All the fun of the fair: This revival of Figaro is tasteful and the pronunciation is superb, but why are British singers on the sidelines?
The Marriage Of Figaro
Royal Opera House, London Until January 27
David McVicar’s ultra-sophisticated production of Figaro, now on its ninth revival, has all the fun of the fair, artfully and, dare I say, tastefully, conveyed.
Tanya McCallin’s splendid 19th Century sets provide all the necessary grandeur for the principals to strut their stuff, while allowing plenty of room for the servants to eavesdrop, plot and gossip to their hearts’ content.
The whole thing is exceptionally well lit by Paule Constable.
The undoubted star here is Federica Lombardi (above, with Germán Alcántara) as the Countess, making a most auspicious debut
It’s a modern classic, much enhanced by the return to the pit of ROH music director Tony Pappano, who conducted the first night back in 2006. His is an eloquently vigorous reading, testament yet again to his exceptional versatility.
He will be much missed when finally he steps down.
The undoubted star here is Federica Lombardi as the Countess, making a most auspicious debut. Many happy returns for her, I hope.
She is well supported by the athletic Riccardo Fassi as Figaro, though, as a bass, he finds quite a lot of Figaro’s music uncomfortably high.
Giulia Semenzato is a charming Susanna and both of them easily outclass Germán Alcántara’s splashy Count, a real disappointment.
Gregory Bonfatti is an amusing Basilio, but two more Italians, Monica Bacelli as Marcellina and Gianluca Buratto as Bartolo, make little positive impression.
It’s good in one sense there are so many Italians in the cast, as it makes the pronunciation a pleasure to listen to.
But though there’s a delightful cameo by Jeremy White as Antonio the gardener, yet again British singers are confined to the sidelines.
Those of us who regularly attend country-house operas know there are some outstanding British and British-based Mozart singers. Where are they at the heavily state-subsidised Royal Opera? The casting director should get out more.
Into the English countryside, I mean.