“A booming evening of romance, comedy and resounding music.”
Directed by Danielle de Niese in her fabulous debut, The Marriage of Figaro by Wild Arts is a dazzling piece of art.
From the English translation of the original Italian opera, to some younger cast members, Wild Arts does not fail in its mission to bring opera to the younger generation. De Niese and Orlando Jopling get together for this beautiful translation, even inserting a few surprising elements such as the use of swear words to make the story more relatable. Between the open-air theatre and Wild Arts’ choice to put the orchestra centre stage, the usual barriers between audience and performance mostly disappear.
The set, designed by Laura Stanfield, consists of frugal elements, all respecting the environmental values of Wild Arts. With just a few chairs and boxes, some bedding, curtains and panels, De Niese is able to convey all of the information necessary for each scene, while showing the historical context with the 18th century replica chairs and elaborate costumes.
Conducted by Orlando Jopling, the orchestra does not cease to impress. While the orchestra sits centre, the action plays out around and in front of them. Yet, even as Jopling is sometimes blind to the action, he never once fails to synchronize the instruments with the singing. Whether through sheer rehearsal or the occasional half-turn to check the stage, orchestra and singers stay locked together. This is helped by the dazzling skills of the musicians, each contributing to the well-known melodies of Mozart such as the splendid overture. From quiet moments of peace, to dramatic thunderous ones of anger, the orchestra does not fail to impress.
This opera wouldn’t be The Marriage of Figaro without the sharp wit and critique of the aristocracy that Mozart intended. The music, the acting, singing and the set all come together to create moments of ridicule such as Count Almaviva punching through a realistic table made of a bedsheet, turning the whole scene into a farce. Even as the interval is starting, and the cast members each bow in front of the audience, they do so while maintaining their role, making this scene quite comical.
Each cast member seems perfectly chosen for their role, which consists not only of having exceptional singing skills, but also acting ones. One example of this is Cherubino, played by incredible young artist Abbie Ward. Ward’s performance really impresses with this portrayal of the young heart catcher, both with the power of her voice and the realistic portrayal of the boy. Jack Sandison as Figaro, and Ellie Neate as Susanna, both remarkably play the love-struck couple desperately trying to make their wedding happen, the love, jealousy and anger beautifully acted out.
The cast worked the full width of the stage, so no section of the audience was left facing anyone’s back. Their singing was so clear that at times it was not necessary to look at the surtitles above, making the performance all the more enjoyable and made for younger audiences. Even though the audience in this particular location was not especially young, I am sure all appreciated not having to alternate looking between the screens and the stage so often. However, the singing occasionally sounded a little faint still, due to the particular structure of this opera house, but this did not meaningfully alter any enjoyment of the performance.
This performance of Mozart’s opera was a tremendous success, not only for its quality, but also for making otherwise inaccessible performances accessible to younger audiences.
The Marriage of Figaro runs at various locations across England until the 27th September. Tickets are available here.