Opera Bohemia: The Marriage of Figaro
St John’s Renfield Church, Glasgow - 17/08/22
There is nothing controversial about describing ‘The Marriage of Figaro’ as a comic opera. Nor, considering Da Ponte’s racy libretto after Beaumarchais, with scandal after scandal narrowly averted through deception only to precipitate the next one, would even the most exacting purist deny it is rich in the elements of farce. Scenes in Mozart’s masterpiece would not be out of place (with adjustments to setting and costume) in an Alan Ayckbourn play. But is it a sitcom? Before the night of 17th of August 2022, I would have dismissed the notion. Since then, I am convinced that not only can it be played as a sitcom, but that it is wonderfully enriched and rejuvenated by what is ultimately just a subtle transformation.
The venue was St John’s – Renfield Church in Glasgow. Opera Bohemia, who have been touring their production around Scotland since March and will continue through September, have produced a gem. Sung in English (Douglas Nairne’s ingenious adaptation) and set in a hotel, where Susanna and Figaro are employees, Cherubino is a bellboy, Count Almaviva is a wealthy patron (not adequately explained how he can directly dismiss the bellboy, but then he is not the kind of character to be constrained by any kind of rules – they apply to other people), the rich vein of comparisons with ‘Fawlty Towers’, urged by the costumes, plays out with glorious hilarity, directed by Oliver Platt.
The set too is compact, versatile, deceptively simple yet equally ingenious. A wooden frame accommodates various doors and hinged panels which can be moved to serve as staff quarters, the Countess’ room with an en suite dressing room, a function room and the hotel garden. It has a backlit translucent panel to alter the perspective as needed. Other props, such as chairs which offer scant concealment and only feed the hilarity, are brought on and taken off as characters enter or exit.
The reduced orchestral score is expertly played by the tiny Opera Bohemia Ensemble with just 2 violins, viola, cello, double bass, flute, oboe, clarinet, bassoon and horn, directed by Alistair Digges. I thought I heard a harpsichord sound for some of the recitatives but was unable to ascertain whether that was real or synthesised (or indeed my imagination).
The comic acting and singing were superb. A screen over the set displayed supertitles, but these were both unnecessary, as the diction of all singers was flawless, and indeed somewhat ‘approximate’ to the actual translated libretto. Highlights for me (using the Italian names) were Figaro’s (Andrew McTaggart) ‘Se vuol ballare’ and ‘Non più andrai,’ the Countess’ (Charlie Drummond) achingly beautiful ‘Porgi amo’r, Cherubino’s (Heather Ireson) breathlessly hormonal ‘Non so più cosa son, cosa faccio’ and pleading ‘Voi che sapete’, Susanna’s (Catriona Clark) exquisite ‘Venite inginocchiatevi‘(oh, that oboe!) and meltingly lovely ‘Giunse alfin il momento’, and the Count’s irascible ‘Vedrò mentr'io sospiro’.
Opera Bohemia is a small company that punches well above its weight and this production is a triumph. And for me and for a long time henceforth, the Count with his self-destructive hypocritical jealousy will be Basil, while the artful Susanna will be Polly.
Still four more performances in the tour – highly recommended.