A Power Play: A Review Of Scottish Opera's The Marriage of Figaro...

Alistair Braidwood
1 day ago
3 min read

Scottish Opera's revival of The Marriage of Figaro works as the perfect gateway opera for those who are unsure if it's an art form for them. The storyline will be recognisable from books, film and TV in terms of style and structure - literally a comedy of errors, as individuals are manipulated, lies are told, identities are mistaken, and just when it looks like it's all going wrong, it resolves before the final curtain falls, with hopefully lessons learned.

Set from dawn till dusk, what unfolds is a day of farce and folly which pokes fun at the pomposity and privilege of the ruling classes, so much so that in its day it was banned in a number of European cities (including Vienna, where Mozart was based at the time). Deemed by many as seditious, suggesting, as it does, that servants could get the better of their masters, this was a tale which chimed with the times - the French Revolution only a few years away.

It opens with workers of all ages bringing in the wheat just as morning has broken, an unassuming bucolic start to the day which doesn't hint at the intrigue to come. We then move inside with the betrothed Susanna and Figaro discovering they have been assigned a bedroom close to their employer Count Almaviva's own lodgings, ostensibly for everyone's convenience, although convenient exactly for what and who soon comes into question.

It all revolves around the horrific notion of droit du seigneur or "right of the lord" (also know as jus primae noctis) with Count Almaviva intending to claim this right over Figaro's fiancé. The two lovers are determined to foil their master without it leading to punishment and/or banishment, but ultimately go about it in different ways. As Figaro becomes increasingly jealous and vengeful, Susanna makes more subtle plans with the cuckolded Countess Almaviva. As those plans unfold secrets are revealed, lies are uncovered, and pride is pricked and punctured, and as darkness begins to fall all outcomes are possible.

The Marriage of Figaro is a character driven opera, something this production respects. Costume, sets, and general staging are all perfectly judged allowing the players to shine, and each and everyone does, including a charismatic and engaging chorus. However, special mention must be made of Ava Dodd as Susanna, who is maid to the Countess Almaviva, and Alexandra Lowe as Countess Almaviva herself. They manage to cut through the comedy to express their pain, anger, disappointment, and strength. Compared to the petulant and often pathetic men, and despite Figaro's name being in the title, this is their story.

One of my favourite operas for all the reasons mentioned above, it may well be one of yours even if you don't yet know it. If you've seen a production before, then this is a great reminder of what makes it a true classic. If it's new to you, then this could be the beginning of a beautiful relationship.

Here are some images from the production (with thanks to Scottish Opera - credit Mihaela Bodlovic):