Reviews
Marriage of Figaro Sybil Nolan THE Melbourne City Opera opens its 2005 season with a welcome change of venue, St Martin's. The venerable home of little theatre is an apt setting for the MCO, with its traditional blend of novice voices and more seasoned local singers. Mature and new talent shine in this thoughtfully staged production of Mozart's The Marriage of Figaro. The production is distinguished not only by quality individual performances, but by balanced casting. Gary Rowley and Anna Margolis as Figaro and Susanna are physically and vocally well-matched by Manfred Pohlenz and Suzanne Donald as their master and mistress Rowley and Pohlenz are accomplished singers with big, dark voices, but different packages. Rowley, of medium build, gives us Figaro as a larrikin-ish Everyman; while Pohlenz's large face and frame suggest the count's threatening physical presence and destructive appetites. As the countess, Donald is the image of feminine vulnerability. After interval on opening night, Donald really got into stride, with a melting rendition of her solo, ``Dove Sono''. Margolis, who has a smaller, more agile voice and an elfin presence, once again proves a valuable addition to Melbourne's opera scene. Martha George gives outstanding support as Cherubino, and newcomer Christopher Diffey makes a splash as Basilio and Marilla Holmes shows the quality of her voice as Barbarina Intelligent direction by Robert Ray ensures this is a show Figaro's many fans should enjoy.
Joel Crotty MELBOURNE City Opera's Gary Rowley as Figaro and Suzanne Donald (The Countess) are the stand-out performers in the company's conservative production of Mozart's The Marriage of Figaro. They are controlled without compromising the dramatic qualities of the musicianship. While the smaller roles of Cherubino (Martha George) and Basilio (Christopher Diffey) are well delineated, it's Diffey, who, in drag queen-style make-up, amps up the humour in this opera with obvious comic overtones. Under the direction of Robert Ray, the production plays the opera straight down the line when it needs more dramatic zing to compensate for the singers' battle with the sonic wall between themselves and the audience. The reason for this invisible partition is that the orchestra, without a pit, is placed in front of the performers. Some singers, such as Rowley, Donald and Manfred Pohlenz (The Count) can pierce through it, while others including Anna Margolis (Susanna) and George find it tough going. The impediment is particularly noticeable during many of the ensemble numbers that have strong orchestral backing. The orchestra, under the baton of Gerald Krug, is a well-disciplined outfit. The winds are superb and the strings of about 19 players do not let the side down. The designs are simple but the small stage makes it almost impossible to have the chorus do anything more than huddle together in a tight group. And when called upon to dance, in a space no bigger than the average bathroom, it becomes slightly farcical. But what does work is the mixture of Italian and English dialogue together with occasional surtitles. Collectively, it adds up to an interpretation that is dependably solid. |
