The Marriage of Figaro
DIRECTOR: Christine Crouse
CAST: George Stevens, Golda Schultz, Siphamandla Yakupa, Lynelle Kenned, Cape Town Opera Chorus, and Members of the Cape Philharmonic Orchestra
CONDUCTOR: Jeremy Silver
VENUE: Artscape Opera House, UNTIL: Sunday
RATING: *****
THIS world-class production of Mozart’s The Marriage of Figaro deserves every one of its five stars: it combines visual splendour, aural delight, and – what is rarely achieved in opera – an irrepressible sense of fun.
The latter quality is often overlooked as the work’s musical impact predominates, which is unfortunate since The Marriage of Figaro is based on a particularly exuberant French farce by Pierre de Beaumarchais. In CTO’s production, Feydeau meets Mozart as the comic vein of farce matches the vocal and instrumental beauty of music in importance.
Tight direction from Christine Crouse ensures impeccable timing (essential to successful farce) as one importunate admirer after another is bundled into cupboards, out of windows, and under assorted drapery in an effort to keep the peace. The energy of this opera is stupendous and sustained.
Then there is the calibre of the vocalists: George Stevens is magisterial as Figaro, a role that might have been minted for him. His rich baritone effortlessly navigates the challenges of solo and duet performance, with the dramatic conviction appropriate to his character.
His leading lady, Siphamandla Yakupa, brings warmth and brio to the part of Susanna, singing sweetly with excellent ensemble in duets. Her catty exchange with Violina Anguelov (Marcellina) and duets with Figaro are noteworthy.
Anguelov is delectable in her portrayal of Susanna’s rival for the affections of Figaro, evincing a flair for slapstick comedy not usually associated with this singer.
Show-stealer par excellence has to be Golda Schultz as the Countess Almaviva: her exquisite soprano doing full justice to arias like Dove sono…, while her interpretation of the role has more spirit than is normally mustered for this victim of an unhappy marriage.
Lynelle Kenned’s hormonal Cherubino is a gem: untidily costumed, coltish, and engaging, with impressive execution of the well-known canzonetta Voi, che sapete… of Act Two.
Mandisinde Mbuyazwe shows his mettle and growing experience as the anti-hero Almaviva; after a diffident start he warmed superbly to the role on opening night.
Much of this production’s success derives from the aesthetic appeal of Michael Mitchel’s design.Each act brings a set more eye-enchanting than the previous one, and the attention to detail in elegant period costumes and props significantly enhances the executants’ performance.
This is opera at its best, and a worthy finale to Crouse’s tenure as CTO’s artistic director.