The Marriage of Figaro: 'lively' revival of Mozart's comedy 'zings along'

First seen 18 years ago, David McVicar's Royal Opera staging of "The Marriage of Figaro" is back for its 11th revival. The show "still gets plenty of laughs", said Richard Morrison in The Times, which is "far from guaranteed" in modern productions of "Mozart's greatest comedy".

The "dense, swiftly moving plot is notoriously difficult to articulate", said George Hall in The Stage, yet McVicar's revival remains "marvellously lucid and sure-footed". Set in a château in 1830 on the eve of France's second revolution, Tanya McCallin's sets and costumes are a "triumph" and provide a "handsome visual context" for the show.

Julia Jones has been brought back to conduct with "exemplary results", making Mozart's score "zing along". A "true ensemble show" with "no weak links", there are several stand-outs: mezzo Ginger Costa-Jackson brings the "awkward, boy-obsessed" Cherubino to life and his two arias are among the high points of the evening.

Subscribe to The Week

Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

SUBSCRIBE & SAVE

Sign up for The Week's Free Newsletters

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

Sign up

It's a "lively" revival of Figaro, added Nicholas Kenyon in The Telegraph, and McVicar "fills Mozart's score with buzzing action". The artful sets slide "seamlessly" between acts, "atmospherically" lit by Paule Constable.

There are some "superb" performances, said Tim Ashley in The Guardian. Ying Fang makes her debut as a "curiously reflective" Susanna. Although "less immediately spirited" than some of her predecessors, the "silky" tone of her voice is "lovely" to listen to and her rendition of "Deh Vieni Non Tardar" is "exquisite". Figaro, played by Luca Micheletti, is "handsome, warm-voiced and morally aware", while Maria Bengtsson "lays bare the Countess's anguish of soul with understated intensity".

But while Jones brings "fierce energy and drive" to the production, she could "on occasion hold back more": "Dove Sono" was "propelled urgently forward" and felt "fractionally too fast", and at times the orchestra is "too prominent, sometimes obscuring the voices".

The orchestra was playing "louder than I have heard Mozart played in an opera house", agreed Richard Morrison in The Times. Thankfully Jones "turns down the volume" for the Countess and Susanna's "big numbers": both are "ravishing".

"The Marriage of Figaro" is at the Royal Opera House, London, until 15 September