BWW Reviews: Opera Theatre of St. Louis Open Season with THE MARRIAGE OF FIGARO

If I was going to introduce someone to the world of opera, I might have them take in a performance of The Marriage of Figaro, because it's a tuneful show filled with farcical plot machinations that are both amusing and satisfying in the manner in which they unfold. There's a reason why Mozart's work, with its witty libretto by Lorenzo Da Ponte (translated with considerable aplomb by Andrew Porter) has become one of the most performed operas of all time; it's a great deal of fun. The Opera Theatre Of St. Louis has opened their Spring season with a charming and delightful production that perfectly captures the spirit of this delicious satire of the aristocracy.

Despite the fact that Count Almaviva has struck down the feudal custom of bedding his servant's brides-to-be on their wedding night, he still harbors a strong desire to take liberties with his wife's servant Susanna, who's preparing to wed Figaro. But, Figaro devises a clever scheme to thwart his master's advances. At the same time, the Count's wife Rosina is being pursued herself by the ever randy Cherubino. But, all she wants is to win back the Count's heart, so she eagerly pitches in with Figaro's efforts.

Christopher Feigum does splendid work as Figaro, imbuing the role with a spirited sense of determination, and he's well matched with Maria Kanyova, who's simply terrific as his wife-to-be Susanna, displaying a particularly deft comic touch with the material. Edwards Parks is also very good as Count Almaviva, desperately trying to live up to the image of his position, while his very house divides (literally) in front of him. Amanda Majeski elicits sympathy as the neglected Countess, her voice soaring on occasion as she decries her fate. Jamie Van Eyck enlivens the proceedings as Cherubino, and shows a real knack for the physical business required by the part.

A solid supporting cast includes: Matthew Lau as Doctor Bartolo, Jamie Barton as Marcellina, and Matthew DiBattista as Don Basilio.

Director James Robinson keeps the action and the actors clear and focused throughout, while maintaining a brisk pace the makes you forget the lengthy running time. He's aided greatly by Sean Curran's lovely choreography, as well as the superb work of conductor Stephen Lord, who guides the robust orchestral ensemble through their paces. Bruno Schwengl's sets and costumes flesh out the period authentically, while making their own statement as well; in particular the crack that deliberately runs through the middle of the set. Tom Watson's wigs and makeup also help to create the proper mood and feel, while Christopher Akerlind's skillful lighting brings drama and clarity to the action.

The Opera Theatre Of St. Louis has crafted a brilliant and beautiful production of The Marriage of Figaro, filled with humor, pathos, and the genius of Mozart. It's a wonderful start to a promising season, and additional performances occurring throughout the month of June. A complete schedule can be found on their website at www.opera-stl.org.

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