I must begin this review with an apology to any opera aficionados, as I am experiencing my first classical opera after almost half a century of visits to theatres and concerts.
My qualifications to review such a production are certainly limited, but perhaps my lack of previous opera experience can give an interesting perspective from someone new to the genre.
Having seen most other musical styles in my time, opera was never something that caught my interest. From a personal point of view, I was sceptical of its relevance and appeal. Would a three-hour production, performed in Italian, and written some 250 years ago hold my interest?
My visit to Mayflower Theatre for the Welsh National Opera’s production of The Marriage of Figaro turned out to be a bit of a revelation. I purposely did no prior reading about the production or the WNO as I wanted to avoid adding to the preconceptions I already had. I’m glad I opted for this approach.
My first impression was one of awe as I looked down into the orchestra pit. The vastly extended area was a sight to behold, and, as they began to play, the sound surpassed the sight. Such a collection of sublime talent, playing, quite literally, in concert.
From timpani to harpsichord, woodwind, brass and strings, the sound was mesmerising. There is little else that matches the beauty of a full orchestra.
Once the cast took to the stage I began to understand the appeal of opera. No microphones, attentive audience and undeniable vocal talent and projection, all added to the ambiance.
I wondered if my experience would be dulled by my ignorance of Italian and my need to read the captions above the stage. However, as they gave a narrative rather than a full transcript of the performer’s words, and the fact that each aria tended to labour its point, a glance was all that was needed to follow the rather complicated plot and to enjoy the music.
This particular opera is described as the comic satire of its day, and it was easy to see why. Aspects of the humour wouldn’t be out of place in a modern comedy of errors or a situation comedy as the cast married music with impeccable timing.
While the costumes were authentic and stunning, the set design was somewhat underwhelming. Perhaps this was intentional, with this classic opera not needing to be overshadowed by modern and distracting set design?
I wondered what Mozart might think if he knew his work would still be filling theatres centuries after his all-too-brief life. Having produced over 800 works in his mere 35 years, his genius is simply undeniable. I wonder if he was aware of the timelessness of his work.
It would be foolish of me to use my untrained and inexperienced ear to select any standout performances from the production, but as any production is often said to be only as good as the weakest link, I am confident that there was nothing but a team of the strongest of links in this performance. Credit to the entire Company, and credit to the team at Mayflower Theatre for bringing this and so many other branches of the arts to Southampton.
I would certainly encourage anyone who has yet to experience a classic opera to embrace the opportunity should it arise. If that chance happens to be a WNO production, I would encourage it even further.
WNO The Marriage of Figaro was at Mayflower Theatre, Southampton, on May 1.
Review by Peter Nicholson
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