Review: The Marriage of Figaro (Lyric Opera of Chicago)

Review: The Marriage of Figaro (Lyric Opera of Chicago)

The Marriage of Figaro

Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo Da Ponte
Civic Opera House, 20 N. Wacker (map)
thru Oct 24 | tix: $39-$239 | more info

Check for half-price tickets

A Mozartean’s night dream

Lyric Opera of Chicago presents

The Marriage of Figaro

Review by Clint May

The mainstay late-career masterpiece by Mozart gets a delicious, dreamlike update to kick off the new Lyric season. As sumptuous as a wedding cake, Shakespeare veteran Barbara Gaines has put a new spin on this traditional crowd-pleaser. Its previous iteration of 2010 looks muted and drab (heresy to some) next to the eye-popping vision on display.

Not only have the visuals been technicolored, the inherent humor of the sexual politics has been amplified. Gaines’ first Mozart opera has a joyful nerviness and over-the-toppiness that will likely appeal to a newer generation of opera goers. New, more wryly funny vernacular has been input into the English supertitles for a punchier dialog (who would guess that “sleazebag” would appear?). All that remains untouched is Mozart’s sublime score, empathetically and vivaciously directed by Hungarian newcomer Henrik Nánási in his American debut.

James Noone’s set design is an audacious marvel. If an Apple store collided with a Rococo dressing room, you might end up with something approaching the dramatic waterfall expanse of wood that pushes the cast up from the depths and into the sunny lighting of Robert Wierzel. Combined with the bird of paradise costuming of Susan Mickey—with all their primary colors and off-kilter cuts—the spectacle dazzles. There’s something democratic in the styling. Such vividness of color, graphic (read: exaggerated) clarity of line and the frontal placement of the cast creates the kind of striking scenes that are visually thrilling for any eye in the audience.

It nearly goes without saying that the vocals are superb. This cast has a depth of chemistry that really adds to their emotional connection to the audience and the heartfelt humor of their predicament. Figaro fans have their favorites (mine is Cherubino, adroitly played here by Rachel Frenkel), because in an ensemble this expansive there’s plenty of diversity to go around. Also making her American debut, Christiane Karg creates a magnetic pull for Adam Plachetka’s Figaro and the ‘letter duet’ with Amanda Majeski is breathtaking. Plachetka is a deliriously entertaining Figaro, and he legitimately appears to be improvising as he tries to navigate the soap opera shenanigans. Luca Pisaroni moves from the Figaro role—for which he is most known—into the ravenous Count with nary a missed step. Everyone is on point and Nánási wonderfully balances his orchestrations to ensure that everything sparkles with a transcendent clarity that is just plain infectious fun.

Mozart’s enduring music creates the focal point around which Gaines has crafted a new production that preemptively rebuffs any potential claims by a new generation that opera is ‘stodgy.’ Only around such a well-known opera can such liberties be taken without fear of distortion. Every new interpretation adds to the facets of the jewel at the center of Figaro, and the Lyric’s balanced-yet-bold choices ensure that a new vanguard of intrepid artistic choices will continue to delight.

Rating: ★★★★

The Marriage of Figaro runs through October 24th at the Civic Opera House, 20 N. Wacker (map). Tickets are $39-$329, and are available by phone (312-322-2244) or online through their website (check for half-price tickets at Goldstar.com). More information at LyricOpera.org. (Running time: 3 hours 30 minutes, includes an intermission)