Review: THE MARRIAGE OF FIGARO at Wolf Trap

The Marriage of Figaro, Mozart’s beloved opera of amorous lovers, mistaken identities, and affairs of the heart, is replete with warmth, lyricism, and a touch of sweetness. Though there is formal elegance galore in Mozart, Director E. Loren Meeker has opted for a warm and affectionate approach to the material. This directorial approach has worked extremely well for the intimacy of The Barns at Wolf Trap---emphasis is on the individual cavorting and complications of this extremely romantic yet comic opera; this is an opera buffa (which is a type of Italian Comic opera) and the farcical and witty situations make even more of an impact when deconstructed/performed in a smaller performing space.

The musical motifs and elegant harmonies kept my mind and heart engaged and entranced as one successive scene after another played out with merriment, mirth, and a sense of calculated comic anarchy. Director E. Loren Meeker is to be commended for the affectionate and almost sweet-honeyed feel of the opera. I feel that even the mock-satiric bits are done with a light, breezy, satiric tone and that there is extraordinarily little of an abrasive tone.

Conductor Emily Senturia conducts the music of Mozart with agility and sensitivity with an accent on vigor and wit. The orchestra and chorus perform splendidly. 

Christian Simmons as the resourceful and witty Figaro possesses a resonant bass-baritone and commands the stage as he muses on the inconstancy of women (recitative and aria: “Tutto è disposto---Aprite un po quegli occhi”— “Everything is ready. Open those eyes a little”). Mr. Simmons moves around the stage like a lithe acrobat and conveys a dazzling stage presence.

Arianna Rodriguez’ lovely and expressive soprano shone as she played the female ingenue role of Susanna (who loves Figaro). Ms. Rodriguez added comic luster as she tries to get the character of Cherubino (a marvelous and impishly sly performance by mezzo-soprano Sophia Maekawa) to behave and walk like a woman (aria of Susanna: “Venite, inginocchhiatevi”---“Come, kneel down before me”). 

Ms. Rodriguez also sings a lovely song to Figaro with beauty of tone (aria:  “Deh vieni non tardar”—“Oh come, don’t delay”). 

Soprano Brittany Olivia Logan as the Countess Almaviva acts with appropriate regal air and sings with breathtaking vocal timing, control, and cadence. Ms. Logan’s aria pondering the loss of her happiness is a mesmerizing operatic moment of anguished sorrow (aria:  “Dove sono i bei momenti”---“Where are they, the beautiful moments”). 

Ms. Logan also excels in her operatic portrayal of the countess as she muses on her husband’s infidelity (aria:  “Porgi, amor, qualche ristoro”---“Grant, love, some comfort”). 

The commanding and rich baritone voice of Charles H. Eaton, as the authoritative and manipulative Count Almaviva, fit his role’s demands to perfection. 

The power of women is shown in the way that the women help give themselves and each other transformative power and agency. Their influence on men is portrayed as good and empowering. 

Molière influenced Mozart indirectly and, indeed, I could feel the influence of Shakespeare’s A Midsummer Night’s Dream and Twelfth Night on this opera. I also felt that this work may have anticipated the work of filmmaker Ingmar Bergman –especially as seen in the romantic complications in the film Smiles of a Summer Night (that was the source for Stephen Sondheim’s popular musical A Little Night Music).

Technical components are top-notch and help to mirror the proceedings through the artistic lens of Picasso. Characters are costumed in sartorially innovative outfits by Costume Designer Loren Shaw that reflect Picasso’s sensibility.

The scenic design by Laura Fine Hawkes fits the intimate space of the Wolf Trap Barns stage space with various scenes such as several wooing’s, cases of mistaken identities and several weddings. The ambience of an artist’s atelier is conveyed with an easel and sculpture. 

Lighting by Colin K. Bills was evocative and full of glimmering hues.

This veritable old chestnut of a classic opera is given new life by the Wolf Trap Opera.

The Marriage of Figaro is perfect entertainment for a balmy summer night ---Mozart’s music wafts over the audience like a fresh summer breeze.

Running Time: Three Hours with one twenty-minute intermission 

The Marriage of Figaro has remaining performances on Tuesday, June 24 at 7:30pm, Thursday, June 26 at 2pm and on Saturday, June 28 at 7:30pm at the Wolf Trap at the Barns located at 1635 Trap Road, Vienna, Virginia, 22182. For tickets go to: https://www.wolftrap.org/  

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