Paragraph 1: Setting the Stage for Marital Discord
Linus Fellbom’s production of Mozart’s "The Marriage of Figaro" at the Royal Swedish Opera forms the second installment of his Figaro trilogy, revisiting the familiar set from the prequel, Rossini’s "The Barber of Seville." The characters, costumed in modernized 18th-century attire with neon accents, have aged since their youthful infatuation, now grappling with the complexities and conflicts of marriage. This production sets the scene for a deeper exploration of the power dynamics within love and social class, ultimately leading to the trilogy’s concluding opera, "Figaro Gets a Divorce." Unlike Tobias Kratzer’s politically charged Figaro trilogy at Wermland Opera a decade prior, Fellbom’s focus shifts towards the intimate struggles of a marriage on the brink of dissolution.
Paragraph 2: A Cast of Complicated Characters
The opera’s central conflict revolves around the impending nuptials of Figaro and Susanna, overshadowed by the Count’s waning interest in his own marriage and his inappropriate advances towards the bride-to-be. Adding to the entanglement, the young page Cherubino, portrayed with passionate fervor by Bethany Horak-Hallett, harbors his own affections for Susanna, creating a tangled web of desire and deception. Jens Persson Hertzman delivers a nuanced performance as the Count, humanizing him with a touch of comedic fallibility rather than portraying him as a purely villainous figure. The initial scenes, however, suffer from a stilted and stylized presentation, relying on somewhat cheap humor that detracts from the opera’s inherent depth.
Paragraph 3: Music and Emotion Take Center Stage
Despite the initial shortcomings in staging, the production finds its footing through the power of Mozart’s music, expertly conducted by Alan Gilbert. Julia Przedmojska’s minimalist set design allows the psychological intricacies of the characters to come to the forefront. Camilla Tilling’s portrayal of the Countess is particularly poignant, her melancholic "Dove sono" aria conveying the profound sadness of her marital disillusionment. Tilling’s performance embodies the emotional core of the opera, capturing the Countess’s despair with heartbreaking authenticity.
Paragraph 4: Susanna’s Radiance and the Shifting Dynamics
Johanna Wallroth, making her debut on the Royal Opera’s main stage, shines as Susanna. Her portrayal is brimming with vivacity and wit, her voice and expressions perfectly conveying Susanna’s intelligence and resourcefulness. The production gains momentum after the intermission, as the stage expands to accommodate a chorus adorned in pink and lanterns illuminating the scene. The transformation of the stage mirrors the shifting dynamics of the plot, as the women, Susanna and the Countess, orchestrate a plan to expose the Count’s infidelity.
Paragraph 5: Unveiling the Intrigue and its Resolution
The final act unfolds in a forest setting, cleverly crafted with heavy green drapes, where the women’s scheme comes to fruition. Erik Rosenius’s Figaro, initially somewhat rigid, joins forces with the women, while the Count is ultimately forced to beg his wife for forgiveness. The resolution, however, is not without its complexities. The Countess’s "choice" of reconciliation highlights the constrained agency of women within the societal context of the opera. Fellbom’s interpretation subtly underscores these political undertones, adding another layer of meaning to the comedic drama.
Paragraph 6: A Compelling Prelude to Further Exploration
While not entirely flawless, Fellbom’s production of "The Marriage of Figaro" offers a compelling and nuanced interpretation of the classic opera. The performances, particularly those of Tilling and Wallroth, are captivating, and the production’s focus on the emotional and psychological complexities of the characters elevates the familiar story. The deliberate ambiguity of the ending leaves the audience eager to witness the next chapter in the trilogy, "Figaro Gets a Divorce," promising a further exploration of the evolving dynamics between Figaro and the Countess within a changing world.
