Challenging the norm: Orchestra of the 18th Century’s Marriage of Figaro

Jorinde Keesmaat’s new production of Mozart’s The Marriage of Figaro with the Orchestra of the 18th Century seeks to challenge conventional norms by addressing the issue of a woman’s place in society. Famed for storytelling from a female perspective, Keesmaat’s many changes to Mozart’s original score make for lively discussion. The use of additional Beaumarchais monologues (in an attempt to redress the male v female imbalance on stage), inclusion of a random doll’s house at the front of the stage, visuals projected onto a custom-made screen behind which the singers perform, and changes to the ending aim to position the narrative firmly in the present. And like Beaumarchais’ original play which struck at the very heart of C18th aristocracy, Keesmaat’s distinctive perspective certainly poses as many questions as it solves.

The programme

The music

Notwithstanding the directorial challenges on stage, the Orchestra of the 18th Century shone brightly under the direction of their new artistic partner Benjamin Perry Wenzelberg, making his very promising Concertgebouw debut. In partnership with concertmaster Alexander Janiczek, natural tempos, detailed, expressive and exciting dynamism (especially the fabulous horn hunting calls) propelled the drama forward. His greatest achievement, however, was in retaining each character’s distinctive colour and predicament whilst giving space for their voices to blend seamlessly. Jubilant and well-timed climaxes to end each act duly left the audience on a high.

The cast

Likewise, the impressive cast did not disappoint. A beautifully opaque opening to Act II set the scene for much sorrow and sighing. Katharine Dain’s rich darkness and immense control as the Countess plotting her husband’s humiliation in “Porgi, amor” captivated the hall. Each note, emerging or melting away, tugged the heartstrings.

Maria Warenberg’s Cherubino languished and teased. Apt murmurs of audience approval at the Countess’ words: “What a lovely voice” elevated proceedings. Nikki Treurniet’s rich and versatile Susanna totally convinced. Her humanity and emotional complexity invited empathy for her bizarre yet painful conundrum. James Newby’s Count Almaviva found the menace as his very manhood was questioned whilst lying awkwardly atop the compliant Susanna.

Two very forthright choirs from the Royal Conservatoire and CODARTS, Rotterdam similarly impressed. There would be no messing with these girls from the village.

However, James Atkinson’s comic genius as Figaro was the surprise of the evening. His appearance and demeanour (channelling Ryan Gosling’s depiction of Ken in the 2023 Barbie movie, complete with blue shirt and funky hair) exhibited uncanny comic timing. Strict adherence to Mozart’s often farcical intentions – hiding behind yet another plant and calling the Count “the vain one”- endeared him in the hall. Mozart’s Papageno beckons I think….

The questions

Returning to the overall production, whilst innovative in many ways, challenges regarding the set’s design and aspects of the direction became the undoubted elephant in the room. Visual metaphors for both the Count’s humiliation (using a huge life-sized door lock) and the complexity of emotions (with the cast split between three different rooms, each with their own emotion) were very successful. However, positioning singers behind a screen and superimposing images of dolls (dressed in bridal gowns with bright red lipstick or as voodoo-like dolls) on singers’ faces for much of the show – sacrificed subtlety of visual expression.

Questions also remain as to why a random girl sat playing with her doll’s house at the front of the stage for most of the evening before painting lines up her legs with nail varnish.

A beautifully paced finale where lighting illuminated the poignancy of the Countess’ forgiveness for her husband’s many misdemeanours was sadly overshadowed by indignant cast members leaving the stage in disgust. Mozart’s comic opera had taken a different turn as tolerance and empathy became a distant shadow.