When he reviewed the Santa Fe Opera’s 2008 production of Mozart’s The Marriage of Figaro for the Reporter, critic John Stege drew upon the Ancient Greek philosopher Heraclitus’ theory that one can’t step in the same river twice to bolster his contention that one will never experience The Marriage of Figaro twice in the same way.
Stege’s nod to Heraclitus feels particularly apt for this season’s run of The Marriage of Figaro, which brings back Director and Costume Designer Laurent Pelly’s 2021 production, but feels and sounds utterly fresh.
As I wrote at the time, Pelly drew inspiration from Jean Renoir’s La Règle du Jeu (The Rules of the Game), itself inspired by The Marriage of Figaro, setting the action in the late 1930s during a time of social and political unrest. The opera itself is based upon Pierre-Augustin Caron de Beaumarchais’ play, which takes place in the equally restive era just before the French revolution, and unfolds the entire plot over the course of 24 hours (the play’s original title: La Folle Journée, ou Le Mariage de Figaro, aka “The Crazy Day, or The Marriage of Figaro”). French set designer Chantal Thomas’ revolving set, large clock and massive brass gears nod both to the conceit of the time-frame and to Beaumarchais’ early career as a watchmaker. The gears in motion also complement the machinations contributing to the rising action of the opera’s plot.
Speaking of which, the four-act opera runs nearly three hours (plus a 25-minute intermission), with sundry twists and turns. But in summary: Figaro (bass Riccardo Fassi, who delivers a buoyant performance) and his fiancee Susanna (the wonderful former Santa Fe apprentice soprano Liv Redpath), are both servants to Count and Countess Almaviva (baritone Florian Sempey proved a bit of a charismatic scene-stealer; soprano Jacquelyn Stucker stepped in opening night as the countess—seamlessly—but soprano Marina Monzó is expected to return for the remaining performances).
Figaro and Susanna are set to marry, but Count Almaviva has plans to invoke his feudal privilege to spend their wedding night with the bride. Figaro concocts a plan to save his bride from his boss’ clutches, while the other characters similarly devise their own plans, which involve disguises, deception and many funny moments.
Back to Heraclitus (kind of). Many elements make this year’s version of Pelly’s production feel new. One would be the entirely new cast, all of whom inspired many rounds of applause and bursts of laughter from the audience throughout the evening. Mezzo-soprano Hongni Wu as the love-struck Cherubino stood out, both for her comic skills and her voice. Mezzo-soprano Lucy Schaufer and bass-baritone Maurizio Muraro as Figaro’s long-lost parents Marcellina and Bartolo also enliven every scene in which they appear.
In discussing on KHFM (Classical 95.5) the character Susanna, Redpath—who appeared last season in both Don Giovanni and Der Rosenkavalier—noted the numerous role debuts for European singers in this production, and the overall enjoyment she had working with the cast: “I was looking around the room after the first week and thinking, ‘Gosh, every single person in here, I enjoy working with them. I enjoy seeing what they bring to their characters and also just being friendly. They're really cool people…So I think that that's just going to carry into the performances.” She’s correct: It does.
That’s not to say that the 2021 performances of The Marriage of Figaro lacked joy, but the production did face numerous challenges. The season marked the first following one canceled by COVID-19 and included an entirely masked audience, alongside people watching via simulcast in their vehicles. Moreover, the cast underwent numerous staff changes as performers were unable to secure visas due to the travel restrictions in place. Even director Pelly was unable to come to Santa Fe. In an interview with KHFM, conductor Harry Bicket (three cheers for the orchestra) recalls the workarounds attempted in 2021 included filming rehearsals to send to Pelly to review for feedback. “And so this is actually the first time he's been here to actually do the production that he had designed and conceptualized all those years ago,” Bicket noted, adding that of all the Figaros he’s done over the years, this year’s has “one of the best casts” in which he’s been involved.
All this to say: If you didn’t see this production in 2021, now’s your chance. If you did see it in 2021, be prepared for a new experience. After all, as Heraclitus also purportedly said: Nothing is permanent except change.
The Marriage of Figaro
Music by Wolfgang Amadeus Mozart/libretto by Lorenzo Da Ponte
8:30 p.m. July 4,9
8 pm July 31, Aug. 4, 9, 12,16, 22
Seated ticket prices range from $37 to $409.
SRO is $15.
First time buyers with New Mexico ID can receive 40% off a pair of tickets.
Call or visit the Box Office for the most up to date information and pricing, or visit santafeopera.org