Last Updated on June 30, 2025
The Wedding of The Season
There are few operas so able to elicit a joyful response by their mere mention as Le Nozze di Figaro. For many opera fans, myself included, each aria forms a beloved collection of recollections of performances past. This can be a double-edged sword as each production is measured against hundreds of others. Fortunately for Garsington Opera, the return of their 2005 John Cox production is a glorious masterpiece.
Figaro follows the titular servant and his Fiancé Susanna as they aim to foil their lord, Count Almaviva. Almaviva has philandry on the mind and can think of nothing better than Susanna. This is in the full knowledge of Countess Almaviva, much to her chagrin. The piece is a classic French farce with constant intrigue mounting on intrigue; men pitted against women and servants against masters.
Cox’s production makes no attempts to re-invent the wheel and places the action in a Georgian noble household. The inherent comedic value of the text shines through clever staging and interaction of the characters. The use of Garsington as a space was genius, Cherubino escapes from the Countesses bedroom into Garsington’s garden. The awaiting gardener, who can be seen pottering about outside the auditorium throughout the second act, gives chase. Moments like this help make productions real. Everything feels well thought through. The set changes are carried out by costumed stagehands whose movements are choreographed and feel like part of the performance.
Robert Perdziola’s set designs are simple yet effective and the floral display for Act IV earned an audience applause. The period costumes are luxurious and pleasant to look at.
This is Tabita Berglund’s first time conducting a Mozart opera but you wouldn’t think it to hear her with the Philharmonia orchestra. From the overture to the closing moments everything is dynamic and colourful but remains well balanced. Copious volumes of joy exude from the pit. I
The characters are all well cast, everyone matches the role. The contrast between the youthful Figaro/ Susanna faction versus the more *ahem* experienced Bartolo/ Basilio side in acts one and two adds so much life. The range of colour and texture in the voices adds depth to the ensembles. As each voice floats and recedes from the swell they have individual character. David Ireland is a self-assured swaggering Figaro with a voice to match. Ireland’s projection is mighty, seemingly effortlessly filling the auditorium. His Act I Cavatina “Se Vuol Ballare” is jaw-dropping.
Samantha Clarke as Countess Almaviva is wonderful. Her graceful soaring voice sails through the Countess’ showpiece arias. Clarke’s volume control is artful. Before the crescendos in her Act III aria “Dove sono”, Clarke would diminuendo slightly before surging upwards with full force. This adds a vast dynamic range and each one hits like thunder.
Neal Davies acts well as Bartolo but lacks tonal richness and his patter song sections faltered. Susan Bickley as Marcellina is every bit the haughty, well-put-together housekeeper. In her duettino with Sunsanna “Via Resti,” Bickley spewed jealous venom with a razor-sharp lance of articulated singing.
Count Almaviva was played by Rafael Fingerlos who starts off shaky but soon warms up into the role. Fingerlos does seem a bit too composed for genuine villainous lechery. Bethany Horak-Hallett is an ideal Cherubino. Youthful, infuriating and piteous, a swirling cocktail of teenage horn. Horak-Hallet sang clearly and gave a touching rendition of “Voi Chi Sapete.” Finally, Claire Lees charms as Susanna.
Le Nozze di Figaro runs until 23 July
https://garsingtonopera.org/whats-on/le-nozze-di-figaro/
Garsington Opera
Wormsley Estate,
Stokenchurch,
Buckinghamshire,
HP14 3YG
For more about the Garsington Experience check our feature on the opening production of Platée and the Garsington Summer Season
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