This was not exactly your father’s Figaro. To keep in the spirit of WTO, I will also add that this is not your mother’s Figaro. But then again, in a sense, maybe it is your mother’s Figaro, at least the one she’s been waiting for. I was looking forward to just a comfortable evening at The Barns enjoying Mozart’s comedy which has great heart, great music, and great arias, but no. I read the program notes shortly before leaving for the theater, and bumpy roads seemed ahead, first the long-ongoing construction area at the Wolftrap Creek intersection with Old Courthouse Road and then a director’s vision of combining Picasso with Mozart’s The Marriage of Figaro. Lots of thoughts, but if you want to skip to the bottom line, Director E. Loren Meeker’s Picasso riff on Figaro worked, mainly because the young cast was dynamic, the orchestra blew the lights out, and it was new, fun, and entertaining…and yes, there was an illuminating message in there. If you can get a ticket, go. Enjoy.
Susanna ( Adrianna Rodriguez) informs Figaro (Christian Simmons) of the Count’s intentions. Photo by Rich Kessler; courtesy of Wolf Trap Opera.
The Marriage of Figaro is one of the most popular operas of all times. Yet despite nine previous productions, Wolf Trap Opera has not performed this work since 2006! BTW, in the 2006 production, the now megastar soprano, then Filene Artist, Ailyn Pérez, played the Countess. I was at first surprised when I learned Figaro was to be performed in The Barns, a more chamber opera-sized venue, with less than 400 seats. While one of the nine previous productions was in The Barns (2006), the other eight were in the Filene Center. Staging Figaro in The Barns presents some staging issues for WTO creative staff and challenges for the WTO orchestra, but it is definitely a win for opera fans. Figaro, normally playing in big opera houses, has five leading roles needing two sopranos and a mezzo-soprano, a baritone, and a bass; it also has six substantial supporting roles requiring two more sopranos, two tenors, and two more basses. At times, Mozart creates ensembles of 5 to 7 singers and adds to that a chorus. Imagine this sound in a small venue, enough appeal to warrant attendance by itself. Interesting footnote from Google AI: ‘Catherine Filene Shouse, the founder of Wolf Trap Park in 1971, had barns moved from upstate New York and rebuilt in 1981 to create an intimate space for smaller acts and diverse genres. The barns, a German barn built around 1730 and a Scottish barn built in 1791, were restored and adapted to include a stage, dining area, and other amenities while preserving their historic charm.” So The Barns is a real barn, with seats added.
Count Almaviva (Charles H. Eaton) and Countess Almaviva (Brittany Olivia Logan). Photos by Rich Kessler; courtesy of Wolf Trap Opera.
The Marraige of Figaro (Le Nozze di Figaro, 1786) was the first of three popular operas by the team of composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte, also including Don Giovanni and Così fan tutte. Briefly, in the play by Beaumarchais, Count Almavira desires to bed Susanna, his wife’s servant, supposedly justified by droit du seigneur (right of the lord); this is the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her, a right the Count himself had just disavowed. Susanna’s betrothed, Figaro, in cahoots with her, the Countess, and a love-struck page, Cherubino, lay plans to outwit the Count. Plots and subplots are begun and go astray, and hilarious surprises abound in classical opera buffa style.
As was the case for all Mozart/Da Ponte collaborations, there is more afoot than comedy. As Albert Camus reportedly said, “Fiction is the lie through which we tell the truth”. Societal change, rippling through Europe at that time, was a target of Figaro. Beaumarchais’ play, was barred from production in Vienna by the emperor due to incendiary language inspiring subjects to throw off the yoke of the nobility. 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 Emperor Joseph II’s radar. In the opera, Figaro sings, “Well, little count, if you want to dance, I will choose the tune.” The play’s language was much more direct and incendiary. 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. Worldly-wise Da Ponte and Mozart knew how to navigate the terrain.
Cherubino (Sophia Maekawa) and Figaro (Christian Simmons). Photo by Rich Kessler; courtesy of Wolf Trap Opera.
Driector Meeker wanted to put more spotlight on the roles of women in Mozart’s time to reflect relevance today. Let’s just say that Picasso’s forte was not treating women as autonomous individuals, painting them as abstractions, and Meeker’s direction plays to that theme. The women are at first indistinct in her adaptation; their character and growth is revealed as the opera progresses, especially in the changing of their dress and makeup. An added opening scene takes place while the overture is played, showing Figaro as an abstract artist making the women in his life his creations. In the director’s own words, “…the women begin as abstract fragmented figures…embodying the distortion seen in Picasso’s portraits” but who reclaim their clarity in their struggles with the Count. Susanna and the Countess have a more clear-eyed view of what is happening and guide the men to being fractured with accompanying redemption, reaffirming the power of love. Championing and empowering women has been an overt theme of Wolf Trap Opera’s productions under Lee Anne Myslewski’s leadership. Last year’s Cosí fan tutte by the Mozart/Da Ponte team had a new ending with the women being more assertive. As an aside, media reports today indicate our young women are achieving at a higher level than young men, who appear headed for trouble. Cry, Wolf, one of the American Opera Initiative’s new 20-min operas performed in January focused on this issue; maybe we will see more contemporary opera’s reflecting on men’s issues today.
The Countess (Brittany Olivia Logan) and Susanna (Adriana Rodriguez) involve Figaro (Christian Simmons) in the plotting against the Count (Charles H. Eaton). Photo by Rich Kessler; courtesy of Wolf Trap Opera.
