The Marriage of Figaro – Royal Ballet and Opera

Last Updated on August 28, 2025

An un-refigured Figaro

The Royal Ballet and Opera’s new season returns with a familiar classic. David McVicar’s indefatigable production of The Marriage of Figaro.

In 1783 Mozart wrote to his father Leopold of his hopes for a collaboration with a certain Abbate da Ponte. He said he needed several essentials for his new work, that it was comic, that it had two equally important female roles, one seria and one mezzo caratere. The third female role could be buffa as could all the male ones. The Marriage of Figaro must have seemed like a gift from heaven. Not only did it meet his quite extensive list of demands, it was a sequel to Paisiello’s Il Barbiere di Siviglia, the most popular opera in Vienna at the time.

Those demands translated into the seria (serious) character of Countess Almaviva and mezzo caratare (mixed character) of her maid Susanna. Susanna is engaged to Figaro but Count Almaviva is determined to seduce her on their wedding night. Layers of subterfuge and plots intertwine between the scheming servants and nobles which are constantly overturned.

Designed by Tanya Mccallin, the piece is firmly in its original setting of an 18^th century noble’s house. Figaro is a liveried footman and Susanna a typical maid. The action constantly moves around and there is never a dull moment between scenes. As the first orchestral brightness shoots into the overture, the shutters in the house’s hallway are opened with an equivalent burst of light.

The music to The Marriage of Figaro also seems like a gift from heaven. The first two acts feel like a non-stop highlight reel. Conductor Julia Jones has a vibrant and playful interpretation of the score. Her dynamics leave nothing to be desired between touching pianissimo and forceful fortissimo. Gloves off Mozart is the best kind.

Ying Fang makes her RBO debut as Susanna. Fang has a wonderful voice, youthful, incredibly moving and comfortable in her range. She had some great moments on stage, including a scathing putdown of Marcellina in “Via resti servita.” Fang also had excellent chemistry with Figaro, played by Luca Micheletti.

Micheletti at times seems almost too good to be Figaro. Not merely a bounding buffa buffoon, he is inspiring, touching at times and always a delight to listen to. Whether in the foreground or skulking at the back of stage, Micheletti’s presence is always felt on stage. His interactions with Count Almaviva are the ideal of sparring equals rather than lopsided squabbles.

Huw Monatgue Rendall plays Count Almaviva. Immediately lecherous and cringe-inducing as he thrusts on to the stage, Montague Rendall is a count to be remembered. On opening night, he sang slightly quietly in Act I, struggling to be heard in ensembles, but soon warmed up and was a force to be reckoned with by the end.

Ginger Costa Jackson as Cherubino is voluble, clear and exact in her singing. While her tone is delicate and pleasant, Costa Jackson acts the pervy puckish pest which Cherubino needs to be with elan.

Jacquelyn Stucker as Countess Almaviva took the wind out of her two showstopper arias slightly on first night but was a good comedic countess.

Jeremy White is the best kind of Antonio: rotund, orotund and obstreperous. White is captivating and characterful for all his time on stage.

Jette Parker Artist Isabela Díaz rounds off the singers as a confident and clear Barbarina.

I went into this performance of The Marriage of Figaro slightly worried that I would be underwhelmed. Having seen a production of it last week and this same production last year I worried that I would be tired with the piece. I was wrong, from the first few bars of the interval to the closing number I scarcely stopped smiling. With a refreshed cast it was every bit as engaging as the first time I saw the show.

The Marriage of Figaro runs until 15th September

Royal Opera House, Covent Garden, London WC2E 9DD