'The Marriage of Figaro' The Princeton Festival marries slapstick with the sublime with Mozart’s opera
By Linda Holt
Laugh, cry, laugh until you cry: The Princeton Festival is ringing in summer with The Marriage of Figaro (Le Nozze di Figaro), Mozart’s great comic opera, in a dazzling and delightful production at McCarter Theatre.
Under the baton of conductor and the festival’s artistic director Richard Tang Yuk, and with direction by Steven LaCosse, some of Mozart’s most beloved music takes flight thanks to spirited performances by a cast of world-class singers and an orchestra to match. The scandalous escapades of an assortment of characters, lovable rascals all, unfold seamlessly, as though the performers had worked as an ensemble for many years. This production looks as gorgeous as it sounds thanks to elegant sets by Peter Dean Beck, evocative lighting by Norman Coates, and eye-appealing costumes, works of art in themselves, managed by Marie Miller.
Last year, McCarter Theatre presented the play by Beaumarchais upon which Mozart’s opera is based. Both versions were highly controversial in their day (the 1780s) for, among other things, depicting the triumph of wily servants over their master, something perceived as a threat to the social order. A somewhat risqué subtext gives the tale a modern sensibility. There are no ecclesiastical or government authorities weighing in on moral decisions. Love itself and basic human decency, grounded in reason, ultimately prevail over the darker forces of lust and domination.
The twists and turns of an increasingly hilarious plot involve the lecherous Count (Sean Anderson) who hopes to bed his wife’s chambermaid Susanna (Haeran Hong) on the eve of her marriage to his servant, Figaro (Jonathan Lasch). Susanna and the Countess (Katherine Whyte) plot to out the Count’s plan, embarrass him, and return him to the arms of his beautiful, long-suffering wife, allowing Susanna and Figaro to marry without incident.
Other characters adding spunk and richness to this nuanced drama include the love-besotted page, Cherubino, played by a soprano in male costume (Cassandra Zoé Velasco). Things take a more contemporary turn as in one scene, the Countess and Susanna attempt to pass off the protesting lad as a member of the female staff, resulting in some Victor Victoria-esque humor.
All well and good for a fun-filled tale of intrigue, slapstick, and wit. But it’s the music that makes The Marriage, a work still fresh and bright after more than 200 years. Mozart seems to have breathed out the entire score in one celestial breath. Exciting overture to duet to aria to quartet and beyond: the solos, ensembles, and even the graceful recitatives flood the listener in one harmonious inundation of sound and feeling. Even novice opera goers whisper, “Ah, I know that song,” or “Where have I heard that before?” much as people on the streets of Vienna in 1786 hummed and whistled the tunes on their way to work. And, indeed, I challenge anyone attending this production not to be humming the tunes the next day.
Fortunately, in this production, all the singers are up to the challenge of articulating these melodies in the most expressive, enjoyable, and memorable style. But in opera, the singing cannot be separated from acting and dance (using the broad sense of dance as moving purposefully and expressively on stage).
As Figaro, Mr. Lasch expresses all the character’s qualities convincingly: humor, strength, determination, wit, deviousness, devotion. His resonant baritone voice can be brash, graceful, insinuating, as it is in the Act I aria, “Se vuol ballare, Signor Contino.” (If, dear Count, you feel like dancing). With a clever touch, Act III moves directly to Act IV against a black curtain, as Figaro tiptoes into the garden, bewailing the fickleness of women. “Don’t you agree?” he asks the male members of the audience. “These fickle ladies are all about you!” And at this the theater lights rise briefly so gentlemen in the audience can look around and see for themselves.
Figaro is sometimes portrayed as a scamp, but Mr. Lasch offers a much richer interpretation, lifting him above the role of vaudeville protagonist into a higher level of understanding, without sacrificing humor or wit. Like other members of this cast, Mr. Lasch is master of the stage, striding confidently, cowering behind a chair, or engaging in a few graceful dance steps as called for.
As Susanna, Ms. Hong conveys the freshness of youth, with a clear, silvery voice, especially evident in the haunting aria, “Deh vieni” in Act IV. There is a warm physicality in the way she and the other characters move and relate to each other that brings authenticity and — above and beyond the farcical elements of the opera — wins our empathy and trust.
One of the great ovations on opening night went to Katherine Whyte as the dignified Countess following her breathtaking interpretation of “Dove sono i bei moment” (Where are the lovely moments of sweetness and pleasure?) in Act IV (for the dramatic lead into the aria, the orchestra deserves kudos as well). Her husband is seducing her chambermaid, they are setting a trap to ensnare him, but will it have the effect the two women desire? Where indeed have the lovely moments gone in their storybook romance?
Sean Anderson is imposing, overbearing, and ultimately contrite as the Count, a role with great demands on the singer as a musician and performer. It seems cruel not to single out each singer and the vibrant chorus for special mention. Zoé Velasco’s Cherubino was especially noteworthy, a spritely, nimble, and charming performance, physically as well as vocally. This opera has a superabundance of baritones and sopranos, making it interesting to compare the different qualities of voices in each category. Zoé Velasco’s voice has a beguiling warmth conducive to boyish declarations of love.
Other major players, who join together in the final great ensemble of Act IV, include Kathryn Kasovec as Marcellina, an older servant who wishes to steal Figaro from Susanna; Ricardo Lugo as Bartolo; David Kellett as Don Basilio, two scheming professionals; Paul An as the troublemaker Antonio, played with spot-on vaudeville élan; Vincent DiPeri as Don Curzio. And let me mention a small but significant contribution: a bright young operatic star, Jessica Beebe, as Barbarina, Antonio’s daughter, who stole hearts with the only aria in the minor mode, L’ho perduta, me meschina — (I’ve lost it, poor me). To bring such authenticity and expression to a small part signifies a great talent. Hoping to hear more good things about this soprano in the years ahead. There is, of course, one glaring negative to this production of The Marriage of Figaro: only two more performances remain. Those will be held on consecutive Sundays, at 3 p.m. on June 21 and 28 in McCarter Theatre as part of the Festival’s program of summertime concerts. This has been an opera well worth waiting for, and not to be missed.
Photo by Jessi Franko: Jonathan Lasch in The Princeton Festival’s production of The Marriage of Figaro.
The Marriage of Figaro continues at McCarter Theatre, June 21 and June 28, 3 p.m. For tickets and information, go to www.princetonfestival.com or call 609-258-2787.
