FringeReview UK 2024
Le Nozze di Figaro
Ensemble OrQuesta
Genre: Live Music, Music, Opera and Operatic Theatre
Venue: Arcola
Festival: FringeReview UK
Low Down
In the late 18th century the lower classes started to emancipate themselves and accepted less abuse from authorities. In this opera by Mozart after Beaumarchais’ play, the servants get one over their masters, but the question whether they are actual winners remain. Ensemble OrQuesta offers a very traditional reading of this opera set in modern dress.
Review
As the overture starts to play, Marcellina is having a quickie with Don Bartolo. The next we know she is pregnant, very much to the chagrin of her boss, who got her in this situation in the first place. However, he seems to be genuinely pleased when the baby is born only for junior to be quickly whisked away via the means of a rope attached to his bed. This happens so fast the actions have barely any chance to sink in before we move on. The ensemble runs on with props and costumes and sets the stage. The buzzing around ends when Susanna puts her hat on that she has especially customised for her forthcoming nuptials with Figaro. Considering what it looks like, probably by sitting on it.
In the ensuing exchange between Figaro and Susanna, Marcio da Silva shows off his great understanding of the text, especially during the recitatives. They sound fresh, as if he was really speaking what had just popped into his head. He is miles ahead of his colleagues with this skill, although Joshua Furtado-Mendes, who doubles as Basilio and Don Curzio comes close. The discrepancy often jars. It is especially noticeable when he performs opposite Helen May’s Susanna. She is stiff and aloof. She floats across the stage in the most unflattering costume, apparently unaware who is in the room with her. May also has the very annoying habit to reach for the highest note in a phrase making it sound shrill. The only exception was Deh vieni, which she sang heartfelt and with good technique. It suggests she studied this aria with a teacher who guided her well. The contrast is so stark, one has the feeling of seeing and hearing two different people.
When Don Bartolo enters with Marcellina he appears an old frail man, but becomes apparently younger over the period of the opera. Their relationship is bizarre to say the least. We are never clear where they stand. There are weird games going on, for example when she gets a chocolate out and he takes it forcefully off her only to then put it in her mouth. In a post ‘Me Too’ era that behaviour of a male superior feels very off. There seems to be no real affection among them anyway, which makes the whole idea that they marry two acts later rather unbelievable.
When Cherubino enters, sung by Anna-Louise Wagner, he appears more like a five year old desperate for the loo than a pubescent teenager. She constantly clutches an imaginary penis, which makes the fact that she obviously hasn’t got one only more noticeable. If one wants to go down that route, then a prothesis should be used. I never once believed I was seeing a young man in front of me. Her overacting would have been outdated in an old style panto as principal boy. Wagner would have deserved better direction. A great director changes something that is clearly not working in the rehearsal room.
Oshri Segev portraits Count Almaviva as suave but arrogant. A man that fancies himself a bit to much and can’t understand that not ever woman thinks he is the bee’s knees. He is so cooky he just strolled into Susanna’s room in his slippers and housecoat. Frankly by the end of the opera one thinks he got off lightly with the tricks Figaro played on him. His soloquies in act two are sung beautifully with much panache. Segev is an accomplished actor with great stage presence. The smallest gesture is captivating and one’s eyes are instantly drawn to him, even in the ensembles. I would love to see him as Don Giovanni.
Hollie-Anne Clark who was scheduled as Countess Almaviva was indisposed and had to be replaced vocally by Elinor Rolfe Johnson, who sang from behind the piano. Her round, dark lyric soprano was a revelation. Both her arias were sung exquisitely. Rolfe Johnson has an incredible breath control and she uses it to display the most wonderful legato. Her full bodied low notes are reminiscent of the creamiest hot chocolate you just want to bathe in. Bars later she soars above the stave in the sweetest pianissimo. Her voice was always secure throughout and it was a true pleasure to listen to her phrasing.
The smaller roles were taken by the tenor Joshua Furtado-Mendes, who managed to interpret Basilio and Don Curzio as two very distinctive characters. He played with great enthusiasm and sang with distinction and boldness in the ensembles, holding the tenor line effectively as a soloist. Contrary to traditionally practice Jay Rockwell interpreted Antonio as a quiet, diligent man, which made his character more believable as a man at one with nature. Great praise must go to Tara Venkatesan. She has a beautiful light but full-bodied soprano and it was a shame we heard so little of her given that she played Barbarina. She sang her aria securely with great understanding. Venkatesan also understood her recitatives well and delivered them with real understanding. Her Barbarina comes across as a young woman too clever for her status in a world that utterly disrespects women and especially working class women. She schemes and makes shrewd moves that will leave her in a better social and probably financial position. All the choruses and the two girls were sung by members of the cast, which made the opera a tight show.
The Hastings Philharmonic Orchestra, really a band of six instrumentalists, played under the baton of Kieran Staub. There were some very noticeable tuning issues during the overture and at the beginning act II, but overall the orchestra played very well. Especially the clarinet soloist had some noticeable moments, bringing a beautiful colour to the music. Staub accompanied the recitatives from an upright piano that sounded sometimes too harsh.
The opera ends with the Counters and Cherubino standing opposite each other. There is something between them. This comes as no surprise to those who have read the third part of the Trilogy.
As usual for Ensemble OrQuesta the costumes are all black, the set is incredible minimalist and the lighting is predominantly sepia. Maybe, it is time to hire a lighting designer. The highlights are da Silva’s orange socks, which might have been the pair he came to the theatre with. The drabness is in stark contrast to the story line and only really works in act IV that is set at night in a garden. EQ is a pay-to-sing ensemble that means singers have to contribute financially to have the show put on and won’t get paid. They do this for exposure or to learn a role. It is understandable that the company tries to keep costs down by using the singer’s own clothes, but I do wonder whether it always have to be black. The use of personalised jewellery should be rethought though. One performer wore a necklace with what looked like their first name. It was clearly visible during the whole performance and probably should have been taken off. Two singers who play unmarried characters in the opera wore rings on their left hand that looked like wedding bands. One wore also a very sparkly engagement ring that would have been out of reach for a person of her class. These details matter.
The audience overall enjoyed the performance. Some people, including a performer, had to leave early as a 19.30hrs start is just too late for a Mozart opera in an out of the way location like Dalston Junction.
