Review
Emily Gillispie
Staff Writer
The Marriage of Figaro has everything modern audiences could want - an adulterous ruler, a servant who's willing to stop at nothing to stop him and most of all, lots of laughs in between.
Houston Grand Opera's The Marriage of Figaro is a comedy of manners, a tale of love and betrayal and of servants outwitting masters, that leads the audience through hilarious twists to reveal an ending that will uncover even the darkest of conspiracies.
The production begins with the story of Figaro (Dean Peterson) and the servant Susanna (Nicole Heaston), a couple living in the Court of Count Almaviva (Jean-Luc Chaignaud). They appear happy, but their love is threatened by the dominance of the Count because he wants to use his feudal right to sleep with Susanna on the first night of her marriage to Figaro. The main plot revolves around the intricacies of Figaro and Susanna's wedding and how the Count wants to prevent it.
However, there are major subplots. There's Cherubino (Beth Clayton), the young boy who's after all the girls in the court. He is banished because the Count cannot stand the competition. At the same time, the Count is trying to prevent Figaro's marriage because Figaro owes money to Marcellina (Katherine Ciesinski).
The opera is divided into four acts, and with each additional act comes an added problem the actors must overcome. The problems begin when Susanna tells Figaro of the Count's plans to sleep with her on their wedding night. Figaro is outraged and begins to plot his revenge.
Meanwhile, the Count is conspiring with Marcellina to prevent the marriage of Figaro and Susanna. Marcellina must make Figaro pay back the debt he owes her or else marry her. The Count banishes Cherubino, but Cherubino stays to help Figaro and Susanna get married. Get the picture?
The Marriage of Figaro is a terrific blend of comedy and talent. Even though the opera is sung in Italian with English surtitles, the audience can clearly see each emotion through the actors' faces and gestures, bringing both humor and drama to the stage.
This can especially be observed in act one when Susanna confronts Marcellina. Heaston and Ciesinski bring a perfect blend of soprano and mezzo-soprano as they battle back and forth with each other.
The humor comes when they try to leave the room, as each one tries to get the other to go first. While Marcellina sings that Susanna should go first because she is 'the toast of the town,' Susanna cries that it should be Marcellina because of her age. This argument makes the audience laugh at every step. The humor continues even more as the Count enters the room and Cherubino must hide behind a chair.
Humor can also be found in the third act as Susanna and the Countess plot revenge on the Count for trying to rendezvous with Susanna in the garden. They ask Cherubino to put on girl's clothes and go in Susanna's place. This should show the Count! But their plan is foiled when the Count knocks on the door and demands entrance.
The fun comes when the Count and Countess leave the room to get a key and Cherubino is forced to jump out the window. Believe it or not, the scene actually gets funnier when Figaro comes into the room and tries to say he was the one who jumped out the window.
Mezzo-soprano Katherine Ciesinski (Marcellina) and Hungarian bass Jozsef Gregor, who plays Dr. Bartolo, give the opera its funniest scene. As Figaro is confronted by the Count to repay his debt, Figaro tries to get more time to come up with the money. Among the humor and wit also lies beautiful and powerful singing. American soprano Pamela Armstrong lends a sense of emotion and desperation to the stage that could be matched by no other. Her sense of despair when she finds out her husband, the Count, is seeking Susanna can be felt be every member of the audience. Her beautiful voice can be heard from every corner of the theater, making the audience a part of her pain.
French baritone Jean Luc Chaignaud, who makes his American debut with his role as the Count, gives the part exceptional depth. His deep and moving voice guides his every move as the conniving Count, making it even more believable that a person of such power could have such low moral standards. American soprano Nicole Heaston also plays her role of Susanna with outstanding wit and determination. Everyone can see her strength as she gives the audience someone they can look up to. Her charm and grace give her the strength to outsmart the Count, something that would almost be unheard of in her time.
Another nod must go to 28-year-old conductor Lawrence Renes, who asked HGO to raise the orchestra pit so the audience could see the players. His enthusiasm brought an added excitement as he flung his hands wildly in the air to the music of Mozart. His youth and vitality gave the Marriage of Figaro new life that isn't usually seen in opera.
The Marriage of Figaro runs through May 10 in the Wortham's Brown Theater in downtown Houston. Tickets are priced from $20 - $175, with a special student price for tonight's performance; $13 for balcony seating and $20 for orchestra. These tickets are available in the Wortham theater lobby or by calling (713) 227-ARTS