Sophie Koch as Cherubino and Soile Isokoski as Countess Almaviva Pic: Bill Cooper

Ensemble work well for Figaro

REVIEW - LE NOZZE DI FIGARO
Covent Garden - by HELEN LAWRENCE

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DAVID McVicar’s staging of Mozart’s Figaro, first seen at Covent Garden in January, is back with an almost entirely new cast in a revival by Stéphane Marlot.
It is unusual in its serious approach, not playing for the usual obvious laughs, but looking more thoughtfully at the characters.
The updating to the somewhat faded grandeur of an 1830s aristocratic establishment works well.
Tanya McCallin’s wonderful designs and expert eye for the period detail are beautifully lit by Paule Constable.
A cast of busy, spying servants and assorted hangers-on, provided by members of the chorus, adds to the atmosphere – except in the Count’s Act III aria, where unnecessary comings and goings became irritating and distracting.
There are no outstanding performances but the singers are all good and work superbly as an ensemble which is what the piece most requires.
Kyle Ketelsen has an attractive warm baritone but lacks a sufficiently forceful personality as Figaro.
It is Michael Volle’s well sung Count that dominates this show played as a blustering bully who makes you wonder why Rosina cares for him.
Soile Isokoski’s poised Countess is technically accomplished and much admired by many, but for me the technique is too obvious, giving a feeling of restraint.
Isabel Bayrakdarian’s Susannah, is rich toned, but does not have the charismatic charm of the best Susannas. Sophie Koch’s is another fine voice as Cherubino but her singing needs more legato phrasing.
Diana Montague was rather bland both vocally and in character as Marcellina. John Graham Hall’s oily Basilio, and Robert Lloyd’s pompous Bartolo provide wonderfully detailed support as do all the other smaller roles.
Colin Davis has not conducted Figaro in this house for 20 years. A renowned interpreter of Mozart, the beautifully paced overture set the tone for an authoritative, expressive, reading, often slower that than one expects. Overall much more than the sum of its parts and a most enjoyable tribute for Mozart’s 250th anniversary.

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