The Waterperry Opera Festival has always prided itself on stripping opera of its elitist image and making it accessible to all – and last week they proved the point with a fabulously daring, witty and innovative take on this Mozart classic, delivered with energy and pizzazz by a top-notch cast of young professionals against the elegant backdrop of Waterperry House.
Directed by Isabelle Kettle and designed by Charlotte Henery, this production was a thoroughly modern Figaro that meshed slapstick comedy with some tender, sublime moments – as well as a few surprises. “You weren’t expecting this, were you?” chuckled Basilio (Lawrence Thackeray), as he opened proceedings perched on the edge of the stage strumming a guitar. The audience laughed, playing along with the joke.
“In just five years, this festival has become so much a part of Oxfordshire’s summer calendar it is hard to imagine a time when it wasn’t around”
Adam Maxey was full of energy and mischief as Figaro, putting in some superb John Travolta-style dance movements as he plotted with fiancée Susanna – gorgeously sung by Jessica Cale – to outwit the philandering Count (Jerome Knox).
The Count’s long-suffering wife was superbly performed by Alison Langer, whose strong, vibrant soprano voice was particularly impressive, and her heartfelt ‘Dove Sone!’ in Act 3 was both moving and captivating, a real tour de force.
“it was exactly what I’ve come to expect from Waterperry Opera Festival – slick, polished, good-humoured, unpretentious and irresistibly fun”
Annie Reilly was a winsome Cherubino, delivering the two famous arias with aplomb; Edmund Danon and Katherine Crompton impressed as Bartolo and Marcellina; and there were strong performances from Eleanor Sanderson-Nash (Barbarina) and Ashley Mercer (Antonio).
There was even a brief appearance by young Ted Thackeray, as the Rt Hon Hugo Almaviva II, who nearly stole the opening scene and undoubtedly set a few maternal hearts a-fluttering.
Music director Bertie Baigent never fails to impress, and once again he was in full command of the eleven-strong orchestra, which performed with its customary zeal and sparkle.
This radical new production might have made a few Mozart purists shudder, and occasionally there was too much distracting stage business going on, but it did prove that you can do almost anything with a Mozart opera and the music and madcap humour still come through with clarity and purpose.
Overall, the show was exactly what I’ve come to expect from Waterperry Opera Festival – slick, polished, good-humoured, unpretentious and irresistibly fun. The happy buzz at the end, as the audience gathered up picnic paraphernalia and gradually dispersed, was testament to that.
In just five years, this festival has become so much a part of Oxfordshire’s summer calendar it is hard to imagine a time when it wasn’t around. I, for one, can’t wait to see what they do for the sixth festival in 2023.
For more information about Waterperry Opera Festival, including the forthcoming Messiah by Candlelight in December, visit www.waterperryoperafestival.co.uk
NICOLA LISLE
