The Marriage of Figaro review: A celebration of BAME talent, but not quite a revolution

Mozart was no political activist, but class, gender and sex lie at the heart of his opera The Marriage of Figaro. The aristocratic Count is a serial sexual predator, serially outsmarted: if the world order is not overturned, perhaps its foundations shudder. The French Revolution was just round the corner, after all.

In Blanche McIntyre’s new production for English Touring Opera, more than half the singers are of BAME origin. Although that doesn’t alter the drama, it allows a slightly different perspective, but otherwise her staging avoids risk. It needs to be portable, so Neil Irish’s set is plainly decorative but flexible enough to create spaces in which the intrigues can flourish.

The opera is sung in Jeremy Sams’s bold and communicative translation.For the most part, the singers get the text across. Under Christopher Stark the orchestra plays nimbly, but there are times when the comedy is both strenuous and limp.

Even so, there are several fine performances, notably Rachel Redmond’s sweet-toned Susanna, easily a match for David Kimberg’s more prosaic Count. Nadine Benjamin’s Countess is contained and inward-looking.

By contrast, Ross Ramgobin’s Figaro has energy to burn. If a little more of that energy plays to the drama than to the gallery, the production should gather momentum as it travels.

Touring until June (englishtouringopera.org.uk)