Opera Review: Figaro Gets A Divorce - Welsh National Opera at the WMC ✭✭✭✭
Figaro Gets A Divorce
Elena Langer
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| Photo credit- Richard Hubert Smith |
Welsh National Opera at the WMC
Review by Sebastian Petit
21st February 2016: After the mixture of frustrations
and delights that characterised the previous evening’s “Marriage” it is
piquantly ironic that “Divorce”, as portrayed in the world premiere of Elena Langer’s new opera, provided a
considerably more dovetailed experience. This is not to say that the work
itself is not without problems - Langer’s music is, unlike so many new works,
comparatively easy on the ear but she often seems to be drawing heavily on Berg
and Britten. Perhaps this is not so surprising in that she was writing for
singers several of whom are indelibly linked to those composers’ operatic works.
That cavil aside she is skilled in defining character through vocal line and
her orchestral textures are exciting, often beautiful and happily maintain a
balance with the vocals, ensuring that the singers are never swamped. The WNO
orchestra, under the excellent Justin
Brown, played with all the élan
that they had shown under Koenigs in “Marriage”. Also of particular interest is
the writing for the character of The Major which ranges from high mixed voice
lines reminiscent of those twin Peters, Grimes and Quint through to the smoky
insinuation of the Weimar period Kurt Weill.
The production was far more
visually satisfying than the previous night’s mess. Whereas in “Marriage” Ralph Koltai’s sets had appeared
unsuitable and tawdry, in “Divorce”, allied to a skilfully fluid production
typical of David Pountney at his
best, the huge panels smoothly defined the numerous locales and contributed to
the louring atmosphere of a continent on the verge of collapse. The grey
backcloth representing mountains fashioned from torn papers was particularly
resonant. A word of praise for the two chorus members, Amanda Baldwin and Helen Jarmany acting as stage management who worked
tirelessly throughout the evening moving the panels and furniture in
increasingly complex formations.
Many of the excellent singers
from the “Marriage” were carried over into “Divorce”. Elizabeth Watts Countess
is a first rate assumption. The role is a little under-featured in the first
half but comes into its own in the more concentrated second half with her
standing up to the reptilian Major in blazing tone and in the heartbreaking
final scene left behind with her repentant husband to face their tragic
destiny. Together Watts and Mark Stone’s
excellent Count made this a highlight of the evening.
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| Photo credit - Richard Hubert Smith |
Figaro and Susanna are a very
different couple from their earlier incarnations. Their marriage, torn apart by
suspicions and lies, they are characterised as tired and bitter only finding
each other again as they combine to rescue the family from their pursuers. David Stout, who seemed marginally
underpowered in the Mozart, gave a strong performance with ringing voice and detailed
acting perfectly integrated. Marie Arnet’s
Lulu-like Susanna sang her high-lying part with aplomb and her love-hate
relationship with Andrew Watts
embittered counter tenor Cherubino crackled with sexual tension. Watts’
sexually ambivalent night club owner is one of the more ifascinating deviations
from the established characters and he dazzlingly negotiates a vocal line which
ranges from high countertenor to baritone growl.
Naomi O’Connell followed her febrile Cherubino with a gently
determined Serafin (aptly he is later revealed to be Cherubino’s son by the
Countess) and, together with Rhian Lois’
adorable Angelika, make an attractive pair of young lovers.
But the most fascinating
character is that of Alan Oke’s mesmeric,
serpentine Major. In a role that deserves to stand alongside his Grimes and
Aschenbach, Oke is simply riveting as an almost wholly repulsive character. His
singing was little short of heroic especially when one remembers that he was
indisposed the previous night.
When so much new work seems
likely to vanish into obscurity soon after their premieres “Figaro gets a
divorce” deserves and, I predict, will have a bright future in opera houses.
4 stars ✭✭✭✭
For more info and tour dates please see www.wno.org.uk
