The Marriage of Figaro

Theatre Royal, Glasgow 9/5/26

Orchestra of Scottish Opera; Chorus of The Marriage of Figaro; Dane Lam (conductor);

Edward Jowle (bass-baritone); Ava Dodd (soprano); Ian Rucker (baritone); Alexandra Lowe (soprano), Simone McIntosh (mezzo-soprano); Edward Hawkins (bass), Luvo Maranti (tenor). Jeni Bern (soprano); Francis Church (baritone); Kira Kaplan (soprano)

Scottish Opera’s 2025-26 season concludes with another revival of the Sir Thomas Allen 2010 production of Mozart’s ‘The Marriage of Figaro’ (its last revival was in 2016). This time round it is sung in English with English surtitles, in a super translation by Amanda Holden. I caught Opening Night in Glasgow’s Theatre Royal on Saturday 9th May. The Orchestra of Scottish Opera, the Chorus of The Marriage of Figaro and a full cast of principals are conducted by Australian-Chinese conductor Dane Lam. The production is designed by Simon Higlett and lit by Mark Jonathan. Choreography is by Kally Lloyd-Jones.

I remember the original production fondly (not least because the fabulous Roderick Williams was the outwitted lecherous Count Almaviva – was that really 16 years ago?) and was delighted to see the familiar colourful scenery and sumptuous costumes at the Dress Rehearsal two nights prior to opening. Mozart done properly is always a joy. I felt that the lighting this time round was significantly more integrated into the narrative and contributed more to the farcical romantic comedy and the visual appeal of the production, which is considerable. The movement on stage of all performers and the body language and facial expressions of the principals likewise displayed, to my personal taste, a crisper and more satisfying stagecraft, with no opportunity for visual humour left unexploited.

The players of the Orchestra of Scottish Opera were on top form in a score rich in some of Mozart’s best writing for clarinets, oboes and bassoons in particular, with opportunities for conversation with singers, all of which were exquisite. Dane Lam’s attention to detail in shaping these was excellent. Natural horns, trumpets and timpani delivered an authentic timbre. Toby Hession’s quasi-improvisatory continuo was full of cheeky quotations from other Mozart masterpieces, yet fully responsive to the vocal artists’ phrasing. My only gripe would be with the blistering tempo of the Overture, which was undeniably thrilling, but there were details obscured by the helter-skelter.

The Chorus for this production is small but perfectly formed, trained as usual by Susannah Wapshott. It is rare to look through a chorus list and recognise every name, many usually seen as principals. It is no accident that the Glasgow dates for this production interleave neatly with the performances of Paisley Opera’s ‘Carmen’. Until vocal artists master bilocation, it could not be otherwise. The very young artists playing the peasant girls were utterly delightful.

English bass-baritone Edward Jowle, completing his second year on the SO Emerging Artist programme [PC Budd in ‘Albert Herring’, Usher in ‘Trial by Jury, premiere of Press Secretary Hugo Cheeseman in ‘A Matter of Misconduct’, Schaunard in ‘La bohème’, Don Iñigo Gomez in ‘L’heure espagnole’, Luka in ‘The Bear’ and most recently a brief cameo Helmsman in ‘Tristan und Isolde’] was our charismatic Figaro and well-matched to the role. Formerly Seville’s wily Mr Fixit, latterly lackey to the ungrateful Count, his employer’s wandering eye straying from the Countess Rosina (a match fixed by Figaro himself) and alighting on Figaro’s bride-to-be Susanna is the last straw. Thwarting and humiliating the count becomes the priority. The three immortal gems, ‘Se vuol ballare’, ‘Non più andrai’, and ‘Aprite un po’ quegli occhi’ were delivered with style and panache (in English, obviously). Vocally and dramatically excellent.

In her Scottish Opera debut, Irish soprano Ava Dodd (remembered as Tilburina in Stanford’s ‘The Critic’ at the 2024 Wexford Festival and singing ‘Somewhere Over the Rainbow’ in that year’s WFO Gala Concert) was a vivacious Susanna. She brought limpid clarity, flawless messa di voce and idyllic sweetness to her Act IV aria 'Deh vieni non tardar', sensitively answered by flutes and oboes, absolutely magical. Blending in duets with Figaro, Marcellina (trading insults, hilarious), Cherubino (getting ‘him’ out of trouble, temporarily), the Count (managing his importunate advances) and the Countess (‘Sull'aria ... che soave zeffiretto’ – dictating a letter to trap the Count) was equally flawless. Her disbelief at the dawning realisation that Marcellina is actually Figaro’s long-lost mother was priceless. A sympathetic characterisation and a glorious voice.

In another Scottish Opera debut, American baritone Ian Rucker brought terrific stage presence and 3-dimensional characterisation to the hapless Count. Ultimately woefully outgunned in the battle of wits against Figaro (though in reality defeated by Susanna and the Countess in cahoots with a cunning if bizarrely complex plan), he clings defiantly to the illusion that his social status and privilege will guarantee his ultimate victory. Excellent dynamic range in his raging Act III ‘Vedrò, mentr'io sospiro’, while that illusion is still plausible. His abject contrition at the end, when there is no way out, was almost believable.

