The Marriage of Figaro: Music Theatre London, Drill Hall
Monday, May 19th, 2003 06:21 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tamaranthSo Figaro turns out to be a foundling, and he tells Marcellina he might have royal blood. "I was found in the organic cabbage patch at Highgrove, wrapped up in an organic sandbag." "A sandbag?" cries Marcellina. Yes, Music Theatre London take on Mozart again, and win.
Being a Friend of MTL, I (and a rushed but timely![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
lproven) got the introductory chat, with Tony Britten saying that this irreverent, entertaining presentation was the sort of thing Mozart would have approved (he wrote The Magic Flute for a beer hall, after all). A couple of the singers talked about their backgrounds; they felt the world of classical music to be stifling, while 'music theatre' -- with emphasis on acting as well as singing, and with more space for creating a role and connecting with audiences -- is more vibrant and a Good Thing.
The production is edited-down Nozze de Figaro, with most (if not all) of the usual highlights being included. It's performed by a 7-piece orchestra, playing from a gallery above the stage, and the 8 principal parts. A mix of MTL favourites and newcomers. Some of the ensemble pieces were unclear, but that's par for the course; I tend to concentrate on whoever's closest. A familiarity with the plot helps, whatever the opera ...
I don't think it's worth my trying to describe the (updated) plot. Just to note ... the Count bore an unnerving resemblance to Tony Blair, and screechy Mary Lincoln has the jaw to be Cherie ... Cherubino was played as a truculent pretty-boy ("I've been giving Barbarina a hand with her sexual reproduction homework") ... instead of notes, emails are exchanged; instead of whispering and signalling, Susanna and Figaro exchange vital updates by text-message, which indicates that they are on a faster network than me ... The Count's Scottish press secretary averts a damaging allegation of sexual harrassment from the BBC; "I gave 'em Claire Short instead".
Nigel Richards' Figaro, with cheeky grin and power drill, is utterly splendid (it can't be easy to sing with an Estuary accent) and Susanna (who hails from Minnesota) has a lovely clear voice; I could hear almost every word.Set design was minimalist and effective -- even off at one side we could see pretty much everything that was going on.
The Drill Hall audience were also much better behaved than a typical ENO rabble. No conversations, relentless shuffling, snipy comments ... a refreshing change. (stops being Brian Sewell). I do wish the bar was bigger ...
Highly recommended, if you can get tickets!
Being a Friend of MTL, I (and a rushed but timely
lproven) got the introductory chat, with Tony Britten saying that this irreverent, entertaining presentation was the sort of thing Mozart would have approved (he wrote The Magic Flute for a beer hall, after all). A couple of the singers talked about their backgrounds; they felt the world of classical music to be stifling, while 'music theatre' -- with emphasis on acting as well as singing, and with more space for creating a role and connecting with audiences -- is more vibrant and a Good Thing.The production is edited-down Nozze de Figaro, with most (if not all) of the usual highlights being included. It's performed by a 7-piece orchestra, playing from a gallery above the stage, and the 8 principal parts. A mix of MTL favourites and newcomers. Some of the ensemble pieces were unclear, but that's par for the course; I tend to concentrate on whoever's closest. A familiarity with the plot helps, whatever the opera ...
I don't think it's worth my trying to describe the (updated) plot. Just to note ... the Count bore an unnerving resemblance to Tony Blair, and screechy Mary Lincoln has the jaw to be Cherie ... Cherubino was played as a truculent pretty-boy ("I've been giving Barbarina a hand with her sexual reproduction homework") ... instead of notes, emails are exchanged; instead of whispering and signalling, Susanna and Figaro exchange vital updates by text-message, which indicates that they are on a faster network than me ... The Count's Scottish press secretary averts a damaging allegation of sexual harrassment from the BBC; "I gave 'em Claire Short instead".
Nigel Richards' Figaro, with cheeky grin and power drill, is utterly splendid (it can't be easy to sing with an Estuary accent) and Susanna (who hails from Minnesota) has a lovely clear voice; I could hear almost every word.Set design was minimalist and effective -- even off at one side we could see pretty much everything that was going on.
The Drill Hall audience were also much better behaved than a typical ENO rabble. No conversations, relentless shuffling, snipy comments ... a refreshing change. (stops being Brian Sewell). I do wish the bar was bigger ...
Highly recommended, if you can get tickets!
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: Monday, May 19th, 2003 03:43 am (UTC)My thanks also to
It was good, though I'm not as familiar with TMoF as thee, so missed some of this. You're bang on about Tony/Cherie though. "I gave 'em Clare Short"/"Should've done it two months ago".
Another line which particularly tickled me was "Our love is fated!"/"I'll have him castrated!"
And Figaro's T shirt... On the front:
"Barber's"
And on the rear (several twirls to show it off...)
"Of Seville"
Yerssssse.
Good show. Later, I saw a bit of Killing Miranda and... something else. Which was not impressive. And the Damned, who rocked.