There’s a scene in the film “Amadeus” in which Mozart describes to the emperor an octet in his opera, “The Marriage of Figaro.” He speaks of a duet growing into eight interweaving vocal lines that boldly go where no composer has gone before, and keep your attention far longer then you probably think possible. The emperor gradually gets a glow in his eye that seems to say he understands himself to be in the presence of genius.
I thought about that scene as I experienced Minnesota Opera’s production of “The Marriage of Figaro” at St. Paul’s Ordway Music Theater on Saturday evening. And not just during that wonderful octet at the end of the opera’s second act. I was thinking about whether a briskly paced romantic farce like “Figaro” — a kind of 18th-century screwball comedy — can keep the average audience engaged for three hours and 20 minutes. Is that too long for comedy?
Well, it isn’t if you have as much beautiful music as this opera offers. Especially if it’s sung as splendidly as it is by this production’s unfailingly impressive cast, complemented quite well by Michael Christie and the Minnesota Opera Orchestra. As mellifluous banter gives way to sad arias of love and longing, this production invariably does marvelous things with the music, perhaps reminding you that you are indeed in the presence of genius. And that you shouldn’t take Mozart for granted, like the Viennese did.
Not that it’s a flawless production. There were times when I thought the pace slackened too much, and that the characterizations and conflicts needed more palpable energy. And while I liked Leslie Travers’ set design that emphasized lots of opening and closing doors — a fine idea for a farce — I wish that there were most haste and urgency as the characters traveled through those portals. And perhaps a palette of colors broader than the set’s relatively uniform gray would have increased the excitement by engaging the eye.
But the cast seems intent upon sustaining the sense of fun in “Figaro” and underlining the score’s beauty when the arias slow. With five choice lead roles and five more great opportunities for scene-stealing supporting characters, it’s a dream opera for creating full-cast chemistry, and Minnesota Opera has a group that takes full advantage.
Adapted from the same set of Pierre Beaumarchais stories that inspired Gioacchino Rossini’s “The Barber of Seville,” it takes us to the home of a promiscuous count and his long-suffering wife, but frames the action through the responses of the (soon-to-be-married) servants who answer each beck and bell. As the two conspire with the Countess to teach the Count a lesson, subplots bubble up about a hormone-addled page and a rival for the servant Figaro’s affections. Hiding places abound, people fly out of windows, the usual farcical fare.
While I’ve experienced funnier “Figaros,” the cast does ample justice to the music. Foremost among them is Johanni van Oostrum as the Countess, whose every aria was a transfixing combination of strength and delicacy. There was such a wondrous wistfulness in her opening lament, hers such a supple soprano voice that I found myself not missing the comic hijinks a bit. And the Count, who can be portrayed as a very disagreeable villain, was lent such charisma and clarity of voice by Jacques Imbrailo as to always be the center of attention while onstage.
So strong were those performances that the servants Figaro and Susanna could have a hard time competing for the audience’s attention. But Angela Mortellaro makes for a Susanna both sweet and streetwise, bringing an especially tender touch to her final aria. And Richard Ollarsaba displays a rich voice throughout his range, although his Figaro is not quite the comic sparkplug he could be. Add strong singing and vivid comic characterizations by Adriana Zabala, Matt Boehler, Nadia Fayad, Andres Acosta and Christina Christensen and you have quite the impressive ensemble.
While I wish director Stephen Lawless had pumped up the energy a bit more and a few of his ideas are curious (why is everyone taking off their socks?), it’s a solid staging that’s well worth three hours and 20 minutes of your time.
If you go
What: Minnesota Opera’s “The Marriage of Figaro.”
When: 7:30 p.m. Tuesday and Thursday-Saturday; 2 p.m. Sunday.
Where: Ordway Music Theater, 345 Washington St., St. Paul
Tickets: $215-$22.50, available at 612-333-6669 or mnopera.org.
Capsule: A strong cast makes merry with Mozart.
Note: Friday evening’s performance features an alternate set of leads.