Spanish-born British soprano Alexandra Lowe [Sophie in ‘Werther’ and Marguerite in ‘Faust’ excerpts in SO’s ‘The French Collection’; one half of the ‘Flower Duet’ from ‘Lakmé’ in the gorgeous encore of the same show] returned as the once-desired and now forsaken Countess. Two achingly beautiful arias reveal her sorrow, ‘Porgi amor’ at the beginning of Act II and ‘Dove sono’ in the middle of Act III, both made more poignant by empathetic comments from the pit, from clarinet and oboe respectively. Both were absolutely exquisite in their aching lyricism. Mozart and Da Ponte make much of the unlikely bond of mutual support between mistress Rosina and servant Susanna, and both Thomas Allen’s stage direction and Dane Lam’s musical direction honoured that rich contrast with the embattled relationship between the Count and his servant Figaro. The power of female solidarity is the big takeaway message of this production. I shall refrain from enlarging on the particular relevance of that message for our time.

Swiss-Canadian mezzo-soprano Simone McIntosh [amusingly, Rosina in SO’s ‘Barber of Seville’ two and a half years ago] shone again in the comedic trouser role of the besotted hormonally-driven page Cherubino. ‘He’ is entrusted with two fabulous arias, the breathless ‘Non so più cosa son, cosa faccio’ describing the physical symptoms of infatuation, and ‘Voi che sapete’, pleading for guidance with the mysteries of love. Both saw that trust repaid handsomely. The comedic gold of a trousered mezzo ‘boy’ dressing up as a girl was pricelessly and fully realised. Hard to say precisely what proportion of the artistry was masterful movement direction and how much was Simone’s innate comedic flair, but whatever it was, it worked to perfection. And great to hear that lovely voice again.

English bass Edward Hawkins [Tōshirō and Kōzan in ‘The Great Wave’] and Scottish soprano Jeni Bern [Professor Prentice in ‘Anthropocene’ before the pandemic] were Doctor Bartolo and Marcellina respectively. Eventually, a spatula-shaped birthmark drops the bombshell that they are Figaro’s long-lost parents, scuppering the Count’s upper hand over Figaro. Extra visual hilarity is derived from the fact that Edward is very tall and Jeni quite petite (as a vertically challenged person myself, I am allowed to make that observation). Bartolo plans revenge on the Count and Figaro for ‘stealing’ his Rosina (‘La vendetta, oh la vendetta!’) by enforcing the terms of Figaro’s defaulted loan from Marcellina, which require him to marry her. She is initially happy to go along with this scheme, but later deplores the battle of the human sexes in contrast with the harmony of the animal kingdom (‘Il capro e la capretta’). The appearance of their long-lost son reconciles them and paves the way to a double wedding. Farce is farce. Super arias, though.

Liverpudlian bass Francis Church [Pritischitsch in ‘The Merry Widow’, Gedge the vicar in ‘Albert Herring’, and a compelling ‘Big Man’ in Paisley Opera’s ‘Macbeth’(alias Banco)] was hilarious as Antonio the bibulous gardener, on a mission to land Cherubino in the soup. American soprano Kira Kaplan [SO Emerging Artist, jilted bride Angelina in ‘Trial by Jury’, scandal-suppressing lawyer Sylvia Lawless in ‘A Matter of Misconduct’, and schoolteacher Miss Wordsworth in ‘Albert Herring’] was a mischievous, flirtatious, bubbly Barbarina, clearly the girl for Cherubino were he to get his act together. Her remorse at losing a pin from a fake billet doux was utterly charming (‘L'ho perduta... me meschina’). The music master Don Basilio and the judge Don Curzio were played by South African tenor Luvo Maranti [SO Emerging Artist, Hokusai’s grandson in ‘The Great Wave’, the poet Gonzalve in ‘L’heure espagnole’, office worker in the Highlights Tour].

‘The Marriage of Figaro’ is the richest of the Mozart / Da Ponte operas in ingeniously crafted multi-layered ensemble set pieces with multiple principals, amplifying their farcical predicaments, in particular the octet finale of Act II, ‘Esci omai, garzon malnato’, the mid-Act III sextet ‘Riconosci in questo amplesso’ (the revelation of Figaro’s parentage) and the exuberant concluding dectet ‘Pian pianin le andrò più presso’. All had clearly been rehearsed to crisp perfection and were superb.

With 5 more performances to come in Glasgow, 5 in Edinburgh, 2 in Aberdeen and 2 in Inverness, this is is a fresh, witty and highly accessible revival of a great production of a Mozart masterpiece. For seasoned opera-lovers, there is no excuse for missing; for newbies, this is the perfect chance to dip your toe. Very highly recommended.

photo credit: Mihaela Bodlovic