Opera Scotland

Marriage of Figaro 2022 Opera Bohemia

Read more about the opera Marriage of Figaro

It is good to see Opera Bohemia getting a show on the road once more after a significant gap in touring due to the ravages of Covid.  Perhaps surprisingly, they have not previously tackled Figaro.  It was sung in English (a new translation by co-founder Douglas Nairne) with a cast of soloists who were largely familiar from periods studying in Glasgow and subsequently working with Scottish Opera.  These include Andrew McTaggart, Shuna Scott Sendall, Arthur Bruce and Charlie Drummond - all previously Scottish Opera Emerging Artists.

Seven of the seventeen performances used an orchestral reduction for chamber ensemble (by Pocket Publications).  The remaining ten, generally at the smaller venues, were accompanied by piano (Andrew Brown) and cello (Andrew Huggan). Surtitles were provided for the musical numbers - the singers all being rightly relied on to project the recitatives with perfect clarity.

The edition used inevitably involved the cutting of the chorus, but the roles of Barbarina and the two bridesmaids also went.  Barbarina's fourth act arietta was given to Cherubino - an acceptable adjustment when the cast already included nine soloists. The second verses of arias were generally cut, which meant that there was little by way of vocal decoration.  The piano accompaniment was beautifully paced, with cello contributions particularly effective in the Countess's arias and Susanna's last act 'Deh vieni'.

At the sixteenth performance in Dundee Oliver Platt's staging was well run-in, with the singers all vocally well-suited to their roles.  If there was one issue in the intimate Marryat Hall it was a tendency for some of the comedy to be semaphored to an extent that was probably fine in the larger Edinburgh, Stirling or Perth venues.  Otherwise the modern dress production worked well.

Of the cast it was particularly good to see the company recruiting two new performers in leading roles.  Charlie Drummond has just the right beautiful, creamy tone for the Countess, particularly effective in 'Dove sono' and that glorious phrase when she forgives the Count at the end.  Almaviva himself was played by Arthur Bruce, on excellent form, frustrated, but not too nasty, just not very bright.  His big aria in the third act was treated to a rousing performance that brought a spontaneous ovation from the audience.

Andrew McTaggart and Catriona Clark rightly carried the action, projecting their long roles in a highly accomplished manner.  Shuna Scott Sendall was an excellent Marcellina, well backed up by the less familiar Will Frost and Roger Paterson as Bartolo and Basilio.  Company regulars Heather Ireson and Jonathan Sedgwick also sang effectively as Cherubino and Antonio.

The Marryat Hall is not often used for opera.  The basic acoustic was fine, the only issue coming during the act finales when the sound of the whole ensemble threatened to be overwhelming, while just maintaining control - the one situation where a conductor was perhaps missed.