Chris Gray takes in the opera for Figaro Forever

On its annual spring visit to our region last week, WNO combined the familiar with the unusual, in productions of Rossini’s The Barber of Seville, Mozart’s The Marriage of Figaro and a new work, Figaro Gets a Divorce, from Russian composer Elena Langer.

Grouped under the title Figaro Forever, all three operas were staged on a serviceable set in trademark abstract style from designer Ralph Koltai, still at work at 91. Otherwise engaged on both nights of the Mozart, I was happily able to be present for the other two, both richly enjoyable.

About the Barber, under director Sam Brown, there was an aura of larkiness – including a chorus of blokes in frocks, Python style – which some found annoying. For me it proved a pleasing romp, with the wonderful music, under conductor James Southall, surviving the silliness.

Rosina’s music lesson scene was a hoot, with Nico Darmanin’s disguised Almaviva arriving under the eyes of jealously suspicious Bartolo (Andrew Shore) with a toy dog imitative of one belonging to his ‘master’ Don Basilio (Richard Wiegold) and Nicholas Lester’s Figaro hiding in the grand piano.

Heather Lowe, a substitute Rosina, sang sweetly through it all.

About Figaro Gets a Divorce, to a libretto by WNO’s artistic director David Pountney, there was all altogether darker tone. We found Almaviva (Mark Stone) and his entourage fleeing from revolution to a dangerous world dominated by a sinister secret service figure, The Major (Alan Oke).

Among much else in a gripping storyline, Figaro (David Stout) falls out with wife Susanna (Marie Arnet, both pictured), propelling her into the arms of The Cherub (Andrew Watts), Cherubino as was, now the cross-dressing boss of a louche cabaret bar.

Langer’s expressive, always listenable, music, is varied in style and pays no tribute either to Mozart or Rossini. It was delivered with distinction under conductor Julian Brown.

4/5