OPERA: THE MARRIAGE OF FIGARO

As director of Le Nozze di Figaro, Neil Armfield draws out the great comic potential of what is perhaps Mozart’s loveliest opera. The young cast sings with clear enjoyment of the antics of the noble characters and their cunning servants, who conspire to bring their master, Count Almaviva, down a peg or two. It is a decisive moment when Figaro, the Count’s steward, played with great sexual charisma by Teddy Tahu Rhodes, learns that the Count regrets his renunciation of the droit de seigneur — the right of the master to take the virginity of young servant women in his employ on the night of their wedding. What follows is a complex plot full of intricate stratagems, deceptions, lies and hypocrisy in which all the characters take part, without exception. Even Figaro’s betrothed, Susanna, played with warmth and intelligence by Taryn Fiebig, says, “I see no harm in lying, you have to play the game.” Sian Pendry was an especially endearing Cherubino, Rachelle Durkin elicited great sympathy for her sad situation as the Countess, and Peter Coleman-Wright as the Count was a sympathetic bounder. Conductor Patrick Summers kept up the pace and never let a moment flag in this wonderful opera buffo, perhaps the best example of the tradition.

Until Oct 23, Sydney Opera House, $95-270, 9318 8200, opera-australia.org.au