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Lust, deception, and chicanery—all of this happens on the day of the wedding. It is not an episode of any Housewives franchise; it is far more entertaining and beautiful. Wolfgang Amadeus Mozart's The Marriage of Figaro is a wild and hilarious farce on class systems, adultery, and the test of true love. The opera is based on the play by Pierre Beaumarchais, who also wrote The Barber of Seville, introducing Figaro, who could fix any situation with charm and wit.
This production features four Lyric debuts in featured roles. Bass-baritone Peter Kellner turns in a fine performance in his debut as Figaro. An announcement before the opera stated that he was under the weather and asked for the audience's understanding. That was unnecessary because he sang beautifully, and his physical comedy sparkled. He plays opposite the soprano Ying Fang, who is effervescent as Figaro's love Susanna. Her soprano is deceptively delicate but soars, especially with "Deh Vieni non tadar," while pretending that she does not see Figaro hiding behind a statue. She is expressive and has a knack for comedy.
The Marriage of Figaro spotlights another couple higher on the class scale than Figaro and Susanna. Gordon Bintner makes his Lyric debut playing the randy Count Almaviva. He sings beautifully and is hilarious as the clueless lech chasing after Susanna or any woman breathing. In another sparkling debut, Federica Lombardi is flawless as Countess Almaviva. Her soprano has a lush and resonant sound. Lombardi conveys the sorrow of losing her husband's love, singing "Porgyi Amor" with good acting and a beautiful voice.
The shenanigans in The Marriage of Figaro are turned high with Sarah Mesko's debut as Susanna's rival, Marcellina. Mesko plays the character with just the right touch of villainy. She accompanies Nicholas Newton, as Dr. Bartolo, in scheming to get Figaro in her grip. Newton played Father in Hansel and Gretel, which is quite different from the clueless Bartolo. One of the best scenes is Marcellina, Bartolo, Susanna, and Figaro making a surprising discovery.
Mezzosoprano Kayleigh Decker is a scene-stealer as the hapless Cherubino. Her acting is wonderful, and she plays a male character who is in love with every woman he meets. When Susanna and the Countess disguise Cherubino in drag, Decker is funny as the clueless man trying to wear women's shoes and clothes. It was a great performance by the Ryan Center alumna. Daniel Espina plays lawyer Don Curzio. His comic ability was apparent in Lyric's production of Fidelio as the lovelorn jail employee Jaquino–another clueless man in love with the warden's daughter. Matt Boehler is funny as Antonio, the gardener, who may be nipping at the brandy. Brenton Ryan put in a star turn as the duplicitous Don Basilio, playing to whatever side would benefit him most.
The Marriage of Figaro is directed by Barbara Gaines, a founder of Chicago Shakespeare Theater. She does a great job of making the 18th-century story more contemporary. I have read some criticism of the language interpretation being vulgar, and I disagree. The Marriage of Figaro was controversial as a nose-thumb to the aristocracy. It was even banned in some countries to protect the unwashed masses from the truth that the upper class was rife with low-class behavior. Susanna calling Marcellina a bitch got a great laugh, and I believe that music interpretation has to evolve to be relevant. The Lyric is committed to blending the traditional with the newer audiences, which bodes well for the continued enjoyment of opera in Chicago. The supertitles in plain modern English have gotten in the craw of some folks. Too bad.
Gaines does an excellent job of directing this fast-moving comedy. She has a superb cast who perform beautifully with her at the helm.
Erina Yashima wielded the baton with the Lyric Opera Orchestra. She kept the music in perfect balance, never drowning out the singers. She has wonderful energy and was a Georg Solti apprentice with the Chicago Symphony. She has earned her props as a conductor in the still male-dominated classical music world.
I would be remiss without mentioning the gorgeous costumes by Susan Mickey. The production is a riot of color and some on-point outrageousness. Elite designer dressing was just as wacky back in the day as it is today. Marcellina appears in a primary color dress and hat that would fit right in during fashion week. Think Rosalind Russell in the eyeball sweater in The Women (1939). The Countess's boudoir was bathed in bright blue. Touches of fuchsia and red abounded. The costumes fit the performances and heightened the zaniness of farce.
James Noone's set design was perfect. Years ago, I saw The Marriage of Figaro done with a garden maze as the set for eavesdropping and laying in wait. I liked Noone's take on the garden filled with naked or partially clothed statues. The bed in the Countess's boudoir appears double-king-sized and flaunts the wealth and excess of the upper crust. Even the opening curtain looked like a giant erotic tapestry of lovers, with Cupid aiming his arrow. The action begins with the actors entering through the aisles. It was fun right out of the gate.
I highly recommend The Marriage of Figaro to ease the blues, no matter why you have them. Mozart is a fabulous diversion from the world's strife. The opera runs 3.5 hours with one intermission, but it seemed to fly by.
The Marriage of Figaro runs through November 30 at the Lyric Opera House, 20 N Wacker Drive. It is worth your time to see a treasure of the opera with a treasure of a cast. Visit lyricopera.org/figaro for more information and tickets.
For more information on this and other productions, see theatreinchicago.com.
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