The manufacturing was filled with such telling particulars. And far of it was humorous, notably when it got here to the lesser characters. But, in contrast to some manufacturing of this opera which attempt to be entertaining, there was by no means the sensation that humour was on the expense of drama. This was a dramatic story, filled with humorous moments, in order that we may even snort on the Depend’s discomfiture in Act Three even while relishing Rafael Fingerlos’ vividly bullying efficiency.

This was a really bodily efficiency. By that, I do not imply that Bruno Ravella had received his forged to take pleasure in bodily theatre, however there was a variety of touching and interplay. To the extent that Rafael Fingerlos’ Depend received to paw Claire Lees’ Susanna in a manner that was each humorous and disturbing, while Susanna’s washing of her mistress advised loads concerning the intimacy of their relationship.

Mozart: Le nozze di Figaro – David Eire, Bethany Horak-Hallett, Claire Lees – Garsington Opera, 2024 (Picture: Julian Guidera)

David Eire was a splendidly alert, responsive Figaro. Full of life and bodily, but not too ostensibly comedian, the humour got here from the main points. He was disturbing too, bringing a way of simmering violence to the fore when considering the Depend, and equally within the remaining act when his jealousy received the higher of him. Eire had a manner of firming up his tone, including edge, that made his efficiency disturbing with out bluster or upsetting the musical line. But, he could possibly be profitable too and I liked the way in which in ‘Non più andrai’ he harked again to his unique life by shaving Cherubino.

Claire Lees’ Susanna was all demure appeal and poise. Lees had a profitable manner with Susanna’s music, however for a lot of the opera we hear Susanna’s interactions with others, it’s only lastly with ‘Deh vieni non tardar’ that we hear right here personal voice. Right here Lees’ was all fantastic thing about line and depth. Within the duets and dialogue, she proved filled with character, while retaining her appeal, but additionally exhibiting the sturdy aspect which is crucial to this character. This Susanna felt much less pertly managing than many, however no much less capable of get her personal manner.

Samantha Clarke’s Countess was an ideal determine of melancholy magnificence. Far much less of a door-mat than some Countesses, Clarke mixed nice type and lingering melancholy with a way of poise and power of goal. It helped that each arias have been superbly sung, with an expensive sense of line and creamy, magnificence of tone. This Countess may be down within the dumps about her husband’s behaviour, however she by no means forgot herself fully and was all the time poised and collectively. It was a pleasure to listen to Clarke within the Countess’ arias and duets, and naturally that splendidly remaining second when she forgives her husband.

Rafael Fingerlos received the Depend good. Sure, he was a horrible bully with a capability to provide threatening violence on the drop of a hat, however he additionally had nice appeal and, in Acts One and Two, a splendidly rumpled sexuality. You can inform why girls fell for him. Within the public scenes in Act Three he was very correct, and positively The Depend. This was a consummate efficiency that even managed to be humorous at occasions, as Fingerlos and Ravella allowed us to snort on the Depend’s discomfort, while all of the whereas revelling within the sheer nastiness of the character. While permitting us to make up our personal minds, Fingerlos’ efficiency made it clear that this Depend was hardly reformed in any respect.

Mozart: Le nozze di Figaro – Rafael Fingerlos, Claire Lees – Garsington Opera, 2024 (Picture: Julian Guidera)

Bethany Horak-Hallett was a convincingly boyish Cherubino, bringing out his youthful masculinity with out descending into caricature. Horak-Hallett’s efficiency was splendidly refined, this Cherubino quivered along with his nascent (or maybe not so nascent) sexuality but there was a critical vein too. Horak-Hallett definitely didn’t play Cherubino for laughs, however as with a lot else within the manufacturing, there was lots to snort at, while Horak-Hallett’s singing of Cherubino’s arias was merely wonderful.

Neal Davies as Dr. Bartolo was vividly detailed, humorous but finely sung along with his Act One aria filled with pretty element and no bluster. Davies made this Bartolo a delightfully annoying pedant. Susan Bickley as Marcellina was splendidly overblown but all the time inside the fitting limits, she was nonetheless ladylike and enormously humorous. Bickley and Eire managed to make the reconciliation of mom and son to be each touching and riotous. Paul Nilon’s Don Basilio was as oily as they arrive, but nonetheless a courtier and Nilon imbued his efficiency with loads of full of life element. 

Stephanie Hershaw made a chic, touching Barbarina in her pretty Act 4 aria, while her interactions with Horak-Hallett’s Cherubino have been pleasant enjoyable. Bradyn Debysingh was a succesful Don Curzio (why does no-one double Basilio and Curzio, as was completed on the premiere?) with Frazer Scott as a suitably annoying Antonio, with Jessica Lawley and Hannah Bennett as bridesmaids.

Mozart: Le nozze di Figaro – Susan Bickley, Neal Davies – Garsington Opera, 2024 (Picture: Julian Guidera)

From the opening notes of the overture, it was clear that Tabita Berglund drew out a extremely managed and vividly emotional efficiency from the orchestra. All through, there was a way of the colors within the orchestra and the way in which they supported the singers. It was a efficiency notable for the top quality of the orchestral contribution, however generally I did wonder if Berglund’s pacing was a bit too regular general. Even in a lower model, as right here, Le nozze di Figaro is a protracted opera, and I felt that some moments, together with the dialogues, may have afforded to rattle alongside a bit extra, that extra dangers may have been taken.

This was a solidly sung and carried out revival of a manufacturing that’s one thing of a traditional. But all through, the sturdy musical values have been offset by a way of enjoyable and of character which introduced a welcome lightness to the drama.