Gibbons wants this opera to be taken as an exploration of marriage, with four couples of different ages going under the microscope, starting with Cherubino and Barbarina as the youngest. Figaro’s rocky road to matrimony with Susanna is contrasted with the embittered mid-life manoeuvres of the Count and Countess, and finally with Bartolo and Marcelina, whose cynical machinations are stopped in their tracks by the revelation that Figaro – whom Marcellina is trying to coerce into matrimony – is in fact her long-lost baby son.
Hubert Francis and Cody Quattlebaum in The Marriage of Figaro (Photo: Zoe Martin)The doors have to do service in all the scenes where the comedy depends on characters being hidden and discovered, and they need to evoke the cluttered reality of the house where the drama unfolds. But as the fun gets faster and more furious, we absolutely need sofas and domestic paraphernalia to make sense of what’s going on. All those goddamn doors can do is spread confusion.
Paul Sheehan, Neal Davies and Pablo Strong in The Marriage of Figaro (Photo: Zoe Martin)
Add in random moments when the movement style tips over into commedia dell’arte, and you have a recipe for serious irritation.
The Royal Opera House's Jenufa is unforgettable
Read MoreAnd Ainars Rubikis in the pit teases out all the mischief and beauty of the score. Go in with your eyes shut, and have a ball.
To 22 February (eno.org)
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