Opera Philadelphia’s Marriage of Figaro
Mozart's The Marriage of Figaro is grand opera buffa and a proto-screwball comedy with lovers spying on each other, emergency drag, scheming servants, one prickish Count and the faithful Countess who turns the tables on him.
And Opera Philadelphia’s season closer production at the Academy of Music has more slamming doors than a Marx Brothers movie. Directed with kinetic mayhem by Stephen Lawless, it also boasts a formidable lead cast, most making their debuts with the company and a breakthrough role for powerhouse bass-baritone Brandon Cedel, a Curtis Institute alum from Hershey PA and who now singing on opera stages all over the world.
Soprano Layla Claire as Countess Almaviva & mezzo Cecelia Hall as Cherubino in The Marriage of Figaro
Who cares about some creaky moments when the music is this good and the actor-singers are this funny. John Chest’s Count looks like a Fabino knockoff, but with one steely baritone. Cedel’s Figaro is such a likable lothario, that he can even go on a misogynist rant and a scene later redeem himself as pathetically jealous lover. Soprano Ying Fang, rich sustained vocal artistry and also a wonderful comedic actress. Yang and Lucy Schaufer, who plays the old servant Marcellina, snipes with Susanna, hurling invective arias at each other as they connive for favor with the Count. hing to be near her. The Countess and Susanna enlist Cherubino in their plot to beat the Count at his own games.
Lawless compresses four acts two long ones and not everyone returned after intermission. And indeed Lawless can’t avoid some lumbering moments, as the plot continues to twist from bedchamber to bedchamber with always seamless stagecraft
Who cares about some creaky moments when the music is this good and the actor-singers are this funny. John Chest’s Count looks like a Fabio knockoff, but with one steely baritone. Brandon Cedel’s Figaro is such a likable Lothario, that he can even go on a misogynist rant and a scene later redeem himself as pathetically jealous lover. Soprano Ying Fang, rich sustained vocal artistry and also a wonderful comedic actress. Yang and Lucy Schaufer, who plays the old servant Marcellina, snipes with Susanna, hurling invective arias at each other as they connive for favor with the Count.
Soprano Layla Claire’s Countess Almaviva captivates in her dramatic solos, lamenting her fate with the creeper Count. Mozart’s comic opera always have a dark side and the Countess’ solo passages are as poignant as anything in his more tragic compositions. Mezzo-soprano Cecelia Hall gives Cherubino a sweet swagger physically and vocally, as we are in the double-cross dressing drag diva.
Leslie Travers imposing moveable set design is a study of contrasts- marble walls and stately interior that eventually gives way to garish bas-relief exteriors and a grotesque stone garden. Meanwhile, Travers’ costumes look like Versailles couture of the first order, Burnish organza breeches, sequin studded court coats and The Countess’ boudoir lingerie, gauzy summer hoop dresses and ballroom gowns. They couldn’t have been more finely detailed if they were built by Adrian on the MGM lot.
Conductor Corrado Rovaris keeps Mozart’s score to bracing tempos, and sustaining its chamber music qualities throughout. Most affecting is his approach in the sung dialogue scene with the singers accompanied by the harpsichord. Scenes between Cedel and Susanna, for instance, clip along with such naturalness, overriding what are often the often yawn inducing opera. Recalibrating those scenes at the harpsichord was none other than Maestro Rovaris, the instrument was placed on a raised platform in front of the conductor’s podium. One guesses by his choice, he did not wish to be credited in the program- Classy maestro & classic performance.
Opera Philadelphia launches their first opera festival O17 in September. For complete information go to www.operaphila.org