The Marriage of Figaro

 

Opera can seem impenetrable to the layman, peopled by characters who speak in epigrams and get embroiled in Terry and June style situations – and in terms of pure plot they don't come much more contrived or bedroom farcical than Mozart's Figaro.

Scottish Opera are working hard to undermine this perception: from an opera for babies through to small scale versions of classics turning up in unexpected locations like Tchai Ovna teahouse, the company are on a mission to demystify this highest of high arts.

Their unfussy, full-blooded production brings out the vivacity of Figaro's score while wringing none-too-subtle laughs out of this story of wife-swapping in 18th Century Spain. The two male leads, Thomas Oliemans (Figaro) and Roderick Williams (his randy boss, Count Almaviva) are macho supremos, commanding attention whenever they appear on stage, while the females shine too, particularly Ulrike Mayer who essays the role of lady-killing page Cherubino in a deft cross-dressing turn.

That the production is directed by a singer Sir Thomas Allen puts the singing at the forefront and the relish the performers have for the libretto really comes across. A sparkling night's entertainment.