While the Picasso inspired approach was clever and insightful, if I had not read the program notes I would have been baffled a bit by the costumes and sets; for attendees who were, it would seem unlikely the message was delivered. My wife remarked when we sat down and saw the stage decorated as an artist’s workroom in the time of Picasso, that it seemed like we were at the wrong opera and were expecting Cavaradossi to appear in Tosca. Not every change to a classic opera works; I recall a famous Parisian opera production that bombed by setting La bohème action inside a base on the moon. But, for this production of Figaro, we were both delighted by the design of the costumes and set, which we viewed as adding new fun to a comedic opera we have seen multiple times, and the theme of unwarranted privileges of power and social structure was still delivered effectively. Kudos to Director Meeker, to Laura Fine Hawkes for scenic design, Lauren Shaw for costume design, Anne Nesmith for hair and make-up design, and to Colin K. Bills for lighting design.
Marcellina (Elissa Pfaender), Bartolo (Sam Dhobhany), and Figaro (Christian Anderson) work out their relationship. Photo by Rich Kessler; courtesy of Wolf Trap Opera.
Wolf Trap Opera’s highly talented and already experienced group of Filene Artists were the major factor generating the highly positive impact of this production. It was an extraordinary treat to so profoundly experience the individuality of the voices and the high caliber/precision singing so close up in the intimate space of The Barns. Bass-baritone Christian Simmons gave us a compelling, impulsive Figaro and delivered his vocals beautifully. Mr. Simmons was a winner in the 2023 Metropolitan Laffont Competition, a member of Cafritz Young Artists of Washington National Opera, and a fellow with Deutche Oper Berlin. Soprano Arianna Rodriguez from Fairfax, Virginia gave us a knowing Susanna in dealing with all comers, perhaps a touch regal for a servant. She has a lovely voice and sings with heart-rendering emotion. Ms. Rodriguez has been an Adler fellow with San Francisco Opera. Count Almaviva was played by baritone Charles H. Eaton as the domineering buffoon he was, but his singing was very winning; as played, I would not put too much faith in his redemption. Mr. Eaton, a graduate of several young artists programs, drew rave reviews for his performance last year in WTO’s production of Silent Night. Soprano Brittany Olivia Logan gave a very compelling Countess Almaviva, longing for love and forgiving in nature. She sang with a loveliness that could redeem most of us. She was in the young artist program of Metropolitan Opera and sang in the Met’s production of Nabucco; she also performed previously with Wolf Trap Opera in their 2023 production of Faust. Some roles are made for scene stealers; Cherubino, a love-struck young man (played by a woman) longing for attention from Countess Almaviva, is one. Mezzo-soprano Sophia Maekawa took full advantage of the role, singing impressively, and stealing scenes by providing the best comedic performance of the opera. Ms. Maekawa hails from Kyoto, Japan and has trained with Lyric Opera of Chicago, Santa Fe Opera, and Opera Theater of Saint Louis. These artists sang their solo arias beautifully
Adding to the fun and powerful singing was mezzo-soprano Elissa Pfaender who gave us a campy Marcellina; she will sing the role of Carmen in WTO’s Carmen in August in the Filene Center. Adding his powerful voice and singing was Sam Dhobhany as Bartolo. Also enriching the performance were WTO Studio Artists tenor Timothy Anderson as Basilio, bass-baritone Robert Frasier as Antonio, soprano Catherine Creed as Barbarina, and tenor Adam Catangui as Don Curzio. Additional Studio Artists made up the WTO Chorus. bass-baritone Robert Frasier as Antonio, soprano Catherine Creed as Barbarina, and tenor Adam Catangui as Don Curzio. Additional Studio Artists made up the WTO Chorus.
Figaro (Christian Simmons) is surrounded by a group of Wolf Trap Opera Studio Artists who served as townspeople, servants, and the chorus.
The Wolf Trap Orchestra was led by Conductor Emily Senturia, who has appeared with many of the nation’s symphony and opera companies, including the Washington National Opera and previously with WTO. Special kudos to her and the orchestra; the music was a highlight of the performance. After the first few notes of the overture, I wondered if the small orchestra pit and opening was muffling the sound a bit, but that impression was quickly dispatched. After that, I marveled at how well Mozart’s music was being played. The WTO Chorus also added substantially to the enjoyment of the performance; kudos to Chorus Master Kuril Kuzmin.
Susanna (Adrianna Rodriguez) and the Countess ( Brittany Olivia Logan), now friends and conspirators, share a moment. Photo by Rich Kessler; courtesy of Wolf Trap Opera.
After attending a classic opera several times, one’s enthusiasm can drop a little for another performance any time soon. Wolf Trap Opera’s was delightful and as fresh as ever!
The Fan Experience: Performances of The Marriage of Figaro were scheduled for June 20, 22, 24, 26, 28 in The Barns. The opera is sung in Italian with supertitles in English on an overhead screen. The performance lasted about 3 hours including a 20-minute intermission. Limited tickets were available at the time of this report.
A pre-opera talk was offered for ticket holders one hour before performances by Nicole Steinberg, PhD, exploring how Mozart portrayed the intelligence and complexity of women in his operas.
The Barns overall is an excellent venue for opera, intimate with good acoustics. Even the seats at the back and in the balcony are relatively close to the performers, but some of those in the very front and seats in the back on the floor lack a view of the surtitles. The floor seats are not tiered but those in the balcony are; some balcony seats are restricted view by structural posts. Food and beverages are available before the performances and during intermissions; drinks are allowed in the theater. During DC’s hot and humid summers, it has excellent air-conditioning. Parking is free, plentiful and is easy-in/easy-out.