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Mozart, The Marriage of Figaro: Opera Project at  St.George’s, Hall,  Bristol. 19.6.2009 (SL)


Summer is the time for opera in Britain’s more far flung venues – as the days get longer and warmer we can also look forward to visits from some of the country’s most enthusiastic and innovative touring companies. Some stick to the “garden opera festivals” which have become so popular in the past three decades, others to the smaller cities who do not boast a permanent home for the art form yet have a discerning and appreciative audience.

Such a company is the “Opera Project”, now in its sixteenth season and well known equally for its eclectic mix of repertoire across four centuries  and innovative and resourceful productions. Travelling to such places as Longborough, Hook in Hampshire and Salisbury during the 2009 season, they arrived at St.George’s Brandon Hill in Bristol last week to present Mozart’s “The Marriage of Figaro”. This was sung in English (translation, Amanda Holden) and supported by the small Opera Project ensemble lithely conducted by Jonathan Lyness but constricted in space down below the stage on the main floor of the hall. The simple but elegant set of painted flats and two doorways (Artistic Director Richard Studer) worked well enough in the confined space of the small stage and if there was a problem in such a restricted venue (excellent acoustic notwithstanding) it was that some audience members on the orchestra side were forced to seek seats elsewhere as the instruments only feet away drowned out the voices on the stage. Once this minor problem was accommodated, they could admire the elegance of the 18^th century costumes, resembling pastoral china figurines in the delicacy of the stitching and colours, and the lively presentation of this story of love, intrigue and morality by a vibrant cast of mainly young singers.

The famously complex story of “Figaro” was neatly drawn under Studer’s direction, with a high standard of acting from all the participants to match the overall  standard of singing. If one performer stood out vocally it was Claire Surman as the Countess Almaviva whose warm and very secure soprano seemed to cope effortlessly with the considerable demands of this role, mixing delicate coloratura with a nice legato line. Another stand out was Louise Mott as the conniving Marcellina with a strong dramatic presence  matched by excellent diction – not always a strong point these days in English-language productions. They were joined by Laurie Ashworth (Barbarina), Nicholas Garrett (Count Almaviva), Gareth Huw John (Don Basilio/Don Curzio), Ella Kirkpatrick (Susanna), Gerard O’Connor (Dr Bartolo/Antonio), Margaret Rapacioli (Cherubino) and Dean Robinson (Figaro).

Altogether an excellent start to the summer season at St. George’s Bristol, and a production not to be missed around the country if it should come near you.

Sue Loder

For further details see : http://www.operaproject.co.uk/

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