The Marriage of Figaro (Le Nozze di Figaro, 1786) is one of the most beloved operas in the repertoire. Why? The old saying is that power corrupts, and absolute power corrupts absolutely; power has been corrupting mankind since Adam and Eve. Composer Wolfgang Amadeus Mozart and his librettist Lorenzo Da Ponte, however, also saw that human beings are capable of magnanimity, reform, redemption, and plain silliness, as well as corruption, but most importantly, they understood that the healing grace is love. The team’s profound insight that human goodness is a work in progress, coupled with their keen sense of humor, provided us with stories in which we can see and laugh at ourselves. Color those stories with Mozart’s ability to write music of great beauty and charm that fully illuminates the human heart, and classics emerge, beloved in every age. Annapolis Opera delivered a faithful, entertaining, and satisfying performance of The Marriage of Figaro this past weekend.
The Marriage of Figaro was the first of three operas by Mozart and Da Ponte that included Don Giovanni followed by Così fan tutte. All three are among the most often performed operas in the repertoire. This team seems an unlikely pairing, the roguish, rookie librettist Da Ponte and the superstar composer Mozart. However, Da Ponte was Austrian Emperor Joseph II’s court poet and a favorite of the emperor. Mozart realized the best path to a court sponsored production was to engage Da Ponte, a collaboration determined by fate and circumstance and the fact that both men were worldly wise. Mozart suggested to Da Ponte that he write a libretto using a Beaumarchais play of the same name, the second play in a trilogy about the Count Almavira and Rosina. The first play in the series was The Barber of Seville, later made into the highly successful Rossini opera, and the last play being The Guilty Mother. Fans of Cosí fan tutte will notice the Mozart/Da Ponte joke when a line in Figaro states that all women are like that.
Rachel Blaustein as the Countess, Helen Zhibing Huang as Susanna, and Efrain Solis as Figaro. Photo by Michael Halbig; courtesy of Annapolis Opera.
As was the case for all Mozart/Da Ponte collaborations, there is more afoot than comedy; social change rippling through society at that time was also a target of the opera. The play, The Marriage of Figaro, was barred from production in Vienna by the emperor due to incendiary language inspiring subjects to throw off the yoke of the nobility. The choice was timely for impact, but Da Ponte had to reduce and modify the spoken play to text that could be sung in an opera that he might be able to pass under Joseph II’s radar. Thus, in a scene where Figaro is angry with the Count, the Beaumarchais text reads “Because you are a great lord, you think you are a great genius! You took the trouble to be born, that’s all. You remain nothing but an ordinary man; while I…had to use more science and calculation simply to survive than it has taken to rule Spain for the last hundred years!” See why Emperor Joseph might object to a servant uttering these words? In the opera, Figaro merely sings, “Well, little count, if you want to dance, I will choose the tune.” The aria makes the point that the servant does not accept the count’s yoke of control, but in a safer manner, flavored by high comedy to make the medicine go down. Da Ponte and Mozart knew what they were dealing with and how to navigate the terrain.
Helen Zhibing Huang as Susanna, Kevin Godinez as Count Almavira, and Elizabeth Sarian as Cherubino. Photo by Michael Halbig; courtesy of Annapolis Opera.
The Marriage of Figaro plot has a lot going on in a short period of time; I suggest prior reading of the program’s synopsis. Briefly, in the opera, Count Almavira desires to bed Susanna, his wife Rosina’s servant, supposedly justified by droit du seigneur (right of the lord); this was the purported feudal right of a lord to bed a servant girl on her wedding night before her husband could sleep with her, a right Count Almavira had disavowed. Susanna’s betrothed, Figaro, in cahoots with her, the Countess, and a love struck page, Cherubino, lay plans to outwit the Count, but first they must invalidate an existing contract that would require Figaro to marry Marcellina, Dr. Bartolo’s maid, both continuing characters from The Barber of Seville. Plots and subplots are begun and go astray, and hilarious surprises abound in classical opera buffa style, which is to say, in classical commedia dell’arte style. Now, le droit seigneur has a murky history at best from the medieval period and certainly was not found in 18th century Europe. Regardless, it was an excellent plot device for Beaumarchais to make the point quite clearly that nobility had more control over their subjects, even their bodies, than should be granted; this was a controversy roiling aristocracies of the continent at that time. Da Ponte and Mozart bring us to the conclusion that both rulers and subjects are flawed human beings and that love conquers all, with the only path forward being to ask for and give forgiveness and move on. Surely that was the shared belief that allowed them to work together and produce great works. When forced to confront his philandering and abuse of his wife, the Count asks for forgiveness. The social order took time to change but has; the themes of human susceptibility to transgression and the need for forgiveness continue, and thus, we still embrace The Marriage of Figaro.
Let me digress for a moment: think of opera as baseball. Hang with me here! I enjoy watching baseball at all levels, from Little League to the Majors. Opera is also played at different levels based on resources and market size available to a company. AO’s President in opening remarks noted that this was Annapolis Opera’s 50th Anniversary Season. Congrats! Annapolis Opera continues to impress by consistently providing productions of a quality one would only expect of a much larger city. AO’S Figaro sparkled with both talent and professionalism.
Rachel Blaustein as the Countess, Helen Zhibing Huang as Susanna, and Efrain Solis as Figaro. Photo by Michael Halbig; courtesy of Annapolis Opera.
