The Marriage of Figaro certainly is one of the classic operas, among the most frequently performed in America and world-wide. That said, if you’re a novice to this form of entertainment, this production of it from Opera Theatre of St. Louis could well be an entry-level drug.
Consider it, if you will, a sort of Downton Abbey in a condensed form. The action, four acts, one intermission, three hours, takes place over a single day and has the sort of complicated story that was common in those pre-cinema days. (People expected to get their money’s worth in terms of tales told. And they had longer attention spans.) Figaro is the manservant of Count Almaviva and wants to marry Susanna, the Countess’ maid. But the count – who, I assure you, is no Robert, Earl of Grantham – has other ideas. His roving eye has hit upon Susanna and thinks it’s time to reinstate droit du seigneur, that custom wherein the lord of the manor has the right to bed any maiden in his fiefdom before her husband does. In addition, we have young Cherubino, an adolescent in full hormonal storm, although that has nothing to do with it being a trouser role, which means it’s sung by a female. Cherubino is wild for a young woman named Barbarina, but he’s also gaga over his godmother, the beautiful countess, whom he worships from considerably more afar. The count has figured this out and does not believe what’s sauce for the goose, etc. In addition, there’s a slick music teacher, a physician-lawyer with ulterior motives, and an older woman who really thinks she should be marrying Figaro instead of Susanna.
If all this seems a little much to follow, remember OTSL sings and has supertitles in English. You should also read the story in the program if you can. (Of course you got there early. Maybe a picnic, maybe to stroll the garden, maybe to people watch.)
The music is a delight. Aubrey Allicock as Figaro is a clean-cut swain, smart if slightly naive and sounds great. Susanna, brought to us by Monica Dewey, has lots of work to do – it’s a heavy-duty role with lots of singing – but she carries it off with elan. As the countess Rosina, Susannah Biller is stunning in style and song. One thinks this Rosina could have done better than the count, here played by Theo Hoffman with suitable jealousy and conniving. Cherubino, Samantha Gossard, is zestfully played, a lovely voice and lots of spirit.
The feast continues with the visual. The set uses bits of the hedonistic Fragonard’s paintings enlarged to dream-size as well as turning into intriguing interiors, all this from set designer Paul Steinberg. More deliciousness arrives in the form of costume Designer Constance Hoffman’s work, including the countess’ wonderfully oversized floral prints, especially a negligee. Tom Watson’s wigs and makeup fit right in with the era, especially the men’s towering bicornuate perukes.
And afterwards, please remember the tent up the hill is for anyone, not just cast and the people who give large (or even smaller) donations. Wander up, humming, have a glass or an ice cream and smile about it all.
Remember when you thought opera meant stuffy?
The Marriage of Figaro
through June 29
Opera Theatre of St. Louis
Loretto-Hilton Center
130 Edgar Rd., Webster Groves
314-961-0644
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