CHICAGO—A revival of the Lyric Opera of Chicago’s 2015 production of “The Marriage of Figaro,” now back at the Lyric, is every bit as triumphant as it was the first time. That’s because Barbara Gaines, the founder and former artistic director of the Chicago Shakespeare Theater who staged the premiere production, has now returned to helm the revival. The second time around may even better than it was before.
A Popular Piece Wows Again
“Figaro” opened in 1786 and has since become one of the most popular operas of all time. A delicious farce with a glorious musical score composed by Wolfgang Amadeus Mozart, it features a hilarious comedy of human frailties and follies by librettist Lorenzo Da Ponte. Ponte based it on Pierre-Augustin Beaumarchais’s play “La folle journée, ou Le marriage de Figaro.”Set around the 17th century at the palace of Count Almaviva, near Seville, Spain, the story revolves around Figaro and Susanna, who, servants to the Count and Countess Almaviva, are preparing for their wedding. But when Figaro discovers that the Count has tried to seduce his betrothed, he’s furious and determined to have revenge on his master.
The action overflows with slapstick twists, and follows the farcical mayhem of jealousy, mistaken identities, and hilarious revenge. The opera now comes across as an engaging comedy with themes of the “power of love” over faithlessness, but when “The Marriage of Figaro” first appeared, it was so much more. In the Count’s case, the rule is “droit du seigneur” or right of the lord of the manor to spend the wedding night with the bride of any of his subjects.
This satirical comedy was considered scandalous in its time. That because it depicted an incompetent nobleman being outwitted by his servant. The idea of servants revolting against their corrupt and immoral masters caused outrage among the aristocracy.
But controversy wasn’t enough to dampen enthusiasm for “Figaro.” Although it doesn’t have political impact any longer, it continues to be enjoyed as a riotously engaging and terrific opera by Mozart, who many believe is the greatest composer of all time.
An Excellent Production
Gaines opens the production with characters spilling onto the stage after accidentally pulling down the curtain. It’s a playful way to begin the opera, which continues with more laughs and gags.Erina Yashima does a superb and serious job of conducting the Lyric Opera Orchestra. Michael Black leads the Lyric Chorus with similar exactitude. Almost everything else in this “Figaro” is about fun. That includes James Noone’s scenery, featuring the wildly oversized bed of Countess Almaviva and full-sized human sculptures in silly poses, plus Susan Mickey’s almost cartoonish costumes that exaggerate the era’s clothing.
Gaines, having directed the entire spectrum of Shakespeare’s dramas and comedies, is especially good at drawing laughs from the latter, and that talent shines here. Ying Fang, as the smart servant Susanna, comes through with a golden-voiced soprano that soars throughout. Bass-baritone Peter Kellner is a mischievous hoot as Figaro. He’s especially dramatic with a stunning version of “Non più andrai.” Bass-baritone Gordon Bintner is perfect as the lecherous Count Almaviva. He’s not only an excellent singer, but also a good actor who pans a great deal of humor out of the arrogant and foolish Count. Soprano Federica Lombardi is entrancing as Countess Almaviva, especially when she cries over the disaster of her marriage with “Porgi, amor, qualche ristoro.”
Others who contribute fine singing include the compelling mezzo-soprano Kayleigh Decker as the engaging pageboy, Cherubino; bass-baritone Nicholas Newton, a joy as Dr. Bartolo; and mezzo-soprano Sarah Mesko as Susanna’s would-be rival, Marcellina. She comes up with one of the opera’s most hilarious moments when she reveals a mysterious secret.
Not only is “The Marriage of Figaro” a laugh-filled riot thanks to Mozart’s heavenly music, but, unlike the majority of operas, it has a happy ending. Pure enjoyment!
