The Marriage of Figaro - Scottish Opera ★★★★

As summery heat hits the streets of Edinburgh, the temperature reaches its feverish pitch—no doubt a result of the steamy marriage between Figaro and Susanna. It is a dirty, raunchy marriage, a case of two lovers who trick and plot against each other for the sake of testing each other’s love.

Wolfgang Amadeus Mozart and Lorenzo Da Ponte crafted one of the most controversial operas, originally based on the play The Marriage of Figaro by Beaumarchais, in an age where public scandal and a general distrust of the rich were growing. Mozart’s operas were criticised by royal institutions for being disgusting, offensive, and featuring peasants as heroes.

In The Marriage of Figaro, Figaro and Susanna are due to be married. Their wedding day is quite eventful—not a wedding day many people will often have or want to have. Figaro’s employer, Count Almaviva, is in love with Susanna. Fearing that he will want her according to droit du seigneur, a mostly fictionalised tradition where the lord of the manor may sleep with any new bride, Figaro plots with his new wife to humiliate Count Almaviva.

Scottish Opera’s new production of The Marriage of Figaro, directed by legendary opera singer and director Sir Thomas Allen, distinguishes itself from its countless predecessors by a focus on its class-based themes, the peasant revolt at the heart of the narrative. Focusing on satire rather than outright comedy is a suitable choice for a contemporary audience.

As is typical with Mozart’s operas, there are numerous twists and turns, rather perversions, to the story. People are having affairs en masse, long-lost parents are revealed, and the element of deception is used almost constantly. This makes for ravishing entertainment, one that Scottish Opera captures with a gleeful air, thanks mostly to its performances and design.

Played with the air of a cheeky hustler, Edward Jowle is an exceptional Figaro. Jumping from bass to baritone quickly isn’t easy, but Jowle executes this with ease. There are moments in his performance that are genuinely jaw-dropping, such as Figaro’s aria and his hilarious direct address to the audience.

Ava Dodd is delightful as Susanna, a role that requires a spot of cunning trickery. An honourable mention should be made of Simeone McIntosh as Cherubino, the Count’s page. McIntosh imbues the perpetually salacious Cherubino with a genuine love for the Countess and Barbarina; it’s quite sweet. The principal performers shine in the ensemble numbers, a highlight of any Mozart opera—it’s tricky to wrap your head around how these were composed.

Finally, rounding off the production is the clever use of set design. Though the show jumps from location to location, designer Simon Higlett ensures that each set piece is ornately decorated. There is a particularly wonderful Moon projection that fits the mood of Act IV.

Where the production falters is in playing it safe. While nothing is wrong with sticking to tried and tested material, there is a lack of a dynamic or bold casting choice that would truly make Allen’s production unique. This, in combination with some inconsistent chorus performances, holds the show back from being truly outstanding.