Even before anyone sings in the Washington National Opera’s superb production of “The Marriage of Figaro,” you know you’re in good hands. Conducted by Patrick Fournillier, The Washington National Opera Orchestra provides a dynamic rendering of Wolfgang Amadeus Mozart’s bubbly, playful overture, then launches into a spirited version of the masterpiece that touches on everything from enlightenment politics to adolescent crushes.
If you go
“The Marriage of Figaro”
Where: Washington National Opera, Kennedy Center, 2700 F St. NW
When: 7:30 p.m. Tuesday, Thursday, May 4, 5 and 7; 7 p.m. Saturday; 2 p.m. Sunday
Info: $50 to $300; 202-295-2400; dc-opera.org. The Washington National Opera uses a double cast for some leading roles. The cast members named in this review performed on opening night, April 24.
The first scene belongs to Figaro (Ildar Abdrazakov), valet to Count Almaviva, and Figaro’s intended bride, Susanna (Veronica Cangemi), lady’s maid to Countess Almaviva. Figaro is happily measuring a room for his and Susanna’s marriage bed. The Count has given them the room, right next to his own in his castle in Seville. Mozart created an intimate relationship between these two lovers in his music, and as they sing this lyrical, beautifully articulated duet, the exceptional Cangemi and Abdrazakov make that easy relationship clear — until Susanna realizes what Figaro is doing. Then the savvy Susanna will have nothing to do with the room.
When she tells Figaro that the Count has been trying to seduce her, Figaro angrily decides to use his intelligence to outwit the Count. Abdrazakov is commanding as he shifts from grateful servant to fighting mad male, determined to put the lascivious Count in his place as he sings “Se vuol ballare.”
In addition to the Count, there are two characters who threaten Susanna’s and Figaro’s well-being: Dr. Bartolo (Valeriano Lanchas) and Marcellina (Victoria Livengood). Lanchas is notably amusing in the comic aria “La Vendetta,” in which he reveals himself as a pompous old crank. Livengood is equally effective as the selfish Marcellina, who wants Figaro for herself.
A great deal of “The Marriage of Figaro” depends on the unique character of a thirteen-year-old young man, Cherubino (Michele Losier), who is continually falling in love. Losier creates a vivid picture of the lusty teenager in the breathless, difficult aria “Non so piu.”
Baritone Teddy Tahu Rhodes is impressive as the swaggering, vain Almaviva. Despite the Count’s nasty nature, Rhodes’ Almaviva comes across as a perfectly credible character, not a caricature.
When Susanna reveals the ugly truth about the Count to his wife, the Countess (Virginia Tola) agrees to help Susanna and Figaro make the Count regret his philandering. Tola’s rich voice and regal bearing add dignity and elegance to the production, particularly in the melancholy “Porgi amor.” The close relationship between the Countess and Susanna throughout this production is delicately drawn and touching.
After all the disorder, endless disguises and mistaken identities, “The Marriage of Figaro” resolves into a classic comedic ending, with a double wedding and forgiveness all around. Director Henry Silverstein does an extraordinary job of presenting the opera’s extensive dramatic action without losing one iota of its musical soul. Even the smaller parts are sung well, especially Don Basilio (Robert Baker), Antonio (Oleksandr Pushniak) and Barbarina (Emily Albrink).
Choreographed smoothly by Mimi Legat, this is an agile “Marriage,” where characters often kneel and sit on the stage. The singers enter and exit gracefully, echoing Mozart’s fluid music with their movement. Carl Friedrich Oberle uses a gentle palette of cream and gold in his airy, cool sets, with splashes of warm reds and blues in the costumes.
Although “The Marriage of Figaro” doesn’t inspire the same political fervor it did in 1786 when it was first seen, this production is a joyful reminder of what librettist Lorenzo da Ponte and Mozart were offering their early audiences: the delight of seeing common sense and intelligence triumph over viciousness and dishonesty. The Washington National Opera deserves credit for producing this complex, perfectly crafted opera with an accessible, witty, sophisticated touch.
