The Marriage of Figaro (Scottish Opera): Exceptional chemistry and performances lift this timeless story of deceit, abuse of power, love, lust, and betrayal (review)

Deceit, abuse of power, love, lust, misunderstandings, betrayal – this perfect mix of ingredients has been brewed in Figaro’s cauldron for 240 years now. Why haven’t we moved on and deemed it as irrelevant? Is it Mozart’s undeniable genius, the always oh-so timely commentary on the use of privilege by those in power, or just a cheeky appreciation of another timeless theme: adultery? This revival of Thomas Allen’s interpretation is as classic as it is fresh, keeping this old story alive while introducing new, brilliant talent to Scotland’s opera world.

Thanks to librettist Amanda Holden’s beautiful translation, we can rely on the story being told in front of us rather than worry about getting acquainted with the plot beforehand. Before we are introduced to the idyllic set, that gives me flashbacks to Reymont’s descriptions of the ever changing seasonal landscapes in The Peasants, the orchestra wows with a beautiful melodic introduction under conductor Dane Lam’s guidance, reminding us that there is as much magic happening below the stage as there is on it.

The stage moves and changes fluidly, adapting to each scene, where everything works together perfectly, assembling itself (literally) into Figaro’s [Edward Jowle] world. And a rich world it is: Figaro is so excited by his incoming wedding to Susanna [Ava Dodd], it takes him a while to register a threat to his happiness: Count Almaviva [Ian Rucker] has his eye on the young bride, fully aware that the soon-to-be newlyweds depend on him completely for their livelihoods and roof over their heads. What is there to be done but feed Count his own medicine and concoct a plan of their own, with the help of Countess herself (Alexandra Lowe) to stop him from ruining everyone’s lives?

In this story of the chaos of young love, this Scottish Opera production astonishes with its exceptional performances.  Simone McIntosh is outstandingly hilarious in her flawless portrayal of Count’s page, Cherubino. Together with Dodd and Lowe, this brilliant trio makes every scene sparkle. Standing against Marcellina [Jeni Bern], Doctor Bartolo [Edward Hawkins] and, of course, the Count, this admittedly lengthy opera is effortlessly carried on the shoulders of these wonderful performances.

The genuine chemistry between every character on stage is well worth reflecting on. The rapport between the cast is truly worth witnessing.

I’ll forever be referring to this production of The Marriage of Figaro as one of the best pieces of theatre I’ve seen, I’m sure. Whether you already know and love the work, have never seen it, or perhaps have never experienced opera in real life before, this is the production for you.

Scottish Opera’s The Marriage of Figaro will play at Festival Theatre, Edinburgh on 2nd, 4th and 6th June before moving on to Aberdeen and Inverness 

Main image: Alexandra Lowe (Countess Almaviva) and Ava Dodd (Susanna) in The Marriage of Figaro. Credit: Mihaela Bodlovic