The Marriage of Figaro

A scene from the Canadian Opera Company’s production of The Marriage of Figaro, 2016. Photo: Michael Cooper.

The Canadian Opera Company's current production of Mozart's The Marriage of Figaro is an absolute delight from start to finish. The phrase laugh-out-loud funny is not often associated with opera but this piece presents a consistent levity creating a sense of anticipation that builds with each act. Fast moving and beautifully fluid, the libretto is almost dream-like with plot twists that often come out of left field as relationships between characters dramatically shift from act to act.

We open with a young couple Figaro (Josef Wagner) and Susanna (Jane Archibald) who are soon to be married. As they explore the space they are to live in, Susanna reveals that their employer, Count Almaviva (Russell Braun), has been pursuing her relentlessly and has become obsessed with her. Figaro is instantly enraged and vows to take his revenge. But the Count is not the only one who would like to see the couple separated—Marcellina (Helene Schneiderman) has fallen madly in love with an oblivious Figaro. While the Count relies on the power of seduction, Mercellina takes a much more direct approach, trapping Figaro with a legal document that claims he has to marry her as the result of an unpaid debt. Also in the mix is Cherubino (Emily Fons) a teenager whose every action seems to be fulled by his out of control lust, specifically directed at the Countess (Erin Wall). Each of these players stumble through life, lusting after one another then plotting their revenge when their advances are not received as intended.

This is a piece that explores the extremes of human nature. Each emotion is huge and there is no middle ground. Pleasure is extreme and anger erupts with the fury of a volcano. All taking place within one household, this is a home where impulse is not expected to be controlled and each character seems to act on their every whim. With a delightful disregard for all consequences, they nonchalantly shift from euphoric highs to bitter lows. Adding to the chaos is an invented character, a silent, cupid-like imp named Cherubim (Uli Kirsch), who continually steps in to disorient each character at the exact moment they seem to be seeking clarity and rationality. A common theme throughout classic mythology, this omniscient creature enters, changes the plot in some dramatic way then exits leaving a tangled mess of emotions which each character must work to unravel. The addition of this protagonist allows audiences the freedom to accept the extreme moral flaws that each character demonstrates as his involvement makes it difficult to hold anyone accountable for their own actions. An extremely interesting addition to the already complicated dynamic. This character is a great surprise.

Of particular note in this production is the stunning aria preformed by the Countess in the beginning of act two, a solemn yet stunning piece in which the neglected woman asks God to restore her husbands love. In addition, Emily Fons' performance as the lovable troublemaker Cheribino is absolutely charming and vocally enchanting—a wonderful talent to experience. This opera is further brought to life by the intricate, extraordinary music of Mozart. With such a beautiful composition, the trysts and trials of these ordinary people become a masterpiece that is polished and impeccable, yet approachable, particularly on a comedic level.

Figaro offers a perfect balance that makes for a wonderful night out. Featuring themes of love and desire, this would be a perfect Valentine's gift. 

The Marriage of Figaro runs until February 27, 2016 at The Four Seasons Centre for the Performing Arts. A reminder to those under 30: The COC offers a great Opera Under 30 program. Visit coc.ca for more information and to buy tickets.