Anna Burnside reviews a performance that ‘offers much to love’ for those who ‘enjoy opera as a spectacle.’
According to the neon decorating the top level of the upstairs/downstairs set of this Komische Oper production, ‘Capitalism kills love’. A bold statement, one of the many in Russian director Kirill Serebrennikov’s fearless take on Mozart.
There are non-singing members added to the cast, arias are moved around, there’s a bloodbath at the end. At times the flamboyant staging threatens to overwhelm the music.
So, this is not one for the purists. Or for those in the high seats, who may struggle to see what is going on in the lower portion of the stage. But for those of us who enjoy opera as a spectacle, this offers much to love.
The female cast are particularly strong. Verity Wingate’s Countess is as rich and luxurious as her cream silk trouser suits, while Patirica Nolz is sparky and adorable as Cherubina. The Komische Oper orchestra plays up a storm and adapt to Serebrennikov’s whimsical additions, such as playing a mobile phone tone on the harpsichord.
The costumes are deliciously OTT. The men look as if they either work in, or stay in, one of Manhattan’s top modernist hotels. A gaggle of party goers in silver dresses make a disco ball look understated.
If that’s what you want from an opera - and not everyone has the score running in their head, and their pearls at hand to clutch - then Komische Opera have it Figaroed out.
The Marriage of Figaro performed at the Festival Theatre as part of this year’s Edinburgh International Festival. It’s run has completed.
Photo by Jess Shurte.
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