claus Guth, revival director Marcelo Buscaino, set and costume designer Christian Schmidt, lighting designer Olaf Winter, video designer Andi A. Müller, and choreographer Ramses Sigl. Photo: Michael Cooper
Gripes
The same cannot be said about the lacklustre costumes. The predominantly black and grey palettes are more suited to a funeral than a wedding. And, perhaps this production is deliberately sexed up in an effort to be more modern, but the constant groping and “floorplay” are simply uncomfortably excessive.
This Figaro is anchored by a magnificent-all-over cast. In this fast-moving opera, the success of its many comical moments rely on everyone moving on stage with laser precision. Nobody misses a beat, and there is not a dull moment.
Canadian Opera Company presents The Marriage of Figaro at the Four Seasons Centre for the Performing Arts in Toronto from January 27 through February 18, 2023. www.coc.ca
