Mozart - Le Nozze di Figaro

If you are one of those that watched Some Like It Hot and kept complaining because it was obvious Curtis and Lemmon were not women you probably won't like The Marriage of Figaro. The comedy is very broad and you will have to accept confusion by characters as to the identity of very close relatives and companions.

There are no lowlights in this production but my personal highlights are Dorothea Roschmann's Countess arias Porgi, amor, qualche ristoro and Dove sono. But with the world-class cast in a Mozart opera you will enjoy every number.

Sit back and enjoy.

I have always been a fan of opera, and Le Nozze Di Figaro I have always loved. I loved this production, though my favourites are still the 1973, 1993 and 1994 productions and the Jean Pierre Ponnelle film. Mozart's music is sublime from start to finish with too many highlights to list, though the act 2 ensemble, Dovo Sono and Voi Che Sapete especially I do have soft spots for. The opera also has a great story and characters, and is very funny, though the humour is somewhat broad.

David McVicar has a style that may not appeal to all, I personally find it interesting, though I have known him to have made some questionable decisions such as in 2004's Faust. This 2006 Figaro is one of his better ones, though I do slightly prefer his Rigoletto. The setting is updated to a quite cynical and post-revolutionary France, this said the sets and costumes do look elegant and effective, and the picture and sound quality are of good clarity complete with interesting camera angles. The Act 3 septet was incredibly well done from a comedic and vocal point of view.

Le Nozze Di Figaro's music as I've said makes the opera one of Mozart's best, and the lively orchestral playing and conducting make things full of vitality and warmth. And thankfully the recitatives don't drag too much. Great singing too, with Marcellina, Bartolo and Basilio(Phillip Langridge steals the show almost in act 4 with his aria) having depth to them as well as being very funny, the whole sarcasm in act 1 between Susanna and Marcellina literally pours out. And I have to say the whole cast do look very relaxed on stage, which makes the performance even the more enjoyable.

Erwin Schrott is hearty and charismatic as Figaro, and Miah Persson is every bit his equal in a very charming performance as Susanna. Rinat Shaham may not quite erase memories of Frederica Von Stade or Maria Ewing, but as well as a very kitten-like charm and beautiful voice, she looks quite boyish. Gerald Finley's Count is very brutish particularly in act 2, with his and Dorothea Roschmann's Countess' work among the production's highlights. Roschmann, despite a slightly matronly presence and a couple of shrill notes, sings with great pathos, particularly in Dovo Sono.

All in all, a wonderful Figaro. 9/10 Bethany Cox

Figaro is the most perfect of operas and also one of the most difficult to stage. Until recently I had only ever seen one completely successful production, that was Jonathan Miller's for the Met. Now I have seen two more, Graham Vick's for Glyndebourne and this production by David McVicar for the ROH Covent Garden.

McVicar pays great attention to detail, inventing stage business that adds to our understanding of what is happening rather than detracting from it. For example, the opera usually opens with Figaro measuring the room to see if his bed will fit "10, 20, 30…"etc. In this production he is measuring Susanna's vital statistics. Then he dances with a pair of his master's boots to demonstrate how he will make the Count do his bidding. Erwin Schrott has a resonant baritone voice, reminiscent of Bryn Terfel. I was pleased to see that Miah Persson as Susanna is very much at home in this repertoire since I thought she was rather stretched when I heard her recently in the Flying Dutchmen. Together, Schrott and Persson make an aristocratic couple, perhaps emphasizing that it is only an accident of birth that they are the servants and not the masters. In contrast Dorothea Röschmann is a rather matronly Contessa, although her singing is very accomplished and Gerald Finley is a suitably menacing Count. Rinat Shahan is a charming Cherubino and there is strength in depth in all the minor roles, Don Bartolo, Don Basilio and Marcellina, making the discovery scene, where Figaro learns that Bartolo and Marcellina are his parents, one of the funniest that I have seen. All the minor roles have their five minutes of glory and the veteran Philip Langridge as the foppish Don Basilio seizes his. He whips of his wig to demonstrate the virtues of getting through life by wearing the skin of an ass.

All the comic business is done very clearly and well, particularly the final act, which can so often go wrong on account of its complexity. McVicar chooses to set the opera during the Risorgimento rather than the Enlightenment. This does not affect the action unduly and most people probably would not notice. He may, however, be doing Mozart a disservice. The subject matter is so revolutionary that it is difficult to believe that it was written in 1786 and by moving it forward by 60 years or so McVicar may be reducing some of its impact.