The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle giornata) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to obtain the favors of Figaro's bride-to-be, Susanna. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He responds by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.
As ever with the Royal Opera it has beautiful sets and costumes. This production is set in 1830's Europe (some 50 years after Mozart wrote it).
Unlike La Traviata, that I saw the other week, Figaro is a true ensemble piece with no one really standing out. There are some lovely arias that are nicely sprinkled around the various soloists.
One of the male characters was played by a female mezzo and they make good use of this for comic effect. There are a number of genuinely laugh out loud moments, which is rather handy in a comic opera.
I thoroughly enjoyed it.
An a few snaps. The weather was odd. One moment rain then sun.....
that phone......
apparently this may take Tricia's shoes.....
someone was taken a ferret for a walk in Covent Garden
1 comment:
haha, love the m & m dressed up as a royal guard.
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