Review of Glyndebourne’s ‘The Marriage of Figaro’ (2025 BBC Proms): “Visceral conducting keeps Mozart’s alma viva”

The festival’s latest production of Mozart’s masterwork landed on the Royal Albert Hall’s stage for one night only, following its initial midsummer run. Guillermo Nazara shares his views on the show to let us know if this new revival of noble affairs comes across as a common piece — or a bon-marchais.

It’s always funny to revisit a comedy written over two hundred years ago to find out how, regardless of the so-called progress we’ve made as a society over the years, things are pretty much the same when it comes to human relationships — and that’s hardly a compliment.

Contrary to popular belief (and Peter Schaffer’s uncanny ability to rewrite history), Le Nozze di Figaro achieved considerable success during its initial run, and that was just the start of the warm reception it has garnered to this day. It’s all with good reason — every single aspect of it is nothing short of artistic bliss: cunning lyrics, universal characters whose essence transcends its era, and an impeccable score that brings all of Mozart’s signature skills to the front.

All those elements, added to Glyndebourne’s remarkable word of mouth, made last night’s performance at the Proms probably one of the most anticipated events of the season, and an almost sold-out rendition at the Royal Albert Hall’s over 5,200-seat space practically speaks for itself. The expectation was justifiably high. Yet, hardly met at some moments, particularly through a distinctive musical approach that, in several ways, defied convention — and subsequently, concocted a rousing, palatable new brand of colour and sentiment.

Conductor Riccardo Minasi creates a new palette of shades, textures, and dramatic articulation in this new take on Mozart’s ultimate opera buffa. It only takes a few bars from the Overture to get acquainted with the individuality of his execution. Fervent and impassioned, the forceful attacks from the string section give a new aura of zest and bravura to the piece — in some manner, underpinning the narrative’s tempestuous character.

The heightened protagonism given to the woodwinds elevates the partiture’s vivid scheme, generating a richer sound that also professes a closer, more authentic Mozartian flavour, intricately spiced up by the use of several additional instrumental and vocal apoggiaturas. At the same time, Minasi’s attention to the score’s dramatic purpose brings a stronger sense of emotiveness to the whole interpretation, delivering a unified, inseparable blend between music and storytelling, and in that endeavour, honouring the true meaning of the genre.

Directed by Talia Stern, the performance also excels in terms of acting quality, with a continuous attention to the text, where singers become thespians communicating through melody: each line carries subtext; every gesture contributes to the recount; and the humorous flair and electrifying chemistry the company exudes turn the experience into an uproarious celebration of jest, channeled through the most exquisite musical renditions. Everything feels natural. There is physical comedy, but nothing looks exaggerated. And the rapport the entire troupe flaunts is tremendously compelling and inviting, making the production come across as a classic of a classic.

With every member exhibiting immaculate technical ability, the first mention goes to Louise Alder as the Countess, delighting audiences with flawless, heartfelt vocal segments that boast an extraordinary command of phrasing and ornamentation. Furthermore, Tommaso Barea plays an endearingly savvy Figaro whose vocal prowess matches his innate showmanship and drollery. Simultaneously, Johanna Wallroth regales us with moments of angelic beauty through the purity and delicacy of her singing. The highest praise goes, however, to Huw Montague Rendall as Count Almaviva, playing the part with effortless deftness in every angle, and consequently stealing the scene every time he comes onstage.

Preserving the style of the work’s original version through its historically accurate design, but resonating with contemporary viewers in a manner very few other opera revivals have been able to recently, Glynderbourne’s latest return to The Marriage of Figaro offers guest the most arresting proposal, where the sole question that should pop into their minds is when they’ll be able to see it again. Suitable for lovers of the piece from any class, background, and age, going from Don Basilios to Cherubinos, this take is destined for immortality as one of the opus’s reference productions. Its captivating power will make your mind whisper ‘non più andrai’ anywhere else, even after the end.

All pictures credit to Chris Christodoulou.

The BBC Proms 2025 continue to play at London’s Royal Albert Hall until 13 September. Full programming and tickets are available on the following link, while Glyndebourne’s upcoming productions can be accessed here.

By Guillermo Nazara