Mio Primo Figaro

It's shocking, embarassing even, that despite having studied at extensively, watched and heard numerous recorded versions, and directed two scenes from it, I hadn’t actually seen a live production of the opera buffa until now.

A classic, a veritable stalwart of the operatic repertoire, my companions Rosemary and Peter must have seen countless productions over their many decades of opera-going. And thanks to their continued support, I was lucky enough to have my first experience of Figaro at ROH - not too shabby.

As with studying Shakespeare at school, I think academically examining opera allows you to get the most out of it in performance. On a simple level, I understood the plot, but on a greater level I could situate it within the context of the other two Beaumarchais plays, experience the nuances of the character relationships, and critically observe the directorial choices, thinking about whether the production played to or against expectations of comedy or farce.

It was refreshing to have spontaneous laughter rather than forced chuckling at prescribed points, and I think a lot of that was down to Schrott’s little ad libs and vocalisations as Figaro. For me, the whole production had a slight Oscar Wilde play feel to it, specifically bringing to mind The Importance of Being Earnest - all light, intelligent humour, surprising reveals, and quick pace. I also agree with you about Dehn's Countess. Though I liked her interpretation in most respects - how youthful she was which allowed somewhat frivolous and conspiratorial relationship with Susanna to make more sense and also the link to the younger Rosina (some interpretation make her such a stuffy and aloof woman) - I too was disappointed by 'Dove sono'. It lacked the gravitas, dignity, pathos, and perhaps more importantly, ease with which other sopranos have sung it. There were a couple of points in the score when the ensemble between singers and orchestra wasn't quite as smooth as I would've expected, but in general I liked Bolton's conducting and I thought the forte-piano was an successful aural dimension. And yes, I was astounded at how vibrant Ann Murray's voice was, not to mention her endearing portrayal of Marcellina - less pantomimic and thus more convincing when she becomes the warm-hearted madre of Figaro.

Though my first Figaro I doubt it’ll be my last. It’s a classic for a reason.