Scottish Opera/Francesco Corti –Mozart – The Marriage of Figaro

Posted by Jamie Munn on Tuesday 2 November 2010

The Marriage of Figaro is not only Mozart’s best known opera, but perhaps the best known and most loved work in the operatic repertory. It has a storyline that even avid aficionados would struggle to convey concisely, but its combination of heady sub-plots, humour, rebellion – and a set of sublime arias have ensured its enduring popularity. The students from the RSAMD’s Alexander Gibson Opera School staged a very successful sell-out production only a few months ago, and Scottish Opera’s packed opening night demonstrated that it has lost none of its appeal.

Despite some niggles, Scottish Opera has a winner of a production on its hands – and that is important. It comes at a time when the company is, yet again, in a state of turmoil, and when it, the national opera company lest we forget, is heading towards a situation when it shall not be employing any musicians or singers on a full-time, permanent basis. Maintaining a sense of high sense of artistry is, therefore, important if it is to keep its integrity with the public.

Of course these things go in peaks and troughs, but it is a far cry from, say, 20 years ago, when the company staged 12 productions per season, with a full-time chorus of 40, a full-time orchestra and 36 principal singers on its books. Back then, Scottish Opera was described as the best in the UK, and even, by the Financial Times, as the best in western Europe. Successive financial problems over the past decade, however, have put paid to that.

But, I digress. This Figaro, directed by Sir Thomas Allen (who produced a fine Barber of Seville for Scottish Opera few years ago), is an uncluttered production that focuses on high levels of stage-craft, singing and some superb comic-timing. Scottish soprano, Kate Valentine, as the Countess, presents an authoritative yet vulnerable figure, and the nuanced, chauvinist Count of Roderick Williams produces some genuine laughs from an often sober Theatre Royal audience. Thomas Oliemans’ Figaro is perfectly complemented by Nadine Livingston’s youthful Susannah. Conductor Francesco Corti produces characteristically brisk tempos from the orchestra pit.

Nadine is one of the artists on Scottish Opera Emerging Artists scheme, and despite all of the company’s recent problems, this is one of its success stories. She shared the stage with fellow Emerging Artists, Mirandi Sinani (2009-10), and Marie Claire Breen (2010-11) - both of whom were excellent in their supporting roles. This year’s other Emerging Artists are currently engaged in the principal roles of the touring production of Carmen, so it is good to see that the clear talents of all of these young singers are being fully utilised.

As the only main-stage production Scottish Opera will produce this autumn, it is a hit, and definitely worth going to. Remember, all those who are under 26 can get any seat in the house for £10.

The Marriage of Figaro runs at the Theatre Royal: 31 Oct; 20 Nov; 2, 4 Dec and also at Eden Court, Inverness; His Majesty's Theatre, Aberdeen and Festival Theatre, Edinburgh.

JM

Tags: City Centre, Classical, Music, Opera