Review of The Marriage of Figaro – Danielle de Niese’s style of marriage is delightful | Opera

‘Four boxes, six displays, four chairs and a tree”: The entire Wild Arts creation in English for Mozart’s Marriage of Figaro is very limited in terms of performance. unimportant-important Figaro and how it works in situ Mainly because its director is new to the role.

Danielle de Niese they’re not just starting out, of course. Born in Australia, the Glyndebourne-based soprano made her debut at New York’s Metropolitan Opera at the age of 19 as Barbarina in Mozart’s opera, and over the years has performed as Susanna around the world. Few beginners can match the inside information of this work with its characters.

De Niese’s designs are historical (the frock and corset-dress of the late 1800s) but the movement is modern, with the right side for a summer evening. The operatic spectacle of many people trying to hide behind the narrow seats is very entertaining in a small theater with limited equipment and an audience sitting at arm’s length. Cherubino survives by throwing himself faithfully into the orchestra and the stage. The Count and Countess ignore each other angrily while the latter takes a long, loud tea. There are puns and jokes and a blink-and-you’ll-miss-it example of a dad dance. Most of the articles are already scratched. The composure is gradual, appearing only at the length of the most famous arias.

Such an energetic approach was matched by the best playing, which is often impressive from the “orchestra” directed by Orlando Jopling in his score system. It is also designed to suit the most demanding, dedicated athletes. If Timothy Nelson’s Count was cruel and Elinor Rolfe Johnson’s Countess was more than usual, their fictional reconciliation during the second Countess’s grief was truly touching. Olivia Ray’s Marcellina was calm and charming as she was repeatedly spoken to by Timothy Dawkins’ Bartolo. Abbie Ward’s narrow, slightly steely soprano stood out as Cherubino, William Searle was delightful as Don Basilio and Don Curzio and Eleanor O’Driscoll was the bright-voiced Barbarina.

Best of all were Jack Sandison’s Figaro – fiery and wonderfully dramatic – and Ellie Neate’s Susanna, who entered fearlessly in some voices but sang in others with fluid elegance. With ease and complete satisfaction, clarity and wonder, the pair are undoubtedly on their way to the biggest stages. Catching them on such a small scale is among the real joys of this production.

· On tour across the country until 27 September