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SEEN
AND HEARD OPERA REVIEW
Mozart,
The
Marriage of Figaro: Sung
in Italian with surtitles. Soloists, Chorus and Orchestra of the
Royal Northern College of Music / Baldur Brönniman
(conductor) Bruntwood Theatre, RNCM, Manchester 4.12.2007 (RJF)
There
is no more challenging opera than Mozart’s Le Nozze de Figaro.
Mozart’s music is taxing for singers and orchestra with its wide
variety of skipping melodies, introspective arias and the serious
and comic situations that befits an opera buffa. Add in Da
Ponte’s masterly detailed libretto and the demands on all
participants are massive, none more so than on the producer,
particularly when the singers are students, for some of whom this
will be their first stage performances in their respective roles.
The RNCM is fortunate in that their Director of Opera Studies,
Stefan Janski, is an immensely experienced producer who over the
past nearly twenty years has guided many the through their first
performances of staged opera. Along the way I recall not a single
turkey and Stefan Janski has often dabbled in updating plots and
changes in venue from the original libretto without losing the
intention of the creators. So it was with this Figaro, updated to
1920s
Spain.
The update made little difference, to either Mozart’s music or
the plot. Yes, the Count appears in a silk dressing gown and
Marcellina looks like a refugee from Carmen, but nothing is
really out of place. The sets were imaginative and moved easily
so there was no need for a long gap between Acts I and I nor
between III and IV. The room allotted to the young couple in Act I
was rather small for Figaro to measure and the main action, around
the chair where Cherubino hides and is discovered, was brought
forward to the front of the stage; no bad thing and allowing the
singers to get a feel for the full auditorium. The transitions
from Act II to the Act IV garden scene was as smooth, as I have
noted. This is the most difficult scene in the whole opera to
bring off and it says much for the set designers, and Janski’s
direction as well as the singers, that it was achieved with
realism and character. The great strength of these College
productions though, derives from careful musical preparation by
Robin Humphreys, as well as adequate stage rehearsal time overseen
by Stefan Janski. The results are never merely slick, but are
professional in the very best sense; and with the help from
surtitles, the audience sees meaningful interactions
between the singers as well as hearing the emotions in their vocal
performances.
While
the prime purpose of the college’s annual opera productions is to
offer stage experience to the
School of
Vocal and Opera Studies' students, they also have the important
function of providing a showcase for promising students. I think
back to Amanda Roocroft’s Fiordiligi and Joan Rodgers’s Pamina -
to mention just two alumni – for whom annual productions helped
launch their careers. I choose two female singers deliberately,
because this Figaro featured a Susanna, in Nadine
Livingston, who surely will have a similar distinguished
professional career. In my
review of the College’s performance of Onegin last
March, I admired the range of colour in her voice and it is even
richer now. Add an easy stage presence and sparklingly acted
transactions with colleagues and her future in the highly
competitive profession seems assured. Also evident was growth in
vocal power and characterisation. What her fach will be I do not
know, but already she would manage Mimì.
But this was not a one woman show. In the title role, Oliver Dunn
was an impressive actor. Early on, his expression was better in
recitative than aria, but well before the final act his singing
and characterisation in both was excellent and his well-coloured
and covered tone an added bonus. With his easy stage movement I
expect to hear more of him in the future too.
Thomas Eaglen as the Count was lighter toned than his adversary
and had the disadvantage of looking rather too young. Nonetheless,
his acting was sincere and his singing smooth. John Dempsey, who I
criticised as Gremin earlier in the year, was in far better voice
as Bartolo and gave a well sung and convincingly acted portrayal.
Matthew Moss was also a too young looking Basilio, but was
suitably smarmy. He might have benefited from a more traditional
costume than a graduate’s gown but at only twenty two years of
age his voice will surely grow and he also has stage presence.
Of
the other ladies, Cressida Van Gordon was a big voiced Countess.
She was somewhat nervous of the legato demands in the first verse
of Porgi amour but with that out of the way she grew in
confidence and played a full part in the interchanges with
Susanna. Perhaps she would have been more comfortable as Elvira in
Don Giovanni. As the buckish Cherubino Kathryn Rudge could
hardly be blamed for her feminine facial features, but she sang
her arias well and played the libidinous adolescent, always in the
wrong place at the wrong time, to perfection throughout. I have
referred to the Spanish influence of Marcellina’s costume and this
certainly did not help Rebecca Chellappah to look like Figaro’s
mother, at best his slightly elder sister. She tended to play her
role with a touch too much youthful abandon - which Marcellina
should have grown out of and which Janski might have contained -
particularly at the end of Act I, but students will out! Fleur
Bray was a very youthful Barbarina, surely even in Mozart’s time,
let alone
Spain
in the 1920s, they didn’t allow their barely pubescent daughters
to get near the libidinous aristocracy let alone marry. Fleur
acted well however and sang her Act IV cavatina with nice tone
and phrasing.
What
was particularly pleasing about the whole evening was the clarity
of diction from the soloists and chorus, not always a strength of
among college alumni of the past. Also thoroughly enjoyable was
the vibrancy of the chorus and which together with the orchestral
sound and Baldur Brönniman's
conducting made for an excellent evening, well up to the standards
we have come to expect over the years. There are further
performances on December 6th, 12th and 15th
at 7.0pm and 9th at 3.0pm. Opera starved Mancunians
should not hesitate.
Robert J Farr