Mariusz Kwiecien (Count Almaviva) sets about seducing Eri Nakamura's fiesty Susanna in David McVicar's 'Le nozze di Figaro'Barda

The opening night of Le nozze di Figaro was not so much an opera of two halves as an opera of two teams. In the pit we had Sir Colin Davis and the Orchestra of the Royal Opera House offering a crisply incisive rendering of Mozart’s score; onstage we had the Royal Opera Chorus and a selection of soloists, most of whom seemed set on a rather different – and, in the case of the chorus, downright lacklustre – rendition of the score. Now on its second revival, David McVicar’s all-the-hallmarks-of-a-classic production should have the comfortable swagger of a sophomore, but it was the first-night nerves of an untried fresher which were painfully evident at last night’s performance.

Schrott's Figaro is a swaggering rogue of a man, pitched just on the right side of brash, perpetually self-possessed and with just a touch of sadism

Explore topics

Share this article

Share [2]