The Marriage of Figaro

Maria Kanyova as Susanna Photo: P. Switzer

Opera Colorado could not have made a more fitting choice for it's final production in Boettcher Concert Hall before moving to the new Ellie Caulkins Opera House this fall. The Marriage of Figaro is filled with Mozart's fine work, and is blessed with a dramatic structure of classic quality, written by Lorenzo da Ponte based on a comedy by Beaumarchais.

While a written synopsis of the story may sound complex, watching it unfold before our eyes is a pleasing immersion in masterful storytelling. The plot is quickly set up in a few scenes, and the comedic and moral lessons flow as freely as a Shakespearean comedy, with mistaken identities, timely entrances and exits, and parallel class dynamics all neatly arranged.

Mariusz Kwiecien as Count Almaviva and Norah Amsellam as Countess Almaviva Photo: P. Switzer

About the only thing holding back the book from perfection is the censorship it suffered at the time it was written: Beaumarchais' biting criticism of the monarchy and ruling class was replaced by misogynist complaints—much the same as we see everyday in our own mass media, which covers up the wholesale rape of the planet by corporate interests, while filling the airwaves with lurid scandals and mindless consumer obsessions.

In Mozart's time, the rape that occurred was literal as well as figurative, in this case Count Almaviva's right to force himself on any maid within his jurisdiction, specifically Susanna, Figaro's betrothed. The effort to prevent this exercise of "eminent domain" fuels a steady stream of intrigues and masquerades that drive the plot through seven moveable wall sections of doors, windows, and wall hangings—all of which would have been more effective on a proscenium stage, but here cut off a quarter of the audience on the sides from seeing various details.

Norah Amsellam as Countess Almaviva, Christopher Feigum as Figaro, and Maria Kanyova as Susanna Photo: P. Switzer

Christopher Feigum as Figaro, shows both range and expression with his bass-baritone; Maria Kanyova's Susanna is fetching and coy, and her soprano bright; as the Count, Mariusz Kwiecien's baritone is as powerful as his menacing demeanor; and Norah Ansellum's Countess is a soaring and passionate soprano.

David Agler leads the Colorado Symphony Orchestra in a well-paced rendition, and the Opera Colorado chorus supplies a strong punch whenever called upon.

Opera Colorado's The Marriage of Figaro concludes this Friday night at 7:30 pm and Sunday at 2:00 pm. 303-893-4100, 800-641-1222, or www.operacolorado.org.

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