Review: The Marriage of Figaro, Tobacco Factory Theatres – ‘A perfect choice for newcomers to opera’

20 years after first performing Mozart’s sublime opera at Tobacco Factory Theatres, the highly renowned Opera Project has returned with The Marriage of Figaro.

Since the Welsh National Opera made the regrettable decision not to extend their popular tours to the Bristol Hippodrome any longer, this is one of the few chances that a Bristol audience gets to see and hear opera in the city.

However, what this allows is an opportunity to perform opera in an accessible space while encouraging a more diverse audience to attend. The latter is very much part of the TFT ethos and the appetite for this show was evident on press night.

Opera Project performing The Marriage Of Figaro at Tobacco Factory Theatres

The Marriage of Figaro is an excellent choice. Not only does it have a lightness of feel and exquisite music, but many consider it to be one of the finest operas ever written, making it a perfect choice for any newcomers to opera.

Being sung in English and performing in the round allows the audience to get close to the singers with greater intimacy than would be possible in a large auditorium.

With its farcical plotting, the storyline highlights the frailties of the human condition, including plot and counter plot, class against class conflicts, and the confusion of love-struck individuals resulting from swapped identities. This could cause irritation, but the company handle it with assurance, making sure the music is allowed to shine while ensuring that every nuance of the scheming designs is understood.

As with all stories, characterisation is key, and everyone is spot on here. In Malachy Frame, we have a Figaro who is angry at his employer, the Count Almaviva. The Count plans to assert his aristocratic privilege of ‘droit de seigneur’ to seduce his bride on her wedding night.

But Figaro decides to use his wit to catch the Count. From the outset, the tale sets out its stall. It is the powerless against the powerful, servants outwitting their masters, women outwitting men and the ultimate triumph of true love.

Playing in a small space, with low ceilings and the audience very close to the action makes for a thrilling spectacle and the cast are universally superb. The soprano Lorena Paz Nieto as Susanna deserves special credit as she masterminds the show, arranging situations and coolly overcoming the obstacles thrown at her.

Philip Smith’s Count Almaviva has a suitably commanding baritone and is highly effective at displaying both his lust and frustration. The outright comic moments are well handled, with Felicity Buckland’s matronly Marcellina, Ian Beadle’s leering Antonio and Anna-Luise Wagner’s flirty Cherubino generating huge laughs.

Huge credit must go to director and designer Richard Studer for the simple set and for allowing the story to unfold with clarity and invention.

Best of all is the ten-piece orchestra, tucked away in a small corner of the space under the expert direction of Jonathan Lyness.

The genius of the music carries the entire performance without ever dominating. Arias and melodies were being whistled on the way out into North Street in the same way they would have been in Vienna in 1786.

The Marriage of Figaro is at Tobacco Factory Theatres from October 2-12 at 7.30pm (no shows Sunday, Monday or Thursday). Tickets are available at www.tobaccofactorytheatres.com

All photos: Mark Dawson

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