The cast that Artistic and Music Director Craig Kier assembled for this production was one I greatly looked forward to seeing and hearing, having enjoyed performances by many of them previously. The number of singers and creative staff needed for Figaro is demanding. Twelve named singers are listed in the program and there was a fifteen-member chorus. Several of the soloists are emerging stars that are no longer just displaying talent and potential, but are beginning to dazzle.
The role of Figaro was played by baritone Efrain Solis, whom I have seen previously in productions by Washington Concert Opera and Virginia Opera. He played well the crafty Figaro, deeply in love with his wife and determined to protect his interests, very capable in the humorous banter, which was often ongoing. Mr. Solis has a deep roasted baritone and sings expertly. His Susanna was soprano Helen Zhibing Huang whom I have heard previously with Washington Concert Opera. She has a bright soprano voice and sings well, playing a beleaguered Susannah, feigning emotions to carryout plots, as well as displaying sincere ones. It was my first time hearing baritone Kevin Godinez, who has a rich, lighter baritone, and sang exceedingly well, sometimes impressively, as Count Almavira. It was interesting to watch his performance as the Count who changes over the course of the evening, moving from an effete nobleman difficult to take seriously to a ruler who begins to take control and appears threatening before his transformation as a recalcitrant; at the same time, he fully participates in the comedy. The Countess is the most sympathetic role in the opera and has some of the most beautiful arias. I have seen soprano Rachel Blaustein, who played the role, several times: in the 2019 Annapolis Opera Vocal Competition, in an Opera Theatre of St. Louis performance this past summer, and earlier this year in a performance with Maryland Lyric Opera. She has a lovely soprano voice and sings beautifully, maneuvering easily in her higher register. My takeaway from this performance is that she is no longer an emerging opera star; soprano Rachel Blaustein has arrived.
In addition to the Figaro-Susanna romance and the Count-Countess romance, Mozart and Da Ponte gave us Dr. Bartolo-Marcellina and Cherubino-Barberino romances, each with their own issues. Bass-baritone Andrew Adelsberger was an excellent Dr. Bartolo, officious and pompous. Marcellina was played by mezzo-soprano Hannah Shea. I first heard Ms. Shea sing in Washington National Opera’s American Opera Initiative and then in WNO’s performance of Carmen; she is a highly promising young performer. In Figaro, she displayed a talent for comedy as well as singing. Mezzo-soprano Elizabeth Sarian in a pants role as Cherubino was one of the highlights of the performance, singing and acting and cross dressing (do you think that Figaro can now be performed in Tennessee?). Turkish soprano Öznur Tülüoglu made an impression in a minor role as Barbarino, love interest of Cherubino. Can she be that good? I’d like to know, more please. Bridesmaids soprano Amanda Densmoor and soprano Denique Isaac were pleasing in their duet during the marriage scene. Tenor Brian Walling was a bright spot in two roles, Basilio, the music teacher, and Don Curzio, the judge; he displayed a deft, natural comic touch. Bass-baritone Christopher Hartung was an amusing Antonio, the drunken gardener.
Kevin Godinez as the Count, far left, Elizabeth Sarian as Cherubino, seated, and Efrain Solis as Figaro, on right. Photo by Michael Halbig; courtesy of Annapolis Opera.
There were many fine solo arias in Figaro allowing each of the principal soloists their moment or moments in the spotlight, and all were reasonably well done. However, Mozart was the master of composing ensemble singing, ranging from two to seven singers. If you think a piece of music can only serve one emotional purpose, listen to a Mozart opera where three or four characters are singing at the same time about their different issues. The ensemble singing in this performance, supported by a fine chorus and impressive orchestra accompaniment, was outstanding. Craig Kier also served as the Conductor for the Annapolis Symphony Orchestra. From the spirited opening of the Figaro’s overture to the sublime pathos in Act IV’s ending, the playing of the music was outstanding. Honestly, I was very impressed; this was some of the best playing of Figaro’s music I have experienced. Bravi!
Stage Director Corinne Hayes did an excellent job of staging and communicating the story, moving a large cast effectively around a stage with little room to spare, and spicing the action with comedic touches. The showing of fireworks on a screen at the ending, referred to in the libretto, meaning to be cheerful, added little for me. The choreography by Sarah Oppenheim of the marriage dance added to the enjoyment. The simple set used for all acts with slight modifications was reflective of the age and were quite pretty, which enhanced the performance of a romantic comedy. The costumes were beautiful and perfect for the era, also adding richness; kudos to Costume Designer Patty Hibert. Lighting by Christopher Brusberg was well done.
Mozart, Da Ponte, and Annapolis Opera proved to be a symbiotic combination this past weekend. If you saw the performance, you likely went home satisfied, happy, and whistling one of Mozart’s catchy tunes.
The Fan Experience: Performances of The Marriage of Figaro were held March 17 and 19 in the Maryland Hall for the Creative Arts. The opera was sung in Italian with English super titles. The performance lasted about three hours including one twenty-minute intermission. Parking at the Maryland Hall was free.
There are two events remaining in Annapolis Opera’s remaining 2022-2023 season:
“Voices of Our Time” on April 15, a recital featuring countertenor John Holiday.
“35th Annual Annapolis Opera Vocal Competition” on April 16, a free event where audience members can vote on the winners.