Mozart’s The Marriage of Figaro is currently dazzling audiences at the Lyric Opera of Chicago under the direction of Barbara Gaines. It’s really a must-see not just for its musicality, but also for the excellent acting and just what a good time everyone is having. The energy on the stage makes this very long opera seem almost too short. This production offers a fresh yet faithful interpretation of Mozart’s comedic masterpiece, exploring themes of love, power, and class dynamics with vivacious energy and emotional depth. The performance is brought to life by a world-class cast and a creative team whose contributions amplify the beloved opera’s enduring charm.
Peter Kellner makes a stunning Lyric debut as Figaro, delivering a performance filled with wit and warmth. His chemistry with Ying Fang as Susanna, a role she has mastered across major opera houses, is palpable. Fang, who recently graced the Lyric stage as Parmina in The Magic Flute, brings brilliance to her character, combining sparkling vocals with a nuanced portrayal of Susanna’s cleverness and resilience.
Federica Lombardi’s Countess Almaviva is a revelation; her arias, including the poignant “Dove sono,” soar with heartbreaking beauty. Whenever she and Fang share the stage, the girl power is amplified up to eleven and they sing gorgeously together. Gordon Bintner as Count Almaviva is an incredible actor and plays him like stereotypical romance novel Fabio mixed with the most pompous person you can imagine and his vocal chops are just as good. Kayleigh Decker’s Cherubino is a delightful standout, full of youthful exuberance and again, fabulous acting. You never have a doubt that Cherubino is a teenaged boy, not a woman in a trouser role, particularly when they dress “him” up in skirts.
The supporting cast also deserves high praise. Sarah Mesko as Marcellina and Nicholas Newton as Dr. Bartolo provide a comedic duo that adds levity without losing authenticity. Brenton Ryan’s Don Basilio is mining some comedic Steve Buscemi vibes in all the best ways. Matt Boehler is great fun as Antonio, while the emerging artists from the Ryan Opera Center lend vibrant energy to their roles.
The staging, designed by James Noone, enhances the narrative with a visually stunning recreation of Count Almaviva’s estate. The elegant yet playful sets underscore the opera’s themes of social intrigue and romantic entanglement. Susan Mickey’s costume designs suggest period opulence while really being mere flights of fancy that allow for physical comedy and fluid movement, essential for this farcical tale. They range from etherially lovely to absolutely tragic, with great comic effect.
Erina Yashima, making her Lyric conducting debut, leads the orchestra with precision and vitality. Her interpretation brings out the nuances in Mozart’s intricate score, balancing humor and tenderness to perfection. The Lyric Opera Chorus, under Michael Black, enriches the production with their cohesive and resonant contributions.
Barbara Gaines’s direction highlights the humanity within the humor, emphasizing the characters’ emotional arcs alongside the comedic elements. You really see the female friendship in this production. The women are there for each other and are supportive of one another’s schemes against their wayward men. This balance makes for a production that resonates deeply with modern audiences while staying true to the timeless spirit of Mozart’s work.
The Marriage of Figaro at Lyric Opera is a joyous celebration of operatic artistry, offering both seasoned opera lovers and newcomers a chance to revel in Mozart’s genius. With its extraordinary performances, innovative staging, and masterful orchestration, this production is a testament to why this opera remains a cornerstone of the repertoire. For more details and ticket information, visit the Lyric Opera of Chicago’s official website
All photos by Liz Lauren